Posts by StillCan'tDance

Quote from Fabrizio

I like it but I can't think of it like a major track or something Genesis will be remembered by. I see it like a little thing they had fun with, better than YOSW in my book but I much prefer Steve's instrumentals on the B side. Those are imo quite underrated.

I heard Phil's big band perform it in the late nineties, as arranged by Brad Cole, and I think the tune found its perfect medium there. Forgive me, but when you say "b side" do you mean side two of W&W? If so, then Blood On The Rooftops is, for me, the song for which Hackett should be best remembered. People may rave about Firth Of Fifth (poor Steve sounds like he's suffering from arthritis during that much celebrated solo) but that was Tony's song; Rooftops is the perfect balance between Steve and Phil and is a work of absolute genius.

Quote from Fabrizio

It is. I like Wot gorilla better myself but to be clear, neither is imo something to write home about.

I have to say, I love Wot Gorilla. Phil was surprised that he could persuade Tony into such a collaboration (Tony's good but he's no Joe Zawinul) but he managed it and, to my ears, it's one of the most successful and enjoyable pieces on the record.

Isn't Submarine one of those pieces where Phil describes as him wearing his "Bonham hat"?

As for Supper's Ready, it's to the band's credit that they didn't try and repeat the same trick. Unlike Yes...

Quote from Fabrizio

I actually find funny he would say that too but for another reason: he was fighting at the time to have more songs on the album and YOSW is arguably one of the weakest on W&W. It probably cost him one of his songs but hey, he can still like it and decide some audiences are not receptive to it. I see no evil in that.

Personally, I find it stranger that he prefers Your Own Special Way to Wot Gorilla, but I think this is just a question of taste.

I would say the only one worth commenting on is Tony. Not only does he make a decent fist of carrying a whole album as a vocalist but, since then, he has sang at least one song on each of his albums. His voice seems a cross between John Lennon and Neil Tenant and is quite appealing.

Quote from Fabrizio

Personally, I believe Steve fixed one of the problems the song had with the different time signature but the final result confirmed imo that the song itself wasn't wothy the effort. It certainly is more radio friendly and as someone said very much in Mike&the Mechanics style. I would still maintain that Carrack does a better job with it than 77 Phil.

Paul Carrack can (in Phil's own words) sing the telephone directory and it would still sound great. I'm just coming to the end of Paul Blake's Pigs Might Fly and there's a moment in there where Waters calls Paul and asks him if he knows Huey Lewis's number because he wants him to sing on his latest performance of The Wall. Carrack asks if he can be involved and Waters tells him he's not famous enough! Of course, Paul would eventually be involved in the production so all's well that ends well.

As for Hackett's take on Your Own Special Way, I find it curious that he claims it to be "one of Mike's finest" and yet didn't perform it on his much vaunted Wind And Wuthering tour last year. Was he afraid of brickbats from the prog fans?

Quote from Fabrizio

I haven't actually.

You can hear him read the whole thing on YouTube Not Dead Yet

Quote from Fabrizio

Not this story in particular which btw. is quite funny but I heard they used to gave fun in that department.

Have you read Not Dead Yet? Phil used to make passing remarks to smoking the herb (Hugh Fielder's Book Of Genesis and a Phil Donahue interview in 1988 spring to mind) but he didn't brag about it in the tiresome way that some rock stars do. But in Not Dead Yet, he's practically puffing on the weed for the whole of the seventies (especially with Richard McPhial). I can't remember where I read the story about the '78 gig but it is totally legitimate.

Quote from Fabrizio

That too.

You're familiar with the story? I'll expand for the benefit of those who might not know.

In 1978, Chester had some especially potent grass and Phil, being an enthusiastic toker back in the day, joined him for a pre-gig joint. Chester said that the grass was so strong they'd really only need one toke each. So they took two! Then they took to the stage. The first song was Earl Of Mar. During the instrumental opening, Phil looked out at the audience, desperately trying to remember the words - again, anyone who has had a quick pre-gig smoke to relax the nerves knows how counteractive this can be; the lyrics just fly away from you like so many migrating birds. Right on cue, the first line came back to Phil and he got through the rest of the gig with no problems. But that fear, looking out at thousands of people (who were probably more stoned than he was) was enough to put a stop to any further pre-gig smoking. As far as I know, he's not smoked a joint before a gig ever since. Afterwards? Well, you'd better ask him that...

Quote from foxfeeder

Fair enough, Steve's version is vastly superior.

In what way? To me, it sounds like the most desperate bid for commercial success. Ironic, given Steve's sniping reference to "permissive rather than progressive" music in the liner notes. I guess if your favourite band is Chicago then I can understand the claim of Steve's version being "vastly superior". If not, then I think we can safely dismiss your comment as being simple hyperbole.

Quote from Fabrizio

Phil...was still a bit 'green' as a singer.

Only when he was smoking with Chester!

Quote from FeelItComing

I like it a lot. There are better songs but it's a love song to Mrs Rutherford & that's sweet.

Angie Rutherford is not a mermaid!

Quote from Gabble Ratchet

Well, he handled it reasonably on Seconds Out even though PG said it was like seeing someone else dressed in your old clothes and wondering how well they fit.

the music.

He actually said that before the gig (which, according to Armando Gallo's book was at Hammersmith) he thought it would be like watching someone dressed in his "entrails". A comparison that was hardly apposite, given that Phil opted out of wearing those ridiculous and frankly embarrassing costumes, opting instead to focus on the music (thank god).

I have to say that Phil's affection for the Alamo, whilst impressive in its conviction, is something to which I can't relate. Indeed, it's the only aspect of his life for which I have no interest. I've never seen the films about the Alamo, I've never read the book Phil wrote on it...I just couldn't care less about it.

That said, watching Phil being interviewed is always a joy.

Quote from mdepps

you have such a convincing turn of phrase..

Works for me. I'm pleased to see it works for you, too.

Quote from DavetotheB

There's also a bit from Dancing with the Moonlit Knight and Blood on the Rooftops (although I haven't quite found that one yet) in there as well.

Was so surprised and delighted the 1st time I heard this. Also nice to know this bit stayed with IKWIL for years to come.

Some claim that The Animals' Don't Let Me Be Misunderstood is in there, too, although I've never heard it. Tony is a big fan of The Animals, though.

Quote from DavetotheB

That's something I never considered: The difference in vocals necessary between a stadium and a more intimate venue. I caught two WCD shows in Philly on back to back nights. After a little research (and The Movement live database), I found that they did not perform the TIOA medley on the first night with a report from an attendee that Phil sounded "off." I remember the 2nd show being the better of the two.

From what I remember Supper's Ready was off the table from the get go on the 2007 tour. Never heard the reason. I kind of remember reading something from management saying, "No Supper's Ready, so don't even ask."

Did they perform the TIOA medly on the WCD tour? I thought they just performed TIOA as a standalone song in 1992.

I really don't think that by 2007 Phil could have coped with Supper's Ready (although he does sing the line "And it's hey babe" on the audio version of Not Dead Yet and it sounds lovely!).

Quote from Gabble Ratchet

Whatever!

Got any medleys to add or just here to split hairs?

Why don't you just calm down? You claim to be an author. If this is how you react to rejection letters, god help the people with whom you live.

Anything She Does. A lyric about page three models, written by Tony Banks, with music that is distinctly ska. Move over Buster Bloodvessel!

Quote from chema

i've always found the funky horns on no reply at all and paperlate very un-genesis (which doesn't mean that i don't like those songs). genesis played a wide variety of styles and sounds, but they all were made by themselves. there were no addicional musicians in any album from 'trespass' to 'we can't dance', except for the guest appearance of the earth, wind & fire horn section for those two 'abacab' tracks.

Not since From Genesis To Revelation had there been any additional musicians on a Genesis record. At least with No Reply and Paperlate these musicians were invited to play! Having worked with the EWF horn section on Face Value, Phil promised them he would find a place for them on the next Genesis record. Phil's confidence was increasing and he felt a lot more confident about making more dramatic suggestions about the musical direction of the band. Merging Genesis with EWF was the very definition of progressive music. Tony wasn't sure but Mike accompanied Phil to the Los Angeles session to meet Don, Lui, Michael and Rhamlee and he thought they were a great bunch of guys. The resultant songs were "simply fabulous" and probably the funkiest pieces of music Genesis had ever produced.