Posts by StillCan'tDance

    Well, I only started converting my vinyl collection to CD once the 1994 remasters came out so I can't comment on the quality of the original CDs. The 1994 remasters were solid and all of them sounded pretty great, capturing the feeling that I remember from listening to those records on vinyl. However, when the 2007 versions came! The difference really is night and day.

    On Duke, for example, you can really hear the congas on Behind The Lines and there's some lovely effects on Evidence Of Autumn, both of which were absent from the original mix. On Wind And Wuthering, Steve's guitar on In That Quiet Earth is something of a revelation and A Trick Of The Tail's Dance On A Volcano has got all sorts of stuff going on during the closing section that was never noticeable before. Even the Hugh Padgham productions, which I thought could never be improved upon, sound better - the laugh on Mama has more echo on it, there's a jangly guitar on It's Gonna Get Better that was never there before.

    The records from 1970 - 1974 were always going to sound significantly better, partly because the band's musical vision was hampered by the limitations of vinyl and partly because they never had a decent producer back then. The bum note in Supper's Ready has finally been fixed and Willow Farm sounds much more like The Beatles circa Sergeant Pepper (in a good way!). Phil's backing vocals really shine on The Lamb and there are all sorts of nuances during The Musical Box that have been uncovered.

    I would never go back to the 1994 remasters, to be honest. I've copied all of my 2007 mixes to disc - adding the bonus tracks - and that's what I listen to in the car (because the original discs are far too precious for me to risk damaging them while driving on the pot-hole ridden roads of Britain!).

    I thought The Road might be the final, somewhat disappointing chapter but, as I wish Genesis had done after Calling All Stations, I'm very glad Mike decided to keep the group together because Let Me Fly has some of their best work for me.

    Famously, Mike chose The Mechanics over Genesis. Based on the band's releases since then, do you think he made the right decision? I know this question opens a whole can of worms with regards to Calling All Stations and the hypothetical question of whether a follow-up album would be better...

    Thanks, Mark. It is a compatible player. And it's outputting to a 7.1 system (it will accommodate 7.2 but, really, who needs two subwoofers?!) but on hearing it, it only seems to be playing the CD layer. I've only tried once because I much prefer the 5.1 DTS mix on the DVDs.

    Maybe it was the penultimate night of their Earl's Court gigs, which I think was towards the end of the tour. I think it had Throwing it all Away, but not Dreaming While You Sleep, which was the only slight disappointment for me. Am I right in thinking Phil was sick around that time and had a to cancel a show? Perfectly possible I've imagined that.

    I was disappointed not to hear Dreaming While You Sleep, too. But being able to actually see the lights this time (as opposed to waiting until the encore) made up for it. Also, the acoustics are much at an indoor venue (give or take a few places) than in a field.

    One of the concerts on that short tour was indeed cancelled due to Phil being ill but I can't say for sure which one it was.

    Seconded. And by all accounts he's a really lovely guy.

    At the risk of opening old wounds, I've often felt Daryl comes in for some slightly harsh treatment by some fans due almost entirely to his solo on Firth of Fifth being different to Steve's. Love them both personally.

    Yes, a few fans get very precious about that solo. I think part of that simply comes down to feeling protective over Steve and part of it comes from wanting the solo to sound exactly the same as it does on the studio album. Personally, I don't feel particularly protective over Steve and I don't want the solo to sound the same everytime it's played!

    But my favourite guitarist is John McLaughlin so that should give some clue as to where my musical tastes lie.

    My Blu-ray player plays SACDs but I have yet to work out how! I usually content myself with putting on the DVDs (usually when I'm doing the cleaning!) or, for the car, I've made copies of the CDs (because there's no way I'm putting my prized CDs in the car!).

    Yes. I prefer the version with the EWF horns but it's nice to have the recording from the Archive 2 set. One day I'm going to make good on my promise to myself and put together a more complete Thee Sides Live including No Reply At All, Man On the Corner and Firth Of Fifth (which I got on flexi disc from the long-dead fan club many years ago).

    Mike's band probably comes third in my list of preferred "G-men" solo projects (Phil being at number one, Peter at number two) but I've not bought any of his stuff since Beggar On A Beach Of Gold (an excellent album let down by the bewildering inclusion of an abbreviated I Believe (When I Fall In Love I Will Be Forever) - if you're going to cover a song, do it in full or not at all).

    What's the verdict on the albums after Beggar? Did the band produce anything worthy of their best? I always felt that they took a serious dip with Word Of Mouth and redeemed themselves with Beggar but, with little-to-no radio play after that, I haven't heard anything they've done since then.

    Thanks for this. Due to family and work commitments, this is another event that I won't be able to attend but that's life, I suppose.

    I have a very high regard for Daryl as a musician. He transformed the sound of Genesis from the moment he joined and I think he gave them the confidence to broaden their musical outlook as well as getting a little bit looser with their arrangements. He has proved to be a vital component in Phil Collins's music as well as making significant contributions to the albums of Mike and Tony.

    As far as I'm concerned, Daryl - like Chester - is a legitimate member of Genesis and I won't hear a word said to the contrary. Let's face it, both he and Chester would have played on the records if it wasn't for logistics and the band have said as much (they strongly considered getting them to play on Duke but realised that in the time it would take to fly them over and for them to recover from jet lag, they could have recorded the extra bits of drums and guitar they needed - in fact you can hear Phil doubling up on the drums on tracks such as Duke's Travels and Man of Our Times).

    I will get round to reading this at some point. I'd never really thought much about him until I read Chapter And Verse and, particularly, Not Dead Yet. Both Mike and Phil seemed to spend more time getting stoned with Richard than anything else!

    I haven't had chance to listen to all of these but It's Gonna Get Better (which I'm listening to right now) sounds lovely. Always an underrated track in some quarters, it's nice to hear it getting some love.

    so Tony & Phil didn't join the M&tM sessions. Instead, around 1987 when Rutherford was writing new songs for Living Years, he remembered a fun jam that he, Phil and Tony did during the Invisible Touch sessions. It turns out they had a raw recording of it (demo sounding) and so Rutherford figured he could write a song around that jam. So Mike takes the recording and puts it on an infinite loop, and then creates a new song on top of the recording. When the track starts, you just hear Phil, Tony and Mike jamming, but then the Mike & Mechanics band joins in (with fuller sounding instrumentation) and the song takes off. So technically speaking, Phil & Tony didn't play with the Mechanics during the Living Years sessions, but they can be heard via that recording...

    Brilliant! The Living Years is one of my favourite Mechanics albums. I remember a lot of friends of mine at the time felt that album was the closest that any of the individual members had got to sounding like Genesis. It has that mix of straight pop and more involved stuff that Genesis did so well in the eighties.

    It's all a matter of taste. There may well be someone out there who feels that the best album they did was From Genesis To Revelation and that everything after that was awful. Are they wrong for thinking this? No.

    There are popular opinions and there are unpopular ones. I have found over the years that it's better to just let people have their say on what they like and what they don't like and not to challenge their opinion. Challenge leads to conflict as less secure people feel that they have to defend their standpoint by criticising what they don't like rather than praising what they love.

    For me, there are two distinct eras for Genesis: 1970 - 1977 and 1980 - 1992. It matters less who was in the band during those eras but what kind of music was being made. Basically, the first era leant towards complexity and the second era lent more towards immediacy. The only constant through both eras was Tony, Phil and Mike. If you play in a band long enough, it's natural that you change, adapt, mature etc. And that, for me, is exactly what Genesis did.

    What is amazing is that they weathered so many different musical fashions and trends, just ploughing ahead, doing their own thing, occasionally falling into step with what was popular at the time and then falling out of step again, never losing focus and, up to a point, maintaining a solid fanbase that seemed to grow from album to album.

    One of the few times I wished I was older!

    Earl's Court, the penultimate night of the We Can't Dance tour I think it was. Not only my first Genesis show, but my first show by any major band. Twickenham in 2007 was my second and, presumably, final time seeing them live. Steve Hackett making it out here to New Zealand recently was a real highlight though.

    I saw them at Earls Court, too. Off-hand I can't remember the date but it was the same set they played when I saw them in the summer, minus Throwing It All Away. The penultimate date of the tour was actually at the Royal Albert Hall on November 16th (if you're a member of the Genesis Movement site, you can download it from there).

    What I liked about the We Can't Dance tour was that, in conversation with Gary Davies to promote the album, Tony Banks said that the tour would be in larger venues to accommodate the demand but they'd prefer to play smaller places but that would mean touring forever which is something they didn't want to do. At this point, Phil Collins said they were toying with the idea of a short tour of smaller venues after the stadium gigs, something which he again hinted at when they finished the show at Knebworth and Phil announced: "You haven't seen the last of us". It was nice that they delivered on their promise.

    That's right. A Call to Arms also started out as a Genesis track (the 1983 s/t Genesis album i believe). Good catch. Black & Blue started out as a jam by Genesis while working on Invisible Touch. Not only is it a Genesis track, it actually has Phil Collins playing the drums and i believe Rutherford on guitar. Guitar/Drum jam.

    I really never knew this about Black And Blue although I did wonder how Tony and Phil ended up playing on it (I think Phil plays a hi-hat and Tony plays the organ). I'd always just assumed that Mike asked the two of them to play on a Mechanics track just for the hell of it. What I'd give to hear the original jam of A Call To Arms from the Mama album sessions!

    Very nice. Even when I was younger, I would only go to a few concerts per tour so I'm in awe of this young fan's dedication!

    I know people my age who - for whatever reason - never got to see Phil during his imperial years and have seen some of these shows. Despite Phil's frailties, no-one I know will have a word said against him. They've all loved the shows they've seen and they reckon that these performances are much more poignant than when he was on top of his game.