Posts by estrelow

I sometimes blame this song for the fade out myth. If you know the live version well, the studio version appears as if the fade out comes right on Mike's guitar solo.

Great song. As a bass pedal freak, I love how they enter the song around 1:50.

Christian : you are sure about the Banks, Kershaw credits?

Better not throw the first stone on this one.

I got my first copy of The Lamb as a double cassette around the early 90s. Lilywhite Lilith was the first song that stood up for me in an otherwise obscure album, probably because I found some beatlesque thing going on and I was strong into The Beatles back then.
I guess it's still counted in the most approachable song set in the Lamb.

Also, I have a soft spot also for high school orchestra projects, since my kids all where into them at some point. There is a Salzburg school video on Lilywhite Lilith here.

Beardless Mike Rutherford?

Guess he lost a bet or something

13 points.

I like the string sampling and I by the time the boxed sets were released, I was happy that the live version was included.

Also IMHO this is part of the "farewell songs", along with Fading Lights and The Final Curtain.

Sad year, indeed.

We lost John Giblin and Mo Foster, two bass players who worked with PC on his first records.

Also, Tina Turner, David Crosby and Tony Bennett. They sang with PC on different projects through the years. I recall the collaboration with Tina Turner as a successful one, since it was one song in which PC didn't had to handle the vocals.

Sinéad O'Connor also worked with Peter Gabriel in the US album.

Phil Spalding passing was also mentioned in this forum, who was the bass player in the GTR project. I remember him much more from his collaboration with Mike Oldfield.

This song was featured in Rick Beato's youtube channel some years ago. Worth checking out.

Great song.

The lyrics always leads me to The Neverending Story. Since this is a German site (I'm not), maybe someone can relate.

Anyway, I don't think the Neverending story was even published by the time Duke was being produced, so there's no real creative link.

1. When did you buy Selling England By The Pound (or have received it as a gift)?

1994

2. How old were you when Selling England was released?

2

3. Was Selling England your first Genesis album? If not, how many Genesis albums did you own before getting Selling??

I owned 3 albums before.

4. If you had to rank all Genesis albums, where does Selling England stand?

9th

5. Which track was your favourite when you bought the album?

Firth of Fifth

6. Which track is your favourite today?

Cinema Show

7. Which track do you think is the best track on the record despite your own taste?

Dancing with the moonlit knight

8. How many versions of the album have you bought / owned? (Vinyl, CD, Remaster, Cassette, SACD etc)

Cassette + CD definitive remaster

Great work!

Hero is a personal favorite. An alternative to best available source might be David Crosby's own album Thousand Roads (May 1993/Atlantic).

I have this record on a recent vinyl issue. I'm curious about the production quality comments.

¿Anyone with production knowledge to comment?

Some thoughts:

1. Some aggresive compression! I guess it was a period thing, since other records from 1982-1984 period are also very compressed. Funny though, I somehow dislike the over compression on Invisible Touch, but not in this record, where the compression is much more present. Somehow, it works.
2. The particular case of Mama, some aspects such as Phil's essing and having mic the drum machine over the "wrong" amp was supposed to be part of the song's feel.
3. About the Simmons drums, we can say they are an acquired taste. They work better in some songs than others.

I think the 1990 TV special should have an honorable mention at least. I mean, I'd understand if someone disavows the whole show (like the Star Wars holidays), but a couple of songs were produced for it, like the Henry Mancini arrangement for In the air tonight.

Greate song! For some time I've wondered if this was the first time MR used Moog Taurus pedals.

The opening song being from the previous record might have started with Squonk during the W&W tour.

This is great news. I also have been listening to Alien Afternoon this past weeks.

Got excited about the singles also. I did have a couple of singles back then, and a friend had some others. Some I bought several years after they were released.

I have fixed in my memory some B sides with live tracks during the WCD era:

1. Abacab (1987).
2. Dreaming while you sleep (1992) *.
3. The Brazilian (1987) *.
4. Tonight3 (1987 full version).
5. Turn it on again (1992).

Of these, only The Brazilian and DWYS where released in the 2nd box set.

Abacab was a great version and comes with a mistake on the bridge to the instrumental section.

Turn it on again was a fresh take of the song, dropping the 60's medley.

I bought the album about the time it came out. Since A Beggar On A Beach Of Gold is the opening track, you get a synth-heavy song right away. I remember some of the interviews around that time, and they said some of the synth parts were done by MR himself.

Can anyone elaborate? If I remember correctly, the synth parts were done either with a guitar synth or programming with a sampled guitar.

The Santiago date was sold out 5 months prior to the show. This is a 1800 seats concert hall. A second date was added on Aug 15th (the previous day). The same ticket link applies.

Thanks for the upload.

Ever since I first learned aboud the 1992 Goodyear Blimp Hangar rehearsals I've been using this story as a "the project is getting larger than life" tale.

Hi guys. You know, we have a bit of a problem. The stage rig will definetly not fit. But don't worry, I already checked out and we might be able to use the Goodyear Blimp Hangar down there near Houston.

MR seems to be using a Moog Taurus II, but plugged to another workstation (33:39). Does someone recognize the workstation?