Posts by estrelow

    Interesting thread.

    I also like the CAS songs live. Alien Afternoon ending, with powerful vocals by Ray Wilson including those awaaaaay again.

    Stating the obvious, the songs from the studio albums that came out right after a live album are the most overlooked for the following live release. The Archive #2 sort of balanced this effect.


    My two songs:

    1. Keep it dark.
    2. Tonight x3 in full.


    TTT might be in some 1993 CD single B side. I'm not sure.

    This song was also in Mike + The Mechanic's 2023 live set.

    One thing I find remarkable is this being a song written later on by the 3-piece formation in which Daryl Stuermer played live guitar, with MR handling the bass. Daryl even came up with a colorful solo for an extended coda for the 1992 live version.

    About It's Gonna Get Better, there seems to be an original source for this in a TWR interview

    Quote


    ...I loved the Emulators where you could put your own sounds on it and record your own riffs and that happens all the time now but in those days it was more unusual and I remember trying to get a decent cello sound and I recorded the first four notes of a piece which was a Katchachurian which came from the Valley Suite and the first four notes of that and they didn’t sound that great but I recorded them and I played the four notes at the same time and it sounded fantastic, and that was so good and that was the introduction to It’s Gonna Get Better and we couldn’t really make the most of it and it sounded so good what do you do with it, you know? So Mike started playing behind it and it ended up being something else but the four notes sounded remarkably like Gorecki’s symphony because of the overlapping notes and it was quite interesting how that worked.

    The Valley Suite it's probably a transcription error. I know nothing about Khachaturian's works, but the Ballet Suite is a more likely reference.

    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.

    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.

    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

    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.