Genesis

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Re: Genesis

Postby C » 02 Oct 2021, 14:51

trans-chigley express wrote:The setlist for the Duke tour was pretty stellar:

"Deep in the Motherlode"
"Dancing with the Moonlit Knight [Excerpt]"
"The Carpet Crawlers"
"Squonk"
"One for the Vine/The Story of Albert"
"Behind the Lines"
"Duchess"
"Guide Vocal"
"Turn It On Again"
"Duke's Travels"
"Duke's End"
"Say It's Alright Joe"
"The Lady Lies
"Ripples..."
Medley:"In The Cage""The Colony of Slippermen (Part C: The Raven)"
"Afterglow"
"Follow You Follow Me"
"Dance on a Volcano" / "Drum Duet"
"Los Endos"
"I Know What I Like (In Your Wardrobe)"
"The Knife" [Abridged version]


Not even five minutes of Supper's Ready or a short snippet of Musical Box...?

Disgraceful



.
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Re: Genesis

Postby C » 02 Oct 2021, 15:03

Proper Genesis.

I enjoyed this and their rendition on Stagnation







.
DarknessFish wrote:Rother's picture quiz is cool, but I'm losing the will when you end up trying to guess albums by The Pineapple Thief.

John_K wrote:In my 50s I've become an Apprentice Prog Goon, starting with the big-hitters, and working my way to BBT...

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Re: Genesis

Postby Matt Wilson » 04 Oct 2021, 18:25

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Three Sides Live 1982
The third live LP in nine years is also unfortunately, the weakest. Having written that, I still like it, natch. And with the inclusion of Gabriel-era songs, this is the most proggy of any '80s Genesis album. Like always with in-concert platters, I've already discussed each of these songs previously, so comments will be scarce. Steve Hackett and Bill Bruford put in appearances as well.

Phil Collins – drums, lead vocals
Tony Banks – keyboards, backing vocals
Mike Rutherford – guitar, bass guitar, backing vocals
Steve Hackett – guitar on "it."/"Watcher of the Skies"
Additional musicians

Daryl Stuermer – guitar, bass
Chester Thompson – drums, percussion
Bill Bruford – drums on "it."/"Watcher of the Skies"

1. "Turn It On Again" (Tony Banks, Phil Collins, Mike Rutherford) 29 November 1981 at Nassau Coliseum, Uniondale, New York 5:16
The NY crowd is pumped for the concert and the familiar music comes in like a ton of bricks. Slightly faster than the studio version this nonetheless satisfies.

"Three Sides Live is the third live album by the English rock band Genesis, released as a double album on 4 June 1982 on Charisma Records in the United Kingdom. It was released by Atlantic Records in the United States. After touring in support of their studio album Abacab ended in December 1981 the band entered an eight-month break in activity, during which they selected recordings from their previous tours for a live album. Three Sides Live includes recordings between 1976 and 1981; the UK edition contains additional live tracks while the international edition features tracks from their 1982 EP 3×3 with B-sides from Duke." - Wiki

2. "Dodo"/"Lurker" (Tony Banks, Phil Collins, Mike Rutherford) 23 December 1981 at National Exhibition Centre, Birmingham, England 7:19
I'm not a big fan of this number on Abacab, so the live version was almost a revelation. It pounds and thrusts its way into respectability and becomes a track I truly enjoy. Wikipedia: "Three Sides Live received a mostly positive critical reception and was a commercial success, peaking at No. 2 on the UK Albums Chart and No. 10 on the US Billboard 200, where it sold 500,000 copies. Its release coincided with the band's Three Sides Live concert film."

3. "Abacab" (Tony Banks, Phil Collins, Mike Rutherford) 23 December 1981 8:47
Yeah, I was hoping they'd do something special with this one as it lends itself to interpretation in a live setting because of the improvisational aspects. It's fine, of course, but not enough is added to the studio version to warrant recommendation.

Image

4. "Behind the Lines" (Tony Banks, Phil Collins, Mike Rutherford) 29 November 1981 5:26
The third version of this song to be released in two years following the one on Duke and Face Value. Huge, bombastic, just the way you like it in fact. I honestly don't know which version I prefer as all have their positives.

"In December 1981, Genesis wrapped their four-month tour of Europe and North America to support the release of their eleventh studio album, Abacab (1981). The band then entered an eight-month break in activity, during which they each pursued solo projects and selected recordings from their previous tours for inclusion on a new live album. All editions of Three Sides Live contain recordings from their 1980 and 1981 tours across the first three sides. The fourth side of the UK edition contains additional live tracks from 1976, 1978, and 1980, while the international edition contains tracks from the group's second EP 3×3 (1982) – "Paperlate", "You Might Recall", and "Me and Virgil" and two B-sides recorded during the sessions for Duke (1980) – "Open Door" and "Evidence of Autumn". - Wikipedia


5. "Duchess" (Tony Banks, Phil Collins, Mike Rutherford) 29 November 1981 6:43
About as good as the Duke version, I guess. This wasn't a hit in the States like it was in the UK, so I haven't burned out on radio exposure or anything. Nice intro and atmospherics galore. I like it! Wiki on Three Sides Live - "It was certified silver and gold by the British Phonographic Industry (BPI) on 14 June 1982, the latter for 100,000 copies sold. In the United States, the album was certified gold by the Recording Industry Association of America (RIAA) on 4 October 1982 for 500,000 copies sold."

6. "Me & Sarah Jane" (Tony Banks) 29 November 1981 5:59
I'm gonna say this version adds nothing to the Abacab version. Sorry, folks.

7. "Follow You Follow Me" (Tony Banks, Phil Collins, Mike Rutherford) 7 May 1980 at Lyceum Theatre, London 4:58
Interesting, but no more than that, version of their first US hit. Played slower than the original too, for some reason.

Image

8. "Misunderstanding" (Phil Collins) 28 November 1981 at The Savoy in New York City 4:06
The thing with live versions of the hits is that you've heard the studio cut so many times that it becomes the 'right' mix in your head. So unless the band do something different, a great solo, an extended section, etc. The live one suffers in comparison. This is the case here. "The song was featured on the U.S. leg of the Duke Tour of 1980, and was also featured on tours to promote future albums Abacab and Genesis. Despite its commercial success, it was dropped from the set lists of all the later tours. However a verse was sung sometimes in the We Can't Dance Tour's "Old Medley." Collins also played the song in its entirety with a horn section in the U.S. during his First Final Farewell Tour in 2004.

"In a review published in Record Mirror by Robin Smith, Three Sides Live received a mixed response. The atmosphere he experienced in concert at one of their Wembley Arena gigs in 1981 was absent from the album, which he deemed "hardly a sparkling addition" to the Genesis catalog. Smith attributed this to the lackluster track selection and the seeming lack of interest from the crowd noise. He praised the performances of "Dodo/Lurker", "Behind the Lines", "Duchess", but picked the third and fourth side as stand out tracks. Smith concluded that he would be listening to Seconds Out, the band's second live album, "for years to come". - Wikipedia

9. "In the Cage (Medley – Cinema Show – Slippermen)" (Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, Mile Rutherford) 23 December 1981 11:53\
Well, just when the record needed a pick-me-up, we get it! It's nice to think they were still doing the older material so well at this late date. I have no complaints at all about this medley. I don't even miss Peter's voice as he had moved on by then.

"Rolling Stone gave the album a rave review, particularly praising Genesis's advancement to more refined and concise material: "Unlike Seconds Out, where the concert versions of Genesis' songs were shrouded in virtuosic bluster, this album offers incisive, sharply focused performances uncluttered by theatrics or instrumental tedium." AllMusic's retrospective review asserted that the performances were impressive and exciting throughout, delivering nothing but "lean, crisp, and generally bracing accounts of the group's then-current sound." - Wiki


10. "Afterglow" (Tony Banks) 23 December 1981 5:14
We stay with the older songs here, and even if it doesn't trump the W&W take, I'd still rather listen to this than more recent stuff.

Image

11. "One for the Vine" (Tony Banks) 5 May 1980 at Theatre Royal, Drury Lane, London 11:04
Now this is another highlight, and worth the purchase alone. These longer numbers are what I listen to Genesis for and I wish it was all like this, frankly. Wikipedia: "In 1994, Three Sides Live was remastered and reissued with the UK edition worldwide. Four of the five additional studio selections from that out of print release were issued in 2000 on the Genesis Archive 2: 1976–1992 box set (all but "Me And Virgil"), and all five songs have since been included on the bonus disc of the Genesis 1976–1982 box set."

The box set is where I have those songs.

12. "Fountain of Salmacis" (Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, Mike Rutherford) 1978 at unknown location 8:37
This one kind of comes out of the blue. Like "really, they're going back to Nursery Cryme?" Well, why the hell not, right? Love it, obviously - weird that they don't know where this was recorded. Much like Seconds Out, there's the sense of Building to Something Big here. There's a climax coming (pardon the pun) in other words. These guys knew how to pace a show - or at least a live double LP. Another high light!

13. ""it."/"Watcher of the Skies" (Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, Mike Rutherford) 8 July 1976 at Apollo Theatre, Glasgow, Scotland 7:03
Yes! This record ends almost as well as Seconds Out. I really enjoyed it today, Not one I reach for often, but that's perhaps because I own everything released before this - but this track is sounding great blasting right now.

I own the British version with no studio cuts, but I will comment on them here for posterity:

1. "Paperlate" (Tony Banks, Phil Collins, Mike Rutherford) 3:20
Great pop tune in the Collins-R&B category. Wiki - "Paperlate" is a song from the second of two EPs by the British rock group Genesis. The EP, titled 3×3 (for it featured three tracks and the band comprised three musicians), peaked at No. 10 on the UK Singles Chart in mid-1982. The success of the EP led to an appearance on Top of the Pops. In the U.S., "Paperlate" was released as a standard single, backed by "You Might Recall". It was also featured on the U.S. version of the band's Three Sides Live album, of which all three tracks from the 3×3 EP are included on side four.

"The title came from a line in the 1973 Genesis song "Dancing with the Moonlit Knight" ("Paper late, cried a voice in the crowd"), which Genesis rehearsed at a soundcheck, leading to the conception of the song. "Paperlate" is one of two Genesis songs that features the Earth, Wind & Fire horn section, the other being "No Reply at All", also from the Abacab sessions. Collins has often hired the group for other projects, including his debut solo album, Face Value. A music video was also created, utilizing the band's 27 May 1982 appearance on Top of the Pops."

2. "You Might Recall" (Tony Banks, Phil Collins, Mike Rutherford) 5:31
The B-side of "Paperlate" in America, and it sounds like it. Fine, but it's generic Genesis. Could have been on the next album in fact. It doesn't offend, nor does it impress either.

3. "Me and Virgil" (Tony Banks, Phil Collins, Mike Rutherford) 6:20
One of Phil's little story songs, at least I think he wrote the lyrics. The box is at home and I'm at school now and can't look it up. Apparently someone's heart was broken or something. Don't know if I like it more or less than the previous track. I never play these numbers so I'm not that familiar with them.

4. "Evidence of Autumn" (Tony Banks) 4:57
The B-side of "Misunderstanding," right? I should look these things up before pontificating, but it's another Tony ballad and those have a mixed track record in my estimation so I'm not paying attention like perhaps I should. I don't think this would have added to Duke in any way. It does change tempo so at least a vestige of prog remains, but it's hardly even worth mentioning, really. All of these slow ones just remind me of Phil ballads, regardless of who wrote them.

5. "Open Door" (Mike Rutherford) 4:06
Look, Mike can write a middle-of-the-road ballad just as easy as the other two. As you can see, my interest in Genesis is rapidly waning by this time so I can't be bothered. I like the UK version of Three Sides Live (should it have been called Four Sides Live?) better, obviously. Though "Paperlate" is memorable.
it's weird how carlsson has managed to get wilson over a barrel and then persuade him to let the rest of the PROG goons perform anal chugs on him in said position.

my point is that wilson has sold his arse cheaply. it's embarrassing to read.

-skope

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Re: Genesis

Postby Hugh » 04 Oct 2021, 19:32

I don’t do post-Hackett Fenesis but I do love the version of Afterglow on this.

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Re: Genesis

Postby Lord Rother » 04 Oct 2021, 21:41

Personally, I absolutely love Three Sides Live, both all Live and with the studio tracks.

BTW, Duchess wasn’t a UK hit - don’t think I’ve ever heard it on the radio (apart from Caroline).
Last edited by Lord Rother on 04 Oct 2021, 21:52, edited 1 time in total.

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Re: Genesis

Postby Matt Wilson » 04 Oct 2021, 21:44

Rother can be bothered by Three Sides Live!
it's weird how carlsson has managed to get wilson over a barrel and then persuade him to let the rest of the PROG goons perform anal chugs on him in said position.

my point is that wilson has sold his arse cheaply. it's embarrassing to read.

-skope

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Re: Genesis

Postby Mike Boom » 04 Oct 2021, 22:22

The In The Cage medley is great too, in fact I enjoy the whole thing too it gets frequent spins round here.

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Re: Genesis

Postby Hightea » 05 Oct 2021, 02:59

C wrote:Proper Genesis.

I enjoyed this and their rendition on Stagnation







.

great band they play their own stuff too.
saw them at bbkings place, nyc -2010
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Re: Genesis

Postby Purgatory Brite » 05 Oct 2021, 09:51

Lord Rother wrote:BTW, Duchess wasn’t a UK hit - don’t think I’ve ever heard it on the radio (apart from Caroline).


The single reached number 46 in the charts making it a minor hit.

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Re: Genesis

Postby Lord Rother » 05 Oct 2021, 20:04

Purgatory Brite wrote:
Lord Rother wrote:BTW, Duchess wasn’t a UK hit - don’t think I’ve ever heard it on the radio (apart from Caroline).


The single reached number 46 in the charts making it a minor hit.


No way can reaching No 46 be called any kind of hit! ;)

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Re: Genesis

Postby Matt Wilson » 08 Oct 2021, 17:55

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Peter Gabriel 1982
It's funny, with so much activity going on around here lately, I tend to forget about this thread. Good thing it's almost over I guess... Called Security in the States, this is yet another quality album from the erstwhile Genesis singer. Not necessarily better nor worse than the third LP (though I like that one a bit more), it's perhaps the last progressive offering from Peter before superstardom in 1986 with the So album. I have all four of these discs in a CD box sequestered somewhere in one of my many closets, but I was far too lazy to start pulling out everything to search for it, so I bought them on SACD just to review on this thread.

Peter Gabriel – vocals, programming and sequencing (tracks 1–6), synthesizer, piano (track 7), surdo (tracks 1, 8), additional drums on track 2
Tony Levin – bass guitar (tracks 1, 6–8), Chapman stick (tracks 2–5)
David Rhodes – guitar (tracks 2–8)
Jerry Marotta – drum kit, surdo (track 1), percussion (track 6)
Larry Fast – synthesizer (tracks 1–5, 7, 8), electronic percussion (track 8)
John Ellis – backing vocals on tracks 1, 3, 8, guitar on tracks 2, 4
Roberto Laneri – treated saxophone on track 4
Morris Pert – timbales on track 6, percussion on track 8
Stephen Paine – programming on track 4
David Lord – synthesizer on tracks 6, 7, piano on tracks 7, 8
Peter Hammill – backing vocals on tracks 4, 5, 6
Jill Gabriel – backing vocals on track 2
Ekome Dance Company – Ghanaian drums on track 1
Greg Fulginiti – mastering
Malcolm Poynter – album art

All tracks are written by Peter Gabriel.

1. "The Rhythm of the Heat" 5:15
Yeah, I like this one. Weird pulsing rhythms percolate and it's all very Gabrielesque. I remember another teacher telling me decades ago that it was about native Americans (or was it indigenous people in some other country, can't recall) dancing in some kind of ceremonial procedure. Not sure about the validity of that, but he sold it at the time. One of the highlights here, methinks. Great drums near the end.

Wikipedia: "The songs on the album cover a wide variety of subject matter. "The Rhythm of the Heat" is based on Carl Jung's experience while observing a group of African drummers."The Rhythm of the Heat" appears in the opening scene of "Evan", an episode aired during the first season of Miami Vice. Gabriel, who had seven songs used, had the most songs featured by a solo artist in the series. He is also the only artist to have had a song used in four of the show's five seasons. (None of his songs were used in the second season, though "Take Me Home" by Phil Collins, which features backing vocals by Gabriel, was used in the second-season premiere.) The song was also used in the feature film Natural Born Killers."

2. "San Jacinto" 6:21
Cool percussion and a more delicate touch service this track well. Genesis certainly didn't sound like this in 1982. Wiki - "San Jacinto" reflects on the fear and pain experienced by an Indigenous American man who sees his culture overwhelmed by modern white society, its lyrics based on a story told to Gabriel by an Apache member."

"As with his previous three albums, the album is titled Peter Gabriel. In the United States and Canada Geffen Records issued the album under the title Security to differentiate it from his previous releases. The title was changed with Gabriel's reluctant agreement. The new title was displayed in a sticker on top of the LP sleeve's shrink-wrap and on the disc labels. Whilst Gabriel provided the title himself, the album was officially known as Peter Gabriel in other territories. The Security title was maintained on American and Canadian releases of the album until 2010, when it reverted to the original Peter Gabriel title for reissues by Gabriel's own Real World Records label."

3. "I Have the Touch" 4:30
Heard this one a lot in the '80s on what was then called college radio. One of the reasons I bought the CD probably. Short, sharp, and catchy. He had a knack for this kind of song didn't he?

"I Have the Touch" is a song by English rock musician Peter Gabriel from his fourth eponymous studio album released in 1982. The song's working title during the recording sessions was "Hands". This song was featured in the movie The Chocolate War (1988). The 1996 remix was used in the film Phenomenon of the same year. In 1996, Heather Nova recorded a cover version of the song for the teen-witch horror film The Craft." - Wiki

4. "The Family and the Fishing Net" 7:08
The longest number on the record is also my least fave on side one. I guess I like my PG with a faster tempo. I can picture Genesis doing this with Peter singing though - it would have sounded different, of course. Peter Gabriel: "The Family and the Fishing Net": "It's basically a wedding song, but it's more an approach from the undercurrents of the wedding ritual. There are quite a lot of situations that we accept as perfectly normal and regular, traditional, that have this element of ritual that makes deep impressions on the psyche. And this is a somewhat impressionistic account of a wedding. I'd also been reading quite a lot of Dylan Thomas at the time, so there is that influence in the lyric writing."

Wiki says: "The Family and the Fishing Net" is a song comparing a modern-day wedding with a voodoo sacrifice."

Image Image

5. "Shock the Monkey" 5:28
Forgot this song was on here! His first big hit in America if memory serves. Used to see the video on MTV too. He could have made millions had he made a dance album filled with songs like this. It's just one of the many things he does though, right? As good a pop song as anything on Abacab.

"The song peaked at number 29 on the US Billboard Hot 100 chart and number one on the Billboard Hot Mainstream Rock Tracks chart. The song was Gabriel's first Top 40 hit in the US. In the UK, the song charted at number 58. According to AllMusic, the song has a "relentlessly repeated hook" that "sounded nothing like anything else on the radio at the time. Due to its title and the content of the video, the song is frequently assumed to be either an animal rights song or a reference to the famous experiments by Stanley Milgram described in his book Obedience to Authority. It is neither, but the Gabriel song "We Do What We're Told (Milgram's 37)" from his 1986 album So does deal directly with Milgram. Gabriel has described "Shock the Monkey" as "a love song" that examines how jealousy can release one's basic instincts; the monkey is not a literal monkey, but a metaphor for one's feelings of jealousy. Gabriel has mentioned that the song's lyrical motif was inspired by King Kong's lightning powers in the film King Kong vs. Godzilla.


"The track is known for its bizarre and disturbing music video, written and directed by Brian Grant of MGMM Studios. The video was played heavily in the early days of MTV. It features Gabriel (in white face paint) and a frightened-looking capuchin monkey. Gabriel appears in two guises; one is as a businessman/CIA-MK-Ultra-type in a dark suit, and the other as a "modern primitive" shaman painted and dressed in white with geometric markings in black on his face. The video cuts between two rooms, each vaguely resembling an office. A movie projector plays zoo footage of a gibbon (technically, a lesser ape, not a monkey) in both rooms. As the video proceeds, events in the 'normal' (black suit) office become increasingly irregular and disturbing with objects in the room in increasing disarray. Gabriel displays increasing pressure, anger, and fear as the chaos occurs. The office footage is increasingly interspersed with black-and-white footage of Gabriel fleeing from something unknown in a wilderness, and a disoriented Gabriel in different settings including central London in what looks to be the office of a hospital. At the end of the video, the dark-suited Gabriel merges with the face-painted Gabriel. In the final shot, the two Gabriels' faces are superimposed over that of the gibbon." - Wikipedia

6. "Lay Your Hands on Me" 6:03
Another fairly famous cut from the LP starts off innocuously with a drum machine and Peter's spoken introduction. Wikipedia: "Lay Your Hands on Me" appears in "Crossbreed" a fifth season episode of The Americans. It is the third appearance of a Gabriel song in the series, the first being "Games Without Frontiers" in the season one finale "The Colonel" and the second being "Here Comes The Flood" in the third episode of season three, "The Walk In."

"Lay Your Hands on Me": "It is part [hymn] and part the sort of faith healing aspect, which I think occurs in that and in 'Kiss of Life' too… I'm convinced that we have abilities within ourselves that are not really acknowledged yet. There's also the fairly dry, urban images in the verses, and then there's the sense of cleansing through this laying-on of hands. There's the screaming for the hands to be laid on in the choruses." - Peter Gabriel

7. "Wallflower" 6:30
Another slow one I'm not crazy about. It takes forever to start too. Peter seemed to like it though: "'Wallflower' began almost as a love song. In fact, that's probably the oldest of the songs. I started doing a version of it on the third album, which was never finished. And then I rerecorded it for this one. The Amnesty programme that they were running on the television (possibly The Secret Policeman's Ball) made quite a big dent on me as a prisoner of conscience situation. And I thought that the emotion that's in the song could be usefully directed with that sort of lyric. So, after a certain amount of soul-searching, I decided to go for it on this album. And it feels real to me, so I'm quite pleased with it."

Wiki - "Wallflower" is about the treatment of political prisoners in Latin America during the 1980s."

8. "Kiss of Life" 4:17
Things pick up considerably with this exit tune, but I can't say I view it as a highlight. It's fine, if a bit Gabriel-by-numbers. Apologies for those who love these last two cuts on the album. Hell, I can't like everything! Wikipedia: The album is an early full digital recording. Its instrumentation is mostly electronic with extensive sampling (through use of the Fairlight CMI) and west-African percussion. It was recorded at Gabriel's then-home, Ashcombe House in Somerset, England in 1981.

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Last edited by Matt Wilson on 08 Oct 2021, 18:08, edited 1 time in total.
it's weird how carlsson has managed to get wilson over a barrel and then persuade him to let the rest of the PROG goons perform anal chugs on him in said position.

my point is that wilson has sold his arse cheaply. it's embarrassing to read.

-skope

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Re: Genesis

Postby ConnyOlivetti » 08 Oct 2021, 18:08

Great review, love the album.
Fav track is "The Family and the Fishing Net",
one of the best thing he has done.
Not so found of the two last tracks, specially "Wallflower", boring zzzzzzz
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Re: Genesis

Postby slightbreeze » 08 Oct 2021, 18:20

To be honest, I've always struggled with this album. My least favourite of his solo albums although I can admire his ambition

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Re: Genesis

Postby Positive Passion » 08 Oct 2021, 18:29

ConnyOlivetti wrote:Great review, love the album.
Fav track is "The Family and the Fishing Net",
one of the best thing he has done.
Not so found of the two last tracks, specially "Wallflower", boring zzzzzzz


When I first heard it, there was an element of "wtf" but I love it now. Mainly as a result of seeing him sing it live, San Jacinto is one of my favourite PG tracks

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Re: Genesis

Postby C » 08 Oct 2021, 18:44

Having looked at the back cover image again has whetted my appetite!

San Jacinto is a great track and keen Shock the Monkey rocks like a badass/arse!

I'll give it a spin over the weekend

I still gravitate back to the second album though




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Re: Genesis

Postby Matt Wilson » 08 Oct 2021, 18:46

Play the third one as well.
it's weird how carlsson has managed to get wilson over a barrel and then persuade him to let the rest of the PROG goons perform anal chugs on him in said position.

my point is that wilson has sold his arse cheaply. it's embarrassing to read.

-skope

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Re: Genesis

Postby Hightea » 08 Oct 2021, 19:35

If PG had come up with two better ending songs this might be my favorite PG album. However, those are clunkers.
San Jacinto and Shock are my favorites from this album but the whole album has great songs(except last two)
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Re: Genesis

Postby Neil Jung » 08 Oct 2021, 19:37

I haven’t played 3 and 4 for quite a while. They’re so incredibly worthy I find them a bit hard going.
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Re: Genesis

Postby Matt Wilson » 08 Oct 2021, 20:16

I could have sworn "Lay Your Hands On Me" was on his 1983 live album, but I guess it's not. I even put it in my review, but had to check after I hit submit. Nope, don't know what I was thinking. I deleted that part.

Didn't he go out in the crowd while they passed him around overhead while singing that song? A lifetime of abuse both mental and physical has made me the sad excuse for a man whose company you currently enjoy.
it's weird how carlsson has managed to get wilson over a barrel and then persuade him to let the rest of the PROG goons perform anal chugs on him in said position.

my point is that wilson has sold his arse cheaply. it's embarrassing to read.

-skope

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Re: Genesis

Postby Positive Passion » 08 Oct 2021, 20:22

Lord Rother wrote:
Purgatory Brite wrote:
Lord Rother wrote:BTW, Duchess wasn’t a UK hit - don’t think I’ve ever heard it on the radio (apart from Caroline).


The single reached number 46 in the charts making it a minor hit.


No way can reaching No 46 be called any kind of hit! ;)


I reckon if one of my songs reached number 46 I would think I had had a hit.