No one thought you enjoyed it.Since everyone is making their thread jokes clear, I do not in fact enjoy cat piss
No one thought you enjoyed it.Since everyone is making their thread jokes clear, I do not in fact enjoy cat piss
I still remember when Up came out... 22 years ago! With the exception of "Barry Williams" I loved the whole album. Probably wouldn't have minded that cut if it wasn't the single every radio station jammed down our ear holes!
Passion (the Last Temptation soundtrack) cries out for a surround mix. Some great stuff on there.Admittedly, I started seeing press for I/O so long ago that I had completely forgotten about it, even after it actually finally dropped for realsies. I'll check it out soon!
Always been a fan, not of everything he's done, but so much good music over the years.... Last Temptation of Christ soundtrack still gets air time around here! More telling is some of his songs do have a timeless quality to them that much in Pop does not; they can still sound fresh today.
The Genesis that Phil Collins played brilliantly with (and eventually fronted) in the 1970s was hardly the Genesis that he fronted in the 1980s.
The former should not be tarred with the lameness of the latter.
It's his only record in ages!Wow.
It's his best record in ages. It's almost as good as Melty Face Gabriel!
I stand by my previous comment. But I agree it’s a lovely album.The best thing I can say about I/O is it sits comfortably alongside his other albums. It's every bit as good as anything else he's ever done.
I find this conversation *incredibly* tedious, but the real change in Genesis's sound came around Duke.If I recall my above-mentioned Genesis history lesson correctly, my dad drew the line roughly where Steve Hackett left. And there the distaste for Collins began perhaps, passed down from father to ...
Anyway, enough of that. delivering the first digital multi-channel release is something interesting, and this 'two mixes' released is also, regardless of my personal taste.
I agree about the bright/dark side mix thing. It's more annoying than anything else. But the music itself is stellar. I had the privilege of seeing Peter perform in Vancouver in October and he still sounds incredible live. Beautiful show.I stand by my previous comment. But I agree it’s a lovely album.
The Genesis that Phil Collins played brilliantly with (and eventually fronted) in the 1970s was hardly the Genesis that he fronted in the 1980s.
The former should not be tarred with the lameness of the latter.
The whole things seems like a bit of a gimmick from someone who really should be above it. Peter should have picked the mix he wants for His music. Especially coming from someone as well versed in production. I’m a pretty big fan of his and he’s always been experimental, but this feels a bit wishy washy to me.
If I recall my above-mentioned Genesis history lesson correctly, my dad drew the line roughly where Steve Hackett left. And there the distaste for Collins began perhaps, passed down from father to ...
Anyway, enough of that. delivering the first digital multi-channel release is something interesting, and this 'two mixes' released is also, regardless of my personal taste.
People also forget that as you work your way into the '80s the market really dried up for dressing up like a wizard and playing 20 minute organ solosI find this conversation *incredibly* tedious, but the real change in Genesis's sound came around Duke.
From Trespass to Duke, the band worked basically the same way - one or two members would write most of a song, bring it to the group, and the group would do the final bits and pieces and the arrangement collectively. Peter and Tony worked as a pair, Mike and Ant worked as a pair, then Ant left and Mike and Steve often worked as a pair, with Phil adding his bits and pieces here or there.
When Peter left they kept working this way, and the same after Steve left with the "And Then There Were Three..." album. However, on Duke, all three members of the band had recently done solo albums and only had a couple of songs each to contribute. Phil was also writing more, where he'd mostly contributed just on the arrangement side in the past. So each member brought two songs to the album, and then the rest of the album was developed out of improvised jams.
From Abacab onward, almost all the material was developed out of improvised jamming, with Mike, Phil, and Tony generally using the songs they wrote by themselves on their solo projects. This way of working gave Genesis a sonic identity distinct from their solo projects and gave them a reason to keep working together when they all had highly-successful careers outside of Genesis.
There's amazing music to be found across all of Genesis's eras. The "they sucked after Peter left" crowd are a bunch of grumpy old bastards who can't get over the fact that Peter left the band fifty years ago.
The whole things seems like a bit of a gimmick from someone who really should be above it. Peter should have picked the mix he wants for His music. Especially coming from someone as well versed in production. I’m a pretty big fan of his and he’s always been experimental, but this feels a bit wishy washy to me.
EDIT: I‘ll add that sometimes it’s fun to hear the takes the artist didn’t pick like Kate Bush Directors Cut album. But those songs were already iconic to her fans and it makes it an interesting to Hear a new take based on her position on the songs now. This is all completely new material.
People also forget that as you work your way into the '80s the market really dried up for dressing up like a wizard and playing 20 minute organ solos
LMFAORush, well, they were silly second-string proggers one's younger siblings were into: late to the party with their flouncy kimonos and Neil Peart's embarrassing Tolkein fixation.
And yet, Marillion arrived on the scene making basically exactly the music Genesis had been making in the 70s and were hugely successful.People also forget that as you work your way into the '80s the market really dried up for dressing up like a wizard and playing 20 minute organ solos
It's his only record in ages!
Seriously though PG has the most consistent, and consistently rewarding, catalog of any major artist, IMO. The only episode I'd rank lower than an 8/10 is 2/Scratch, and it's still a 7.
And yet, Marillion arrived on the scene making basically exactly the music Genesis had been making in the 70s and were hugely successful.
Not as successful as 80s Genesis, of course, but still had millions of sales and multiple hit singles. And Genesis still had multiple 10+ minute prog epics even in their most "commercial" period - Home by the Sea, Domino, Driving the Last Spike, Fading Lights.
Genesis weren't chasing trends, they were following their muse, which just happened to align, for a few years, with the trends.