I think I might prefer the Belgian TV versions of everything they played on that, over the respective studio versions.
Dancing With the Moonlit Knight This is one of my favorite Genesis songs. I love the way it begins with Peter Gabriel singing unaccompanied, then slowly adds instrumentation until it blossoms into a full blown prog-rock charge. I wouldn't call it their best opener, but it's definitely up there, and arguably does the best job of setting the tone for its respective album. I Know What I like I've never been crazy about this song. It's fine, but it feels like it lacks whatever it is that makes me like Genesis in the first place. It's a moderately catchy single, but not enough so to make me enjoy it in and of itself. It's not that I'm expecting it to be another epic or anything, it just doesn't do much for me, even in comparison to Genesis's other normal-length songs. Twilight Alehouse It's a shame they couldn't make room for this on any of their albums; I think it would stand up well alongside the other tracks recorded around this time, even if it isn't quite on par with a lot of the best stuff of the era. I particularly like the catchy chorus, the generous amount of flute, and the instrumental section at the end.
What does the chorus of "I Know What I Like" mean? I get the verses - they describe a character who lazes away, living at home, with no aspiration other than occasionally mowing a lawn. I guess his lack of ambition is that he wants to stay with what he knows and likes, but what does a wardrobe have to do with anything, and what could be getting better in it? I know what I like, and I like what I know; Getting better in your wardrobe, stepping one beyond your show.
There's an interview out there when he says: no, but they used my bits to make albums that helped keeping the interest in Trespass alive and I'm fine with that. He's a gentleman for sure.
Plus I'd imagine he's released a lot of stuff (re-recorded/revisited on proper albums as well as vintage solo - and even Mike duo - guitar demos on his vault/archive/home demos albums) that the others had a hand in writing. In fact I'm sure that we have a lot more of the "lost" Genesis songs (that we've all read about from the cottage/earliest live shows era) than we think we do, in Ant solo versions, under different names than the lost Genesis versions they are adapted from. I don't think any of that stuff he's released has shared credit with the other members of Genesis (aside from TG&TG album with some Mike co-credits - but that album was originally meant as a fully credited duo album - until Mike got too busy with Genesis, and it became instead an Anthony Phillips solo album - but its still got a lot of Mike on it - co-writing and playing). Not to mention the "Phil connection" probably hasn't hurt catalogue sales of that particular album, since Phil sings on 2 songs from the album. Not to mention a double disc reissue of that album from a decade or so ago added one of the two previously unreleased (though bootlegged - usually as being "Genesis" tracks) earlier Phil sung songs that came close to coming out as a single in about 1973. From what I've read the single didn't come out back in the day mostly because they weren't sure how to credit it: "Phil Collins" since he sings both songs "Phil Collins &/with Anthony Phillips" since Phillips wrote and plays on both songs "Anthony Phillips &/with Phil Collins" since Phillips wrote and plays on both songs or either of the above two with "& Mike Rutherford" added since he played on both songs. Another double disc reissue of the album came out more recently which contained both sides of that unreleased single. So he probably sold at least three copies of that album to Genesis/Phil obsessives over the years: The original vinyl and/or CD copies of the original 1977 album Double disc version with the A-Side of the "lost" single added Another double disc version with both the A&B-Sides of the "lost" single added So if anything Anthony Phillips probably pulled more unreleased material from his time with Genesis, than Genesis pulled unreleased material from their time with Phillips, though considering that Phillips' sales are only a fraction of Genesis' sales, it probably worked out more or less evenly in royalty payments. Not to mention his fan base is probably nearly 100% a subset of Genesis fans, who never would have even heard of him, let alone had any interest in him without that connection. So I doubt either side could be honestly viewed as screwing the other on credits/royalties. Plus they all seem to remain friends which is wonderful.
I thought that what they're talk consists of is what Peter has been singing the whole song. Ethel, Mr. Lewis, Mr. Farmer, Miss Mort....they've all been talking about him throughout the song. I can always hear them talk.
Is it possible that even the very act of releasing a single was seen as some sort of betrayal by hard-core fans? Is that why the Floyd didn't put many singles out?
I don't know, it's all such a nonsense lol that made me laugh and I saw a relevance to modern thinking, that I wasn't expecting
Thanks, this is a fascinating read. I've always put Dancing up near the top of my favorite Genesis songs, and this reviewer, as well as the comments down at the bottom, helps make sense of it all. I think Dancing is an outstanding song to lead off the album, equally as powerful as The Musical Box or Watcher Of The Skies. One thing I really love about Dancing is how it seamlessly blends the mythological with contemporary societal issues in a song of utter power and beauty. Genesis were really firing on all 5 cylinders on on this track, and in my opinion Selling England By The Pound is their most mature work of classic progressive music.
Genesis had a knack of Putting really great openers on albums. Where the Sour Turns To Sweet Looking For Someone Musical Box Watcher Of The Skies Dancing With The Moonlit Knight Lamb Lies Down On Broadway Dance On A Volcano Eleventh Earl Of Mar Down And Out Behind The Lines Abacab Mama That's a pretty high quality set of openers/songs in my opinion
Funny, I've always thought the opposite. I much more enjoy watching Peter perform IKWIL live with his imaginary lawnmower, hay stalks, and bobby hat. I always cringe when I see Phil pedal his clowning personality and tambourine antics to gin up crowd sing-alongs which got worse as the years went by. But I do like what the other guys are doing in the Second's Out fade-out, especially Hackett's work and Tony's Stagnation drop in.
I really wanted to include the next one but I couldn't bring myself to ... I still think it's a good album though
Funny how it refers to their long term fans saying they were selling out this far back. If they thought I Know What I Like was selling out....
Great story! I had a similar experience when going off to university (1981, so I think we must be the same age), and the first guy in the dormitory I started hanging out with was a few years older, had long hair and a mustache like Steve H, and had an awesome record collection. He also played guitar and one of the first things he played for me was Horizons. Completely blown away. We had many more years of Genesis fun throughout college, including one drunken night at the bars singing all of Supper's Ready, a capella, to a bunch of perplexed Genesis non-aficionados!
I've seen claims of that attitude being prevalent in that era in the UK, but I don't know. It does seem to be contradicted to some extent by some "progressive" bands who did have success with (often standalone) singles, such as Jethro Tull who between 1969 and 1971 had 3 top 10 singles, as well as a 5 song 7" EP that made #11 on the singles chart. Pink Floyd gave up on releasing singles in the UK after their third non-charting flop in a row. OTOH every album they released made the top 10, so why bother with singles? Why go out of your way to create near guaranteed chart failures? I do wonder how much of a hit "I Know What I Like' truly was. What I mean by that is what percentage of its sales were driven by the song itself as opposed to what percentage of its sales were driven by the fact that it had an exclusive track on the B-Side. I doubt many hardcore fans care much about the size of the piece of vinyl a song is presented on - they just want all the songs. For example Iron Maiden actually had a number one single on the UK charts, and I'd have to assume that was driven almost completely by hardcore fans all buying it in the first week for the non-album exclusive B-Sides, rather than a multitude of non-fans hearing it on the radio and running out to buy it, especially since Maiden reportedly never got much (if any) radio play. It would be interesting to see a "week by week" chart position listing of how 'I Know What I Like' did. For example if it debuted at its peak position and went down (or out of) the chart fairly quickly the following week(s) then it was likely a hit based on hardcore fans who wanted the exclusive B-Side rather than non-fans who heard the A-Side on the radio and rushed out to buy it.
I am glad someone read it! The lyrics are way more complex than I ever thought of. The music is complex enough as it is then to add the lyrics really elevates it to "progressive" to say the least.
BTW, I don't want to pick a fight here, but even more funny having to deal with yet another Phil X Peter... it's just dismaying, to say the least. To be honest, I've always felt myself in odds with most Genesis fanboys (not addressing you here) when it comes to Peter singing style and strong theatrical approach. So, sorry if I'm being harsh now, but If you dislike what Phil did with that song more power to you then, but it's just your issue, not mine. As well as if I'm not giving a damn to what Peter did (or did not do) at stage about that song is just and only my own issue. Oh and just to correct myself here, I really like Phil singing there, as well as on most of the Genesis songs that I like, but I'm not his fan by any stretch of imagination. .
Hey, RR, don't get your knickers in a knot over this. You prefer Phil singing IKWIL, and I prefer Peter's version. I gave some reasons why I'm not a Phil fan, and you explained a bit of why you don't like Peter. You stated your opinion, I stated mine. It's called a dialog. Simple as that. Of course I'm not trying to force-feed "my issue" upon you. But let's not go down the "harsh" path, ok? We're all here for the same reason. BTW, I think the songs Phil did in the early Genesis days are fantastic too. More Fool Me, For Absent Friends, plus his backing on other tracks. Excellent stuff. He's a really talented guy, and he has proved that throughout his entire career.
I attended one of the Trick of the Tail shows, and Phil's tambourine dance at the end of IKWIL was a turn-off to me. I went there giving Phil all the benefit of doubt, but that and other bits of stage business warned me of his smarmy "Mr. Show Biz" tendencies.
Lets keep from name calling guys. Phil great live performer Peter great live performer Both different in styles It is fine to prefer one to the other, but that doesn't necessitate putting one down to raise the other. Cheers
Am I the only one to hear a lot of Beatles influence on this song? No one has mentioned it yet so I will wait to see in fear of being laughed out of the park.
