I forgot what track we were talking about. Ok, "Man On The Corner". This is one of the two tracks I don't really like - the other is "Like It Or Not" which is the following track. This forms a 9 minute block of bore on the album. Had they put any of the b-sides instead, I would like it better.
“Where’s the rest of the band?!?!” Ha! Reacting to Tony on stage, I guess. Strangely, I was about to post the very same thing, having perused my library in the last few days. That’s from the same Savoy performance posted by Mark earlier. Unfortunately, the clip starts just after the heckler. But it’s a great and energetic crowd—they make other vocal contributions throughout the performance. I wonder if some of the extra charge in the air was due to the interest in Phil’s solo career, on the heels of Face Value. Might have given the band an added cool factor and relevance. I find this live version better than the album version, especially the “for you...and me” punch of the drums and synth, and the way Phil sings it a bit differently. For me the track has aged pretty well. I don’t mind this type of drum machine here. I have a problem with others from the 80s, like the ones on Home By The Sea, which dates the music. Wish real drums had been used instead, on that one.
So the link provided above is an uncomplete version? The one I have is from the Archives, where the coda was replaced with a clone of the previous section, faded out, because the master tape was damaged ( ). I've heard the remixed version only once, with the supposed correct ending but I don't think I ever heard the original single. (I thought the above video was it).
The single version of Man On The Corner was remixed, even if only in a few countries it was labelled as a 'special-mix'. Anyway, every edition of the single is actually remixed. Here it is, i couldn't find it in stereo so this is from the mono side of a US promo 7''
When I first heard Abacab as a 16 year old, “Man on the Corner” was one of my favorites on the album. Now? I really dislike it. I hate to disagree with Mark, but this one would have fit far better on either of Phil’s first two solo albums than it does on a Genesis album. They lyric is trite and, in places, nonsensical. The drum machine pattern has gotten old by this point, and the sound is just dull. Phil shifts into the over-emote zone with his singing about halfway through in an attempt to inject some life into the song, but this only ends up driving home the triteness of the lyric. “You Might Recall” should have replaced THIS one, without a doubt. “Submarine” sets a nice ambience but it is clearly b-side material.
The plan they came up with for the album was that they would all contribute one song of their own, and then write the rest of the material together. So like it or not (ahem), there was always going to be something on Abacab written by Phil alone, and Phil writes how he writes. It’s not the most inspired thing he ever wrote but given the album’s stripped down feel I think it fits in okay... it’s simpler but not different from the other material sonically. Be glad he didn’t get them to do “Against All Odds,” already partly written at this time...
I very much enjoy both of these songs for the same reasons: they are simple, very effective, nicely emotional songs. Neither reach the heights of Side 1 or anything, but Man on the Corner is always a song I’m glad to have stuck in my head. I love the chill vibe and the simple synth line. The chord progression makes the song for me. Submarine is just a really nice jam. Both good songs
Assuming the arrangement was similar Genesis could have just quit there and then and called it a day for money...
I do wonder though if they each just brought in one song and said "OK here's my song that we're doing" or if they each brought in a few self written songs for the other two to choose from. Probably best to bring in a few songs and let the others choose which song to do as it avoids them being forced to play a song they may not like so much. At the very least even if they don't love any of the submissions, at least they can choose the one they hate the least.
Ok I’ve fallen behind here Dodo/Lurker - one of my favorite Genesis tracks ever. No idea what people mean by “reggae” with this. Have you ever listened to reggae?! Whoduunit - a product of the times, fun once in a while, don’t hate but I’ll skip Man on the Corner - again, a song of its time, good enough once in a while, but don’t love it at all
Like It Or Not Here we have a song that over the last few albums has become typically Mike. It isn't a bad song at all. We start with a fairly bold sound. There are bold keyboards and a pleasant guitar melody and then it all drops out for Phil to sing the opening verse over the guitar and keyboard sans drums. The first verse has a gentle sound and feel. Then the drums come in and we have a little more fire, that is essentially added via the vocal and the drums. The chord progressions are nice and the song is a pleasant ride. The songs has kind of a Misunderstanding feel and sound to me ... not that it is the same, it just seems to have that feel about it.
I "like it". Along with Sarah Jane this is one of the two tracks with a sound that would have been unsurprising on an earlier Genesis album. It is particularly reminiscent of the ATTW3 period, or could have been one of the older sounding tracks on Duke. I'd place it ahead of several Rutherford contributions to those albums. I think it is a song that would work great for a big guitar solo and am always disappointed that it ends without one. That is one reason it doesnt sound like something older than ATTW3, as Steve would have been more likely to step up with one.
Like It Or Not ... never used to be a fave but it has grown on me with repeated listens. I like the jangly guitar in the verses, sounds very old school Genesis (needs moar 12 string!). Nice big drum sound. The main chorus is not that amazing but I do like the soulful vocals at the end. --Geoff
I agree that Like It Or Not sounds like something from the ATTW3 sessions. It has a rambling structure reminiscent of the old style found on Wind & Wuthering, but LION is way too earthy for that album. It isn't single material, but it's not a bad album track.
I am very fond of „Like It Or Not“, an unexpected bittersweet hit-orientated chanson in the vein of „Alone Tonight“, but even more refined. This time Mike hits his giant Genesis groove, with only one pulsating note on his bass. The Brian May-like guitar line that opens the song sounds almost classical, like something Tchaykovski would have come up with. It gets repeated in the middle of the song, with the function as a fanfare. The overall mood of the song is of a rainy night and once again it feels like the Duke theme of loneliness is being continued. There’s the reprise of „You’re just another face I used to know“ from Turn It On Again“. The lyrics are somewhat incoherent, probably a dialogue. It could be that Mike wrote a song alluding to Phil’s marriage: someone returns home (from a tour), longing for intimacy, but the cold reality is that he is being refused: „You have done it this time. You’re out on the street and that’s where you’ll stay.“ Perhaps this is a prequel to the man on the corner? It fits, as on the next song that character appears again… Phil gives his all on this song and makes the best of the contradicting lyric. His vocal reaches heights in the league of Freddie Mercury (who did a similar job on Queen’s „Save Me“), especially on the last chorus. That being said, I feel this song would have been a good fit for Ray Wilson’s vocal.
I think it’s ok, not great. Definitely a weaker track. It just feels sort of rambly and boring to me, as the melody is rather dull, but I almost think that’s mostly because of Phil’s vocal performance. It’s just a little bit more lifeless than his past great performances. Not a bad song, but not one I would consider particularly great, sorry guys.
“Like it or Not” is easily my favorite track on Abacab. Here, everything comes together perfectly. The first 3 minutes of the song act as a slow buildup. Then, at 3:01, it all pays off with the melodic shift into the fantastic closing section. Phil is singing his ass off - and singing meaningful lyrics for once on this album - and his overdubbed harmonies work as well here as they did on “Afterglow”. This is probably my favorite Rutherford solo credit in Genesis. A real highlight of their 1980s work. (This is the first time I’ve heard the remix; the original mix is far far better.)
If my UK copy wasn’t all gunked up, I could record it and put it on YouTube, but I actually haven’t listened to it. I got it for Submarine.
Like It Or Not -I'll choose "not". This song goes nowhere and has no hooks or anything interesting to offer -just bland. I'll take Man On A Corner any day over this song as it at least has interesting coloring and a memorable melody. After Who Dunnit (which actively irritates me) this is the weakest song on the album for me.
First solo Mike track in the context of Genesis that really starts to make me question if he can write a good pop song - it's okay... but that's it, and the thing is he was nailing it with lyrics and melody in the late 70s, feels like the beginning of AOR songwriting for him, I dunno. But then again, he DID create the drum loop for Mama so that sort of destroys that theory.
Like “Alone Tonight,” “Like It Or Not” is this album’s reminder that Phil wasn’t the only one pulling Genesis toward the mainstream. The song isn’t that exciting. But it does take off in the last section.
Curse you for stealing my line! I had a team of writers working away on that one all week. Moving on... Man on the Corner... Phil (in early '80s stage intro persona): "When we decided to make our new album, the rest of the band told me to pick one of my songs to be on it... So I took out all my best new songs... (wild cheers) And then I thought, waitasecond, I might need these for my next solo album... So I put them all away again... (boos) Then I got them all out again. (cheers) And... then I put them away again. Then I got out some other songs... the ones that weren't quite as good as the first bunch. (boos) And I took one of them to the band..."
