Thanks folks. I enjoy writing these up because it gives me a chance to get re familiar with the music. I appreciate anyone reading them because I know they can get dry. I leave it to others to provide the reviews that dig into the emotional side of the band. I plan to review all of the songs given the time. I must say though the next one is going to be a tough one. Probably the toughest on the album. It is out there to say the least.
I used to do transcriptions back in the day and I enjoy reading through. I haven't been into it for years now, and it would take me way too much time .... Keep your ear in brother
Good point. Most of the unique sounds are all from his fingers. In that photo, he is using only a volume pedal. My guess it is a shot from SEBTP era.
Could be, but the white background (gauze, maybe) makes me think it would be from around the Foxtrot era / tour (LIVE cover). Just my observation. Jeez, they did so much in just a few short years so it could be anybody's guess!!!
I enjoy your description of dusty books and dusting off sounds. I have commented before, and will again here, that the band really captured a distant feel and age on Trespass and NC and somewhat on Foxtrot as well. I don't think this was accidental. These are very intelligent people designing pieces of art, they knew what they were creating. Some call it Edwardian Rock; I have likened it to the old Matthew Brady black and white photos of the 1860's and 1870's. It is mysterious but real. It goes back in time, but to a time that was still in the consciousness ... and living in the public consciousness through nursery rhymes?! Through royal gardens and unintended consequences? And deeper still, through ancient myths that public school boys still studied and discussed? The new age of sexuality, seen through a lens back to Salmacis? Terrence, this is not stupid stuff ...
Since I am going to bed and very busy tomorrow, I will just elaborate a bit to say that it is almost a dusty picture lens capturing by-gone ages, but ages with meaning. A Danish king screaming at the waves. Ancient lore of nymphs at the sacred fountain. Crimes committed or imagined within the zeitgeist of nursery stories. Victorian explorers introducing toxic intruders with unintended consequences. Comedic interludes at taverns or on the precipices of buildings. All of this was and is so captivating ... I don't listen to Tr/NC/Fox much lately, as I have heard them so many times, but each time I do I am taken back to these mysterious epochs
No, he was able to hack-ett without them, though of course he was able to coll-in the assistance of other band mates.
News article from a few years ago about Giant Hogweed which references Genesis; WATCH: Did Genesis bizarrely predict Britain's Giant Hogweed nightmare 44 years ago? Going back to the tribute band 'The Musical Box', I first saw them in 2002 in Colston Hall in Bristol. Peter Gabriel himself was in the audience a few rows in front us! To this day it is the best gig I ever saw, watching and hearing this beautiful music brought to life was amazing, things which sound very layered and overdubbed on record were in fact pretty much live which was amazing, just everyone playing at once. I saw them subsequently at the Royal Albert Hall in 2002 - playing the same set again which was the SEBTP tour. Steve Hackett came on for the encore of 'Firth of Fifth' (which they had already played once earlier in the set!) to do his solo and apparently Mike was in the audience too. I saw them again in 2005 doing 'The Lamb' at the RAH, that was very good - though my girlfriend (now my wife) who isn't particularly a fan (calls it 'Goblin music'!) was bemused by it.
The Musical Box from BBC "Sounds of the 70s" 10 May 1971. It's an early version, a full 6 months before being released on Nursery Cryme, there are many differences compared to the album version expecially on the middle section:
The Musical Box, recorded live in front of an audience at the Paris Studios for the BBC In Concert 2 March 1972 program:
This is the full Pop Shop 20 March 1972 performance for the Belgian TV (Fountain Of Salmacis, Twilight Alehouse, Musical Box and Return Of The Giant Hogweed):
I don't like audience recordings at all, but this is the only known live performance of Seven Stones:
Seven Stones We start with a really nice chordal sequence. It seems that this song is less popular among the folks on here, but I am not really sure why. This is a beautifully written piece that really contains some wonderful chordal movements. I guess back in the days when I had just discovered the band this was a lesser song, but these days it certainly isn't. I find that melodically it has set itself in my mind. I love the grand arrangement and how effective everyone is without overplaying. I also find the "changes of no consequence ..." section works as a grounding point for the song.
