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Baseball Primer Newsblog — The Best News Links from the Baseball Newsstand Friday, September 02, 2011Said The Gramophone: The Chills and GenesisThe Dunedin Sound to The Sound of Eden Done…
Repoz
Posted: September 02, 2011 at 09:58 PM | 46 comment(s)
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1. This is going to be state of the art wall Posted: September 02, 2011 at 10:40 PM (#3915831)I bought Submarine Bells on a recommendation ... never played it all that much (these two tracks are solid, though). But, it's kind of neat how much solid music came out of a relatively small town.
I thought Daryl Hall did a nice job on "North Star," though I don't know what-all else he did within this particular axis.
wellgetoutthere'sthedoor
Seeing as Phil Collins plays drums and percussion on Another Green World (and he also played on Taking Tiger Mountain and Before and After Science), it makes perfect sense to me.
Genesis, IMO, are one of the half-dozen greatest bands in the history of rock.
If you liked his guest vox on Robert Fripp's Exposure, then you really ought to check out his solo album from the same era, Sacred Songs. Fripp produced it as the third part of his so-called "MOR Trilogy" (the other two were his own Exposure and Peter Gabriel 2) and it may well be the best of the three. A thousand miles removed from the Hall & Oates "sound" and well worth hunting down.
Except they weren't a rock band.
I don't know much about any of his music except for what I was exposed to by pop culture, such as "Sledgehammer," which might be one of the worst songs of all time.
And the 'pseudo-prog stuff' on Invisible Touch is nice as well. I understand there's some on We Can't Dance, but by that point, Phil had pushed me as far as I could go.
As for Peter Gabriel, Salvo do yourself a favor and steal "Peter Gabriel 3" right now...it's not actually called that since his first 3 albums were all called 'Peter Gabriel'
http://en.wikipedia.org/wiki/Peter_Gabriel_(1980_album)
And I'm a Dodgers fan as well, and was 10 years old in 1981 so I certainly have fond memories of that baseball year (well, aside from the strike). As for Genesis... very much not my cup of tea!
Which means that at least 2 of us here own it. (Probably more than that.)
Yes, Invisibly Touchy, you could say.
Wokka wokka!
Dale Sams suspects that "Illegal Alien" didn't make the cut on the reunion tour. (That's still a great album)
Is Peter Jefferies forever shut away teaching, or might we hear a new record from him one day? It's now been 10 years since Closed Circuit, and if that's the last great album we get in this dull world, it's a good one to go out on. My favorite of his, a record John Cale would envy, more melodic than his early work with Graeme and more austere than the lush At Swim 2 Birds with Jono Lonie.
Speaking of wondering when we'll ever hear from someone again, it's now been 7 years since Stand By with no new Chills record in sight.
On the other hand, the Clean remain active and produced the single best show I saw last year. Hard to play 40 songs without having a boring moment or two, but Bob Scott and the Kilgours managed the trick.
I don't think we're that touchy about it; we're just honest enough to admit that they made some mediocre pop songs in their declining years. But it's only a very small percentage of the band's total output, and in no way detracts from the tons of magnificent music they made.
I love the Chills; "Double Summer" from Soft Bomb is a perfect pop song. Loved the Bats and especially the Verlaines, too. I've interviewed both Tony Banks of Genesis and Martin Phillipps of the Chills...
I know it was 1986 and all--jeez, 25 years ago!--but in that year Peter Gabriel and Genesis both had albums in the top 10 on Billboard at the same time. I'd have to think this was not something anyone would have guessed would happen in, say, 1973.
Fun fact: Mark Kozelek's cover of "Follow You, Follow Me" was the song my wife and I danced to at our wedding.
Lorlz.
Phil is very very lucky (I remember a Rolling Stones cover unabashedly calling him a sex symbol, and I guess he was) to have received as much face-time as he did. He doesn't think he was photogenic enough? (Who was?..yes, yes Duran Duran... It's not like Split Enz* and Wall of Voodoo wer fashion models)Try gracing the airwaves with that mug today Phil.
*Gawd, and Crowded House's 'Something So Strong' video? Their WAG's were dogs.
At least they didn't jump on the late-70s disco bandwagon like tons of other veteran artists did.
* Yes, ELP (LOVE BEACH !?!?), Asia (parts of King Crimson/Yes/ELP and the Buggles), and so forth...
Thankfully, disco was no longer mainstream by the time Asia was formed, or else Carl Palmer probably would been doing his best Tony Thompson impression.
Seems like Peter Jefferies has given up on the music biz. In addition to his stuff with brother Graeme (This Kind of Punishment) and some of his really, well, punishing solo work, he did some great stuff with Jean Smith of Mecca Normal as Two Foot Flame. That's the only format in which I ever caught him live. I'm not sure he makes it to the nothern hemisphere much. And the comparison to John Cale is a good one.
Yeah, some of the same people, but a really different sound. That's why even though I love Pandora, I think it's so-called algorithm is b.s. It claims to be getting down deep into the DNA of the music and looking for deep similarities. But the Eno/Another Green World station proved to me that it's looking for musical family trees. I see little deep musical relationship between Peter Gabriel era Genesis and Another Green World. Nor do I see much of a deep musical relationship between old 1970 King Crimson and Robert Fripp's 80s version of King Crimson. Pandora's algorithm is a whole lot closer to Amazon's "people who buy A tend to buy B" than they're willing to let on.
Oh, it went much deeper than that. You had the mothership's Invisible Touch hit #3; Gabriel's So did it one better by hitting #2 (and they did it the same week, August 2). Collins's No Jacket Required, which hit #1 when it was released the previous year, was hanging around the lower reaches of the chart, as was the first Mike + the Mechanics album, and at the end of the year Steve Hackett's unlamented project with Steve Howe, GTR, hit #11. So there were five Genesis-related albums in the high reaches of the charts that year.
I'm in that camp...
The way I figured it was this: these prog-rock guys from the early '70s understood that they had musician chops that dwarfed your standard pop hack. And, they were no longer 20-something kids feeling a need to prove their seriousness as "artists," they were now 30-something career musicians needing to support families and pay alimony and all such. So, one after another they pretty much decided, screw it, I can crank out poppy stuff with one keyboard behind my back, and get to some serious paycheck-cashing.
EDIT: Which, to some degree, neatly summarizes the difference between the '70s and the '80s in many regards. Serious paycheck-cashing might be the 1980s motto.
Well, the Police had virtually nothing musically in common with most of the other groups in that movie. Andy Summers was almost 40, and had played with several well-known groups, including art/rock band Soft Machine. Stewart Copeland wasn't quite as old, but was older than most of the other musicians in that scene, and had played in prog-rock band Curved Air. Sting hadn't played in any famous bands, but came from a jazz/jazz-fusion background. So the members of the Police had much more in common musically with prog-rock musicians than they did with the members of the Dead Kennedys or the Cramps...
Which I gather from a couple of Facebook posts is now available on no-frills DVD? I've got an old VHS taped off Movie Channel or Showtime some 25 years ago, though I was lucky enough to see it in Phoenix in the cinema as part of a test screening in, I guess, the fall of '81 (I assume it was a test screening -- we were given cards to fill out, & as will be noted in a second, it was a longer version than what showed up subsequently) & at a regular showing a few months later, with some of the more esoteric acts (John Cooper Clarke, Splodgenessabounds, probably Joolz Holland, probably Invisible Sex) excised.
The Police also weren't "daring." For that matter, I'd say they were already in full paycheck cashing-mode; I can't remember offhand when the Urgh! concerts were filmed (though I remember seeing reviews of the gigs in the likes of, I think, Slash &/or Damage), but by then Outlandos d'Amour & Regatta de Blanc had already been commercially quite successful, & so probably had Zenyatta Mondatta.
It was one of the earliest Warner Archive DVDs (burn-on-demand DVD-Rs from the studio). Warner Archive titles are always pretty much just the movie w/ no extras (though I think some of the newer ones have the occasional extras).
Well...kinda. While Ghost in the Machine was quite popular, The Police at even that point are nowhere near FULLMEGACASHTHROWDOWN that Synchronicity brought. You know, they're still being political/artsy with the great Invisible Sun. Larfing it up in their videos...etc...
And Vortex is right..But, I was just using URGH as an example that the meme of the 80's being a musical wasteland or paycheck for 70's groups * isn't quite correct.
*Hey, I *like* 'All the Best Cowboys Have Chinese Eyes', and Lindsey Buckingham's 'Go Insane'.
True or not (I pay absolutely zero attention to prog rock, as I wasn't sufficiently old or pretentious enough for that crap when it was big), none of that passage applies to the non-Police bands in Urgh! ... except, I suppose, for Lux Interior being in his 30s at the time. (Is there a complete recording of that Cramps set? That performance is drop-dead brilliant -- easily the highlight of the movie for me, not that the Wall of Voodoo, Klaus Nomi or Magazine songs are exactly dreadful, either.)
As for Genesis, if I came across a multiple choice test and I was totally stumped, I would use ABACAB as a guide.
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