Selling England By the Pound Review

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Selling England By the Pound ReviewI listened to Genesis obsessively while in graduate school and this 1973 recording was always a favorite. For me, Selling England by the Pound represents everything about progressive rock that I hold near and dear: intricate ensemble work, virtuosic musicianship, cool synthesizer sounds (ARP Pro Soloist!), and "hummable" melodies. I know the "hummable" melodies thing will raise a few eyebrows, but they are nice to have around and there is no shortage of them on this recording.
There is a mixture of long and short pieces on Selling England by the Pound, which range from quiet acoustic pieces to full-blown, over the top, prog extravaganzas. The longer pieces include Dancing with the Moonlit Knight (8'03"), Firth of Fifth (9'37"), The Battle of Epping Forest (11'44"), and The Cinema Show/Aisle of Plenty (12'41"). Sandwiched in-between the longer pieces is the poppy I Know What I Like (in 1974, it reached #21 in England), More Fool Me, which is an acoustic piece with Phil Collins on vocals, and After the Ordeal, which is a short instrumental written by guitarist Steve Hackett. Each of the longer pieces are excellent examples of their highly disciplined ensemble approach to arrangements, which include pre-composed solos and display the use of a few carefully placed chords that make the transition between sections in different keys seamless. The transitional chords and mellow 12-string acoustic guitar parts, along with smooth synthesizer and guitar tones, a full Rickenbacker bass sound from Mike Rutherford, and the ability of excellent drummer Phil Collins to make even a 5/4 seem natural impart an unhurried, warm, and intimate feel to the whole recording.
Based on what I have read, writers block plagued Genesis during the recording period even though Selling England by the Pound is conceptually sound (it comments on English class structure) and it is only Firth of Fifth that suffers from a dodgy lyric. Furthermore, keyboardist Tony Banks expressed irritation with vocalist Peter Gabriel's decision to plaster lyrics over the entirety of the already busy The Battle of Epping Forest. So many lyrics in fact, that Peter reportedly ran out of breath during live performances of the song.
Although the sound quality of this 1994 remaster is not nearly as good as my old LP, it is still pretty good.
In spite of it all, the guys in Genesis came through with a remarkable recording of progressive rock - one that I return to again and again. Very highly recommended.Selling England By the Pound OverviewIf one had to pare the prog-rock story down to a handful ofessential albums, this would undoubtedly be one of them. SELLING ENGLAND BY THE POUND was the culmination of all that Genesis had been striving for since their late-'60s inception, the refinement of the vision that developed on TRESPASS, NURSERY CRYME, and FOXTROT (somewhere in the world, there's been a second-wave prog outfit named after every one of thesealbums). The fusion of a complex classical mind with an electrified rock heart and pastoral folk spirit defined Genesis' anatomy, and never more effectively than on SELLING ENGLAND.Peter Gabriel's startlingly unpretentious tale-spinning is at its best on "The Battle of Epping Forest". Tony Banks's elegant, sophisticated keyboard work is a vital element of nearly every tune, and the electric/acoustic guitar tapestry woven by Steve Hackett and Mike Rutherford is the perfect icing on the cake. Somewhat anomalous but entirely welcomeis the Gabriel-era band's catchiest, quirkiest song "I KnowWhat I Like (In Your Wardrobe)", the tale of a somewhat daft gardener. Phil Collins's lead vocal on the gorgeous acoustic ballad "More Fool Me" paints the shape of things to come.If you only buy one Genesis album, make it this one.

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Bay of Kings Review

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Bay of Kings ReviewI have the original 1983 UK LP on Lamborghini Records (a now-defunct indie of no known relation to the Italian luxury motorcar). It has a nude cover painted by Steve's artist wife Kim Poor, but she did a new cover of him for the CD. Of course, I don't have any bonuses on mine! Maybe I'll get this edition. We'll see.
Old tracks like "Kim" and "Horizons" are redone, plus new tracks that are all instrumental and "Unplugged" classical guitar (something Randy Rhoads would be doing if he were still alive), after several prog-rock releases for Charisma. Even now, he's doing an acoustic tour in the EU, and it may feature what you get on this album.Bay of Kings Overview

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No Jacket Required Review

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No Jacket Required ReviewIn 1985-86, Phil Collins career was at it's mountain-top. Quite fittingly, his best album is also from that span, No Jacket Required. It spent nearly 2 months atop the charts. And it spun off a handful of mammoth singles: "Sussudio", "One more night", "Don't lose my number" and "Take me home". "Who said I would" also garnered a decent amount of time on the airwaves.
The liner notes are terrific. The all red back cover was a nice touch. There's no lyrics, but it gives thank-you's, credits, who-played what on each song and also gives info on where everything was recorded.
There's something for everyone here. "No Jacket Required" had a diverse set of songs, among them Up-Beat pop tracks, eloquent ballads, and prog-rock throwbacks. Daryl Sturmer played all the guitar tracks and his superb tone adds depth.
Here's my track-by-track analysis:
"Sussudio"-A number one hit, the keyboard line sounding Similar to "1999" by Prince, some have said TOO similar but personally that doesn't diminsh the song's quality one bit. The bass and horn section only boosts it's catchiness.
"Only you know and I know"-A semi-pop track with a great synth hook. The lyrical matter is more or less summed up in it's title.
"Long Long way to go"- A moody, atmospheric track. The decision to have Sting sing the background vocals was genius. It enhances the effect ten-fold.
"I don't wanna know"- Phil sings about a relationship ending, and having no interest in hearing that she regrets it. He was warned not to give his heart to her, cuz she wouldn't give it back. The prominent guitar here is a far-cry from the adult contemporary sound he'd soon delve into.
"One More Night"-Another Chart topper. Terrific ballad, truly heartfelt. It's about acknowledging one's human-ness "If I stumble, if I fall, just help me back/so I can make you see/Please give me one more night". The verse after the second chorus really drives the song home "Like a river to the see/I will always be with you/And if you sail away/I will follow you."
"Don't lose my number"-A TOP 5 SMASH, yet it was inexplicably left off his Greatest Hits album. That's barely forgivable. This song is one of all-time favorites. It kicks off with a nice drum beat. The hook for this song is sharp as a fisherman's. The lyrics are a message to a person, named Billy. I'm still not sure who Billy is. Lyrics: "He never meant to do anything wrong, it's gonna get worse if he waits too long/Billy, Billy don't you my number/ Cuz you're not anywhere that I can find you". This song was obviously written before Cell Phones. The video for this song was good, experts kept walking into Phil's office to suggest idea's, One being set in the old west, the other's being parodies of "Every breath you take" by the Police,
"Who said I would"-Starts off with a nice intro, it keeps a steady beat throughout. It has a full platter of Synths, Horns, and vocal effects.
"Doesn't anybody stay together anymore"-The instrumentation sounds like Peter Gabriel-era Genesis. The drums during the chorus are loud, with a driving bass line, quickly sedgewaying into quieter verses. The lyrics tell about things we all do, and tackles confusion in romance, which in actuality are really nothing new.
"Inside out"-Has fine drumming (Hey it's Phil Collins, you're guaranteed that). The slow-down sections are especially pleasant, with a saxophone playing.
Take me home" was recently sampled in a rap song by bone-thugs-n-harmony, it falls under the ballad category, though at the same time it's more cheerful and contains an incessant chorus. Phil's old Genesis buddy Peter Gabriel sings the background vocals.
"We said hello goodbye" is a slower, tear-jerking ballad, I used to dislike this song because it's a far cry from the many up-beat numbers here, but upon realization, it's the perfect closer.
"No Jacket Required" rightly won the Grammy award for 1985 album of the year. This is Phil Collins best solo offering - Bar None.No Jacket Required OverviewNo Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 9-MAR-1989

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Another Side of Genesis Review

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Another Side of Genesis ReviewI'm outing myself here, kids. My review of this disc is based on 20 years of listening to Genesis in all their various incarnations and solo outings. (Can you say `hardcore'?). That out of the way, let me also confess I'm a hardcore Stuermer fan as well. Get your ears and hands on `Live & Learn' and the rarer 1st solo outing `Steppin' Out'. And those of you who are lucky enough, go see him somewhere in the Milwaukee, Chicago area soon! You won't want to miss the treat!
So here are the eleven most important reasons why you should buy "Another Side of Genesis" from guitarist extraordinaire, Daryl Stuermer.
Follow You Follow Me (And Then There Were Three '78) - If you like your Genesis with a little salsa, it'll add an easy singable danceable swing to any party. Purists will be amazed at the phrasing on the nylon stringed lead.
Hold On My Heart (We Can't Dance '91) - As delicate and subtle as a lover's whispered sigh. Thank you Amy Keys. Don't miss the chance to share this with someone you love. The touch of flamenco ads just enough passion to the mix along with a feather light touch on the fade.
Taking It All Too Hard (Genesis '83) - A gentle little ditty that waits `til the end to give us the treat of hearing some gorgeous soaring guitar. Dat' boy do know how to swing!
Throwing It All Away (Invisible Touch '86) - Oh Praise the Lord! and pass the holy gospel of the invisible touch! From the opening verse to the searing sensational solo and close, a glorious reminder of why we fell in love with rock and roll in the first place. If you're truly a Genesis "fan" do NOT miss this track!
Since I Lost You (We Can't Dance '91) - The down shift from the above to Kostia's sly introduction (which is extended at their current live shows) develops into to the subtle swing of this lullaby's sweet lilting line. A nice little breather.
Land of Confusion (Invisible Touch '86) - An edgy samba kicks into high gear and drives through that unavoidable dancing rock beat unleashing an intense, growling lesson in some serious jamming. I do hope Mr.'s BCR get to hear this.
In Too Deep (Invisible Touch '86) - A subtly rainy day kick it back and enjoy it kinda thing with that unmistakable keyboard break (thank you Kostia), and some of the sweetest little slide work you're ever gonna hear. Thank you Amy Keys for just the right touch of vocal.
(Hard cores will recognize Mr. Stuermer's adherence to Genesis's original song order for the two above tracks from "Invisible Touch" - da' boy knows a good thing when he hears it ;-)!
Turn It On Again (Duke '80) - How can you be a Genesis fan and not get pumped whenever you hear the driving beat of this rock classic. This dynamic delivery is guaranteed to put any foot stomping rock and roll fan back on their feet.
Man On the Corner (Abacab '81) - As soulfully delivered a prayer for heart's humanity as you'll ever hear. What an amazing duet Mr.'s Stuermer and Collins might've had had they ever blended the latter's dug from the gut vocal with the former's masterfully blues-draped line from that intoxicating nylon 6-string.
No Son of Mine (We Can't Dance '91) - Edgy itch that must be scratched. Don't tell me this guy don't know how to get down and scratch it. Scratch it? He'll scratch `til it's ripped open and bleeding on the floor: as much a victim of the sheer heart leveling brilliance of this work as the song's victim is of his abuser. Only a guitarist of Daryl's caliber knows how to bring this song to its fruition. Only someone this close to Genesis could make an improvement upon the original. Here ya' are guys, let me show you what it needed.
Never a Time (We Can't Dance '91) - Subtle and persuasive, it shows once again just how good a player/arranger Mr. Stuermer truly is. Thank you Amy Keys. Wonderfully sweet and easy on the ears. A nice denouement.
FYI: there are four selections from `We Can't Dance', three from `Invisible Touch' and one each from `Genesis', `Abacab', `Duke' and `And Then There Were Three'.
Thank you Daryl. I've been wondering for a long time what you'd do with their music given the chance. Thank you for such a beautiful and fun reminder of of just how great a songwriters Mr.'s Banks, Collins and Rutherford truly are.Another Side of Genesis Overview

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