/genesis/ - Genesis

>>458

>that unhealthy as fuck waveform

How the fuck did this pass QA?

>>473

It was the 2000s. The Loudness War was in full swing. While I prefer the clarity of most of the 2007 remasters, I'll admit the originals had better dynamics (and I'm a sucker for dynamic range).

Trick and Duke seem to be the only albums where I whole-heartily prefer the originals. I'm listening to a needle drop rip of an original Trick pressing I did months back as I type and it's not bad. It's just mastered a bit quietly to fit in all 51 minutes on a single disc. For everything else I prefer the 2007 mixes, and to be honest I don't notice any negligible difference for the Hugh Padgham albums. I will admit Calling All Stations was improved in 2007, with sweeter, analog-like midrange and less claustrophobic than the original.

The Musical Box is the spookiest the Genesis crew has ever got to me, but Mama, In the Air Tonight, the Home by the Sea suite and Intruder are not too far behind.

I still haven't listened to Hackett solo, but I'm planning to do it soon.

Here is Techmoan's video that made me aware of this.

Peter's not the best musician, but he's the best artist when he's not trying too hard to be an artist (see: everything he's done since 2002 while not finishing I/O). He could also be called the best songwriter, though it's 50/50 between him and Tony.

Best musician is either Steve or Phil.

His solo albums are now on Spotify. It's a convenience for us digital natives, but what do you guys think about it? Is Spotify the devil?

>>454

>>454

It's probably the devil, but I don't think it's that big a deal. It doesn't screw over guys like Peter who are already richer than god, but I don't use Spotify for any Genesis-related stuff since I just get those albums legitimately. The artists it fucks over are the guys you've never heard of, and those are the type of people I use Spotify for since it's a great platform to discover new, underground music.

But let's be real, it's not like Spotify is much worse for artists than Napster was or torrents are, and I torrent a ton of shit. The only difference is that everyone using those means to listen to music knows they're doing so illegitimately, while Spotify presents itself as a legitimate medium and the majority of listeners are blissfully ignorant and believe Spotify's rosy image is true.

>>455

Speaking of Peter, The Lamb Lies Down on Broadway still isn't on Spotify. I wonder if it has to do with all those showtune samples throughout the album.

Another one of these threads?

>>447

Well, make that Sunday 6th. Looks like the OP on /v/ fucked up the template.

G-d Phil Collins himself

Pretty underrated album, even by the guys from Genesis.

Found this hodgepodge concert video of "Burning Rope," my personal favorite from the album.

Listened to it on Spotify and I have to say t's a beautiful album. I've ordered the CD of it this morning so I can have a physical, and lossless copy, plus to support Mr. Banks as I don't think he has reached this peak since the mid-to-late-70s.

I like how the production on this album was unorthodox for a classical album, like recording different parts of the orchestra separately and layering them together in post, like a rock record. Tony may deny that "Renaissance" was based on an old Genesis rehearsal session, but I noticed similarities in the melodies to "Burning Rope" on ...and Then There Were Three....

I'm looking forward to a possible Four album to come out 10 years from now and be blown away again tenfold.

>>432

Tony's not Peter Gabriel. He can get it out in seven years.

>>433

Even better. 2025 is on my calendar for Four.

>>432

With all due respect to "Burning Rope," "Renaissance" shares even more resemblance to "Me and Sarah Jane" off Abacab. Kind of like when Arcade Fire hid some of their songs from Reflektor in their original score to Her.

Of all the songs I chose not to include this song in my customized version of We Can't Dance which removes the songs I personally consider filler, this is easily the best. While Never A Time is just Throwing It All Away but worse and Hold On My Heart is just In Too Deep but more compelling, Since I Lost You is a song which objectively has nothing wrong with it. You could argue it suffers from sounding too much like solo Phil but not enough like Genesis, and I wouldn't disagree that it might sound like that, I would argue it's a better Phil ballad than anything that came after his first two solo albums. That chorus easily could have sounded whiny as fuck if Phil decided to phone it in, but as you said, he's ace in this song.

I don't know that Peter could never do a song like this, but he definitely never would. Pete always lacked the confidence to scale back on the music and let his voice take command in a song meant to evoke these emotions. He's flirted with it sometimes - Don't Give Up sort of tries this and fails, the more minimalist live versions of Here Comes the Flood do it with more success. He could probably knock the chorus of Since I Lost You out of the park, but he would never touch those verses.

I think that song was pretty corny, even Tony Banks took a piss on it in an interview. The most emotional Genesis song imo is Duchess.

>>412

He's entitled to his own opinion, but I've lost a bit of respect for him. His own songs about loss aren't particularly any better, Undertow is forced pretentious garbage on repeats and Afterglow lost any sort of impact after that computer game about funny skeletons. I'm sorry, Tony.

>>413

Fading Lights was when Tony's gibberish lyrics actually worked the best. When he described what that song meant in the No Admittance documentary, I started to understand the method to his madness because he attempts to put into words feelings that don't have words. His word salad really only works in emotional songs like Fading Lights and Afterglow while they're craptastic in narrative songs like Firth of Fifth and Silver Rainbow. You have to have gone through exactly what Tony is getting at in his songs in order to understand him; maybe that's objectively had songwriting, but when it hits you, it really hits you. The retarded thing about Undertale fans co-opting Afterglow is that they saw a narrative in the song that wasn't really there; it's just Tony's cryptically roundabout way of expressing his thoughts.

Undertow is fairly straightforward as far as Tony lyrics go. I'm surprised you don't like it.

>>413

His opinions are weird sometimes, he seems to not like Selling England by the Pound while Duke is his favorite album. I didn't find Undertow of Afterglow to be pretentious, but I would agree if you mentioned the lyrics to songs like Time Table or Firth of Fifth.