Phil Collins – Classic Rock Review

Abacab by Genesis

September 15, 2021

by Classic Rock Review with No Comment Album Reviews

Genesis continued their incremental migration from prog to pop rock with their eleventh studio album, Abacab, released in 1981. The compositions here make heavy use of sequencers and studio techniques, combined with pristine melodies to forge a fresh, radio-friendly sound for this 1980s trio version of the group. The result aimed Genesis in a distinct direction, where pop fans discovered the over-decade old band for the first time as a contemporary, radio-friendly group for the decade of 1980s.

Genesis retracted from an original quintet down to a trio following the departure of guitarist Steve Hackett. Starting with the 1978 album And Then There Was Three, Mike Rutherford assumed both guitar and bass duties. 1980’s Duke became the group’s first chart-topping album in their native UK as the album spawned three radio-friendly singles. Later that year, Phil Collins recorded his debut solo album, Face Value, which became a worldwide smash following its release in early 1981.

The group purchased a farmhouse in Surrey, England which they converted into their private rehearsal and recording facility as recording for Abacab began in March 1981. The group dedicated 12 to 14 hours a day for about three months through the Spring of 1981 with engineer Hugh Padgham. Production duties were solely credited to the band for the first time with this album.

Abacab by Genesis
Released: September 18, 1981 (Charisma) Produced by: Genesis Recorded: The Farm, Chiddingfold, Surrey, England, March-June, 1981
Side One	Side Two
Abacab No Reply at All Me and Sarah Jane Keep It Dark	Dodo / Lurker Who Dunnit? Man On the Corner Like It or Not Another Record”
Group Musicians
Phil Collins – Lead Vocals, Drums, Percussion Mike Rutherford – Guitars, Bass Tony Banks – Piano, Keyboards

The opening title track is an example of where Genesis works best as a trio. The song is built on call-and-response phrases between Rutherford’s sharp guitar riff and Tony Banks‘ smooth organ, set as a backing for Collins’ contrasting, strained rock vocals. The song, which got its name from the lettered sections of its original arrangement, is structured like a traditional pop song but with an extended instrumental section at the coda led mostly by Banks’ synth motifs and later a more traditional guitar lead by Rutherford. “No Reply at All” is, perhaps, the most entertaining song on the album as it features a catchy melody over Rutherford’s great bass, all accented by the poignant and dominant horn section borrowed from the group Earth, Wind and Fire. The track’s complex bridge brings the whole vibe home for this Top Ten hit.

Most of the nine tracks on Abacab were composed collaboratively by all three group members but each did get one solo composition. “Me and Sarah Jane” was composed by Banks and it definitely hearkens back to Genesis’ Peter Gabriel era in both structure and melody. The layers of Tony’s piano, organ and synths are complemented by steady but effective rhythms though this complex, guitar free mini-suite. “Keep It Dark” features odd syncopation in the vein of Devo along with mostly melodic vocals to go against the mechanical music, while “Dodo”/”Lurker” has a majestic intro to its multi-part and multi-feel suite.

Genesis 1981

After the new wave textured, repetitive phrases of “Who Dunnit?” comes the Collins composition “Man On the Corner”. Electronic percussion starts before vocals and keyboards replicate the main melody with lyrics that address society’s reluctance to find a resolution to the homeless problem. “Like It or Not” is Rutherford’s solo composition with a majestic intro to a dynamic track which moves from a pleasant sounding ballad to a more matter-of-fact tough love screed. After a short and serene intro, the song proper of the closer “Another Record” kicks in with animated drum fills under steady riffs and rhythms.

The gold selling Abacab was the second consecutive UK #1 album for Genesis and their first of several to reach the US Top Ten in the US through the eighties. Three songs recorded for but left off this album were released on Genesis’s EP, 3×3, released in May 1982, with material from the Abacab world tour added to these three tracks for the double album Three Sides Live later in 1982.

Part of Classic Rock Review’s celebration of 1981 albums.

“Melt” by Peter Gabriel

May 23, 2020

by Classic Rock Review with No Comment Album Reviews

Buy Peter Gabriel (1980)

Peter Gabriel‘s third solo album was also the third to be officially eponymous, although this 1980 record has been given the unofficial title “Melt”. This album is credited as Gabriel’s artistic breakthrough due to its innovative use of electronic effects and gated drums without any cymbals. In fact, the album was released at different time in the UK and US because the original US distributor, Atlantic Records, refused to release and ultimately dropped Gabriel from their roster because they objected to its unconventional sound.

After departing Genesis in 1975, Gabriel took a unique approach to his new solo career. He wanted his record releases to be like issues of a magazine, all using similar typeface but with unique designs by Hipgnosis. Over time, each album received an unofficial nickname based on these cover designs. Gabriel’s 1977 debut was called “Car” while his 1978 sophomore release was called “Scratch”.

After an extensive tour through the second half of 1978, Gabriel dedicated much of 1979 to recording this third album. Co-produced by Steve Lillywhite, the music is influenced by African music and the recordings make inventive use of drum machines and other sequencers with the songs built up from the rhythm track.

Peter Gabriel (1980) by Peter Gabriel
Released: May 23, 1980 (Charisma) Produced by: Steve Lillywhite & Peter Gabriel Recorded: Bath Studio and Townhouse Studio, London, England, 1979
Side One	Side Two
Intruder No Self Control Start I Don’t Remember Family Snapshot And Through the Wire	Games Without Frontiers Not One of Us Lead a Normal Life Biko
Primary Musicians
Peter Gabriel – Lead Vocals, Piano, Keyboards David Rhodes – Guitars, Vocals Larry Fast – Keyboards, Bagpipes John Giblin – Bass Jerry Marotta – Drums, Percussion

This album’s innovation is apparent right from the jump with the opening track “Intruder”, featuring Gabriel’s former band mate Phil Collins using a new “gated drum” sound that was developed along with engineer Hugh Padgham. While this may seem slightly dated listening four decades on and realizing the fact that it is more effect than melody, the song does feature a few slight breaks of interesting piano and chorus vocal. “No Self Control” contains slightly more structure than the opener with a lot of rock tension built through its various movements and this is followed by the slight instrumental interlude, “Start”, featuring the saxophone of Dick Morrissey over backing synth pads. “I Don’t Remember” arrives in sharp contrast to the smooth intro as the brash and bright new wave track with one of the catchier hooks on this album. An earlier version of this was recorded to be featured on a 7″ single in Europe, but Charisma Records rejected that version on the basis that Robert Fripp‘s guitar solo was not “radio-friendly” enough.

“Family Snapshot” starts as a dramatic piano ballad complete with some fine fretless bass by John Giblin and builds to a more upbeat tune in later verses. “And Through the Wire” seems to be a natural sequel to “Family Snapshot” until it suddenly awakes with a hook above some thumping bass and percussion. Featuring The Jam’s guitarist Paul Weller, this track closes side one on a strong note. “Games Without Frontiers” is the most indelible track from the album with a French-language chorus of “Jeux Sans Frontières”, which is a popular television show based on pageantry and competition which broadcast in several European countries. This song features a masterful potpourri of a marching percussion, a slide electrical guitar, a rap-like verse and a cool, whistling pre-chorus, all making for a beautiful sound collage. “Games Without Frontiers” became Gabriel’s first top-10 hit in the UK.

Peter Gabriel 1980

“Not One of Us” marks a return to synth-driven experimentation with a message that condemns xenophobia in general and the mentality of cliques, more specifically. Jerry Marotta‘s drumming and percussion pattern shine especially in the latter part of this song. “Lead a Normal Life” is built on a long, deliberate synth and piano arpeggio with only a short vocal section in between two long instrumental sections. This is the track where Atlantic’s founder Ahmet Ertegun reportedly asked, “Has Peter been in a mental hospital?” in rejecting this song in particular and the album overall. Then comes the climatic closer “Biko”. While the song structure itself is simple and steady (in the same vein as the Beatle’s “Tomorrow Never Knows” from Revolver, the inventive overlay of sonic effects makes this it’s own distinct masterpiece. Lyrically, this song is a musical eulogy to black South African anti-apartheid activist Steve Biko, who died in police custody in 1977, and it was therefore banned in South Africa even while reaching the Top 40 in the UK.

Peter Gabriel‘s third album topped the British charts and charted well in many other places world wide, firmly establishing his career as a solo artist. Another major tour followed the album’s release and extended through late 1980, before Gabriel began work on his fourth (and final) self-titled album, nicknamed “Security” and released in 1982.

Part of Classic Rock Review’s celebration of 1980 albums.

Duke by Genesis

March 24, 2020

by Classic Rock Review with One Comment Album Reviews

Buy Duke

Duke was the tenth overall studio album by Genesis and their second since contracting to a trio. The album is made of twelve songs mainly composed by individual members of the band while remaining inter-related in a thematic way (although not presented in sequence). This mix of pop and prog was a commercial and critical success at the time of its release and it masterfully displays this pivotal musical era of the group at the beginning of the 1980s.

Following the massive success of 1974’s The Lamb Lies Down On Broadway and its equally massive world tour into 1975, lead vocalist Peter Gabriel departed from Genesis. Rather than replace Gabriel, the group decided to continue as a quartet with drummer Phil Collins assuming the role of lead vocalist. The group recorded and released two well received albums in 1976, A Trick of the Tale and Wind & Wuthering. The tours following these two albums made up material for the group’s 1977 live album, Seconds Out. However, guitarist Steve Hackett decided to become the second member to leave the group and embark on a solo career and the remaining members of the group decided not to replace him. Instead, bassist Mike Rutherford played most of the guitar parts. Collins, Rutherford and keyboardist Tony Banks soon recorded and released And Then There Were Three followed by another world tour in 1978.

Entering 1979, the group decided to take an extensive break with Banks and Rutherford working on solo albums and Collins relocating to Vancouver. Later in the year, the group got back together to rehearse and record the material that would become Duke. The album was recorded at Polar Studios in Stockholm with David Hentschel co-producing along with the band.

Duke by Genesis
Released: March 24, 1980 (Charisma) Produced by: David Hentschel & Genesis Recorded: Polar Studios, Stockholm, Sweden, November–December 1979
Side One	Side Two
Behind the Lines Duchess Guide Vocal Man of Our Times Misunderstanding Heathaze	Turn It On Again Alone Tonight Cul-de-sac Please Don’t Ask Duke’s Travels Duke’s End
Group Musicians
Phil Collins – Lead Vocals, Drums, Percussion Tony Banks – Keyboards, Guitars, Vocals Mike Rutherford – Bass, Guitars, Vocals

The group originally planned to record a side-long suite but ultimately the piece was broken up into six tracks. The main riff leads the majestic instrumental opening of “Behind the Lines”. Complete with deliberative accents on its three-chord main riff, the vocals finally enter about two and a half minutes in for this popular song that opened many concerts in years to come. The opener dissolves into “Duchess”, with a long electronic intro as Banks slowly works in a piano arpeggio. The song was released as single but barely missed the Top 40 on the UK Singles charts. “Guide Vocal” is a short electric piano ballad by Banks followed by Rutherford’s “Man of Our Times”, with a tension filled, heavy synth riff and deliberative drumming.

Continuing the streak of solo compositions comes Collins’ first contribution, “Misunderstanding”. This upbeat lover’s lament pop rock with doo-wop elements and Rutherford’s rollicking bass line with a main riff that heavily borrows from Sly and the Family Stone’s 1969 hit “Hot Time In the Summertime”. The song became a worldwide hit and their highest charting single to date in the United States. “Heathaze” is an uplifting ballad written by Banks with Collins definitely channeling Gabriel and some excellent musical phrasing throughout. Banks later went on to describe Duke as his favorite Genesis album.

Genesis in 1980

Side two begins with “Turn It On Again”, the next phase of the underlying suite and a song which best encapsulates the Genesis sound at the turn of the decade and is all encapsulated in a less than four minute track. This upbeat synth-driven with great vocal melody features complex time signatures, with a forward motion where the song’s hook doesn’t appear until the end coda. Next comes a trio of solo compositions – Rutherford’s ballad “Alone Tonight”, Banks’ potent and profane “Cul-de-sac”, and Collin’s emotional “Please Don’t Ask”, with fine instrumental backing throughout and a forgotten gem as far as Genesis ballads go. This all leads to the climatic conclusion. “Duke’s Travels” is a long and deliberative, synth-led mainly instrumental with later vocals to deliver the final narrative of the underlying theme, with “Duke’s End” being one last frantic deluge of the main riff theme from “Behind the Lines” to encapsulate the album.

Duke was the first album by Genesis to reach the top of the UK Album charts and it has been certified Platinum on both sides of the Atlantic. With this commercial success, the band built their own dedicated studio in Chiddingfold, known as “The Farm”, where further successful projects were recorded throughout the 1980s and into the 1990s.

Part of Classic Rock Review’s celebration of 1980 albums.

Invisible Touch by Genesis

June 9, 2016

by Classic Rock Review with One Comment Album Reviews

Buy Invisible Touch

Genesis completed their full metamorphosis into a pure pop/rock outfit with 1986’s Invisible Touch, the top selling album of the group’s long career. The group’s thirteenth overall studio album, it is also notable for spawning five singles which reached in the Top 5 on the pop charts in the United States, making Genesis the only non-American act to accomplish that feat on a single album.

Prior to Invisible Touch, the trio had much success with the 1983 album, Genesis which topped the charts in the UK and went on to sell over four million copies. Following a tour to support that album, the group took a break while each member worked on solo projects. Keyboardist Tony Banks worked on the film Lorca and the Outlaws in 1984, while lead vocalist / drummer Phil Collins released his third successful solo album, No Jacket Required in 1985. Guitarist and bassist Mike Rutherford formed Mike + The Mechanics, who released their commercially successful debut album in 1985.

In late 1985, the group began work on Invisible Touch with producer Hugh Padgham, who had worked on the group’s two previous albums. The album’s tracks were all written entirely through group improvisations with no material pre-developed prior to the studio sessions.

Invisible Touch by Genesis
Released: June 9, 1986 (Atlantic) Produced by: Hugh Padgham & Genesis Recorded: The Farm, Surrey, England, October 1985–March 1986
Side One	Side Two
Invisible Touch Tonight, Tonight, Tonight Land of Confusion In Too Deep	Anything She Does Domino Throwing It All Away The Brazilian
Musicians
Phil Collins – Lead Vocals, Drums, Percussion Mike Rutherford – Guitars, Bass Tony Banks – Keyboards, Bass

The album explodes into full eighties synth glory with the opening title track. “Invisible Touch” features electronic drums and synths which complement the fretless bass and vocals. The popular song went on to be Genesis’s only #1 single in the United States. “Tonight, Tonight, Tonight” is another electronic song but with a slightly cool mechanical vibe due to Banks’s synth work. This track should have and could have been a much more effective opener and, even though the lyrics are nearly nonsensical, the musical effects carry this song through its eight and a half minute duration.

Genesis in 1986

“Land of Confusion” is the most rock oriented song on the first side built with Rutherford’s guitar riff and a synth bass arpeggio by Banks. The fine bridge section also brings this song closest to the classic Genesis of years earlier. The fourth hit from side one, “In Too Deep” is a pure adult contemporary love ballad, featuring Banks on electric piano and Collins hitting some impressive high notes vocally. There is only the slightest guitar presence by Rutherford, who reserves his playing to a very laid back and standard bass throughout the track.

The second size starts with the frenzied and upbeat “Anything She Does”, with lyrics about the porn business. The sound complete with synth horns and ska-like rhythms, making this an overall fun song which sounds less dated than most of the rest of the material on Invisible Touch. The ten minute, two part suite “Domino” is a bit uneasy and uneven. The first part, “In the Glow of the Night”, is really just another synth-driven, cheesy tune with slightly dramatic, almost paranoid lyrics. The second part, “The Last Domino”, is a little more interesting with a driving rhythm and subtle, distant organ setting the soundscape.

A refreshing return to pop excellence and the highlight of the album, The Top 5 hit “Throwing It All Away” features Rutherford’s soul-influenced guitar and Collins’s sweet but desperate vocal melody. Banks adds just the right amount of synths to make this a classic ballad for the decade and, ironically, the title works to do the exact opposite as far as this album is concerned – it salvages it. The album concludes with the instrumental, “The Brazilian”, an electro, synth piece which is a big let down after the fine ballad preceding it. The best part of the piece is Rutherford’s slight guitar lead near the end, but unfortunately the song is already fading out by the time this solo really starts to heat up.

Invisible Touch became the band’s fourth consecutive album to top the UK charts and peaked at #3 in the US. The group soon embarked on their largest world tour to support the album, Playing over a hundred dates through 1986 and 1987.

Part of Classic Rock Review’s celebration of 1986 albums.

All Things Must Pass
by George Harrison

May 15, 2015

by Classic Rock Review with One Comment Album Reviews

Buy All Things Must Pass

We start our three part mini-series called “Life After Beatles” with All Things Must Pass, the triple LP album which George Harrison the month the Beatles officially broke up. However, much of the material on this album dates back to later Beatles projects (usually as material rejected by the band) as well as personal contemporary influence from artists like Eric Clapton and Bob Dylan. For the Beatle who was often relegated to a supporting player with one or few compositions per album, this was a massive break out for Harrison as he firmly established his own musical identity and introduced methods like his signature slide guitar technique. The result was a critical and commercial success and some consider this to be the best of all the former Beatles’ solo albums.

Harrison previously recorded two experimental solo albums called Wonderwall Music and Electronic Sound, both of which made use of early synthesizers. Following the release of The Beatles’ White Album in late 1968, Harrison took a trip to America, which included a stop at Dylan’s residence in Woodstock, NY as The Band was working on their self-titled sophomore album. Inspired by the songwriting methods of Dylan and his protégés and a renewed fascination with the guitar, Harrison began writing prolifically, and contributed songs to artists Billy Preston, Doris Tory, an Cream. Harrison also briefly toured with Clapton and his group Delaney & Bonnie and Friends. Although he began to openly discuss recording a solo album in 1969, it was not until The Beatles’ break-up in the Spring of 1970, that Harrison moved forward with the project.

Producer Phil Spector was invited to listen to Harrison’s growing library of unreleased compositions, some of which dated back as far as 1966. These diverse songs ranged in sub-genres from rock to country, Motown, Gospel and Indian music, as well as many hybrid fusions of these styles. Even though there was enough finished material to release a triple-length album, Harrison reportedly made demos of at least twenty other songs, most of which have yet to be released. Due to Spector’s rich “wall of sound” recording method, it is hard to discern exactly who played what on which track. However, this album did employ an incredible roster of talented rock musicians to back Harrison. Along with Clapton and Preston, these included fellow Beatle Ringo Starr, Dave Mason, Alan White, Phil Collins, and all four members of the group Badfinger.

All Things Must Pass by George Harrison
Released: November 27, 1970 (Apple) Produced by: George Harrison & Phil Spector Recorded: Abbey Road, Trident, & Apple Studios London, May–October 1970
Side One	Side Two
I’d Have You Anytime My Sweet Lord Wah-Wah Isn’t It a Pity	What Is Life If Not for You Behind That Locked Door Let It Down Run of the Mill
Side Three	Side Four
Beware of Darkness Apple Scruffs Ballad of Sir Frankie Crisp Awaiting on You All All Things Must Pass	I Dig Love Art of Dying Isn’t It a Pity (version 2) Hear Me Lord
Side Five	Side Six
Out of the Blue It’s Johnny’s Birthday Plug Me In	I Remember Jeep Thanks for the Pepperoni
Primary Musicians
George Harrison – Lead Vocals, Guitars, Keyboards Eric Clapton – Guitars Klaus Voorman – Bass Ringo Starr – Drums

All Things Must Pass starts with the ballad “I’d Have You Anytime”, a song co-written by Harrison and Dylan in Woodstock in November 1968. This opener features a fine guitar lead by Clapton, although he was not originally credited due to contractual concerns. The first minute and a half of the hit “My Sweet Lord” is quite brilliant in its approach. But this song does get quite repetitive and the backing religious chants wear thin later on in the song. The song turned out to be a mixed blessing as Harrison’s biggest pop hit (number one for four weeks) but also controversial due to the lawsuit for copyright infringement due to this tracks similarity to the sixties pop hit “He’s So Fine”.

“Wah-Wah” is a track with great sonic texture and arrangement that was written during Harrison’s brief departure from the Beatles in early 1969. It was the first track recorded for the album and includes a great performance by Badfinger in backing Harrison. “Isn’t It a Pity” is even older, dating back to the 1966 Rubber Soul sessions. Two distinct versions of this melancholy ballad were included on the album, with the seven-minute side one closer being the more popular version, which reached the top of the charts in Canada.

George Harrison and Eric Clapton in 1970 The fantastic rocker “What Is Life” is one of Harrison’s most indelible tunes, driven by a rich guitar riff, great melody, and strategic horns, all of which helped make it a top-ten hit in the United States. Originally, the song was a concerted effort at “blue-eyed soul” but the result is much closer to heavy rock/pop. Written solely by Dylan, “If Not for You” is a bright pop song with slight Caribbean elements and the only song not at least partially composed by Harrison. “Behind That Locked Door” follows as a Country-waltz with some steel guitars in distance, while “Let It Down” was one of a few presented to the Beatles during the Let It Be sessions, but ultimately rejected by the other band members. “Run of the Mill” starts with blissful blend of guitars while the lyrics express some frustration with the circumstances surrounding the Beatles’ business practices.

The album’s fine third side begins with the slow drudge and subtle, building intensity of “Beware of Darkness”. The lyrics of this song reflect Eastern philosophy and the wariness of corrupting influences. A light tribute to rock fans, “Apple Scruffs” is dominated by harmonica, upbeat strummed acoustic, and rich harmony vocals. The clicking percussion by Mal Evans gives it a feeling of spontaneity. “Ballad of Sir Frankie Crisp (Let It Roll)” contains some good melodies and great sonic feel as a distant slide guitar and near piano work well together, while “Awaiting On You All” is a Gospel rock revival that is almost too richly produced for its own good.

The excellent title ballad is filled with rich instrumentation and a great overall vibe. First recorded with The Beatles, the song was originally released by Billy Preston on his Encouraging Words album. Harrison was influenced by The Band’s communal music-making with the lyrics drawing from Timothy Leary’s poem “All Things Pass”. “I Dig Love” has a raw sound and catchy groove – repetitive but in useful way, while “Art of Dying” contains more great rock elements. The side four closer “Hear Me Lord” is an explicit prayer asking for help in becoming a better person, with a strong chorus in background and a very animated piano throughout.

George Harrison

The final two sides of the album is known collectively as “Apple Jam”, with four of the five tracks being improvised instrumental tracks. The best of these is the long droning “Out of the Blue”, a two-chord jam with decent sax lead early on and subtle piano and organ motifs later. “I Remember Jeep” contains some synthesized effects overdubs and features former Cream and Bind Faith drummer Ginger Baker, while “Thanks for the Pepperoni” is the most roots-rock oriented jam. The only vocal track on these two sides is “It’s Johnny’s Birthday”, which was recorded as a gag to present to John Lennon on his 30th birthday.

All Things Must Pass launched a long and respectable solo career for George Harrison, concluding with his 15-year final project Brainwashed. Still, few dispute that this first post-Beatles release is Harrison’s true masterpiece that would never be equaled.

Part of Classic Rock Review’s celebration of 1970 albums.

The Lamb Lies Down on Broadway by Genesis

August 31, 2014

by Classic Rock Review with 5 Comments Album Reviews

1974 Album of the Year

Buy The Lamb Lies Down on Broadway

Perhaps the most “out there” album by Genesis as well as out Classic Rock Review Album of the Year, The Lamb Lies Down on Broadway, is a rich double-length concept rock opera. The complex album was built in two phases with the overall story arc and lyrics written by front man Peter Gabriel and much of the music composed earlier by the other band musicians. Serendipitously, it all came together with some truly brilliant moments both musically and lyrically. However, this was not enough to prevent the ultimate parting of ways between the group and Gabriel, who departed Genesis about a year after this album’s release.

After the success of their 1973 album Selling England by the Pound and the subsequent tour, Genesis headed to the famous Headley Grange mansion (which Led Zeppelin and Bad Company had previously inhabited) to write and develop material. However, the building was in poor condition and, believing the house was haunted, several band members found it difficult to sleep. Gabriel was absent from these sessions due to personal problems and most of the music was worked out by keyboardist Tony Banks, bassist.guitarist Mike Rutherford and drummer Phil Collins. In fact, Rutherford had began composing a theme based on Antoine de Saint Exupéry’s The Little Prince but Gabriel insisted on composing an original story himself to the point where there was friction at the mere suggestion of a lyrical adjustment.

Lead guitarist Steve Hackett, who was a standout on the previous two albums, admitted he was pretty much “an innocent bystander” on this album, although he did manage to conjure a handful of impressive guitar leads. In contrast, The Lamb Lies Down on Broadway was probably the finest overall musical effort for Banks and Collins. Banks’ range on this album stretched from his use of both the nearly outdated Mellotron and some brand new synthesizers, while this may be Collins’ best overall performance as a drummer on an album which is highly rhythm driven.

Co-produced by John Burns, the album contains some advanced musical techniques and some very modern compositional approaches that touch on the yet-to-be formalized genres of punk and new wave. The album also features Brian Eno, who is credited with the “enossification” of several tracks with his mastery of synthesizers.

The Lamb Lies Down on Broadway by Genesis
Released: November 18, 1974 (Atco) Produced by: John Burns & Genesis Recorded: Island Mobile Studios, Wales, August–October 1974
Side One	Side Two
The Lamb Lies Down on Broadway Fly On a Windshield Broadway Melody of 1974 Cuckoo Cocoon In the Cage The Grand Parade of Lifeless Packaging	Back in N.Y.C. Hairless Heart Counting Out Time The Carpet Crawlers The Chamber of 32 Doors
Side Three	Side Four
Lilywhite Lilith The Waiting Room Anyway Here Comes the Supernatural Anaesthetist The Lamia Silent Sorrow In Empty Boats	The Colony of Slippermen Ravine The Light Dies Down on Broadway Riding the Scree In the Rapids It
Group Musicians
Peter Gabriel – Lead Vocals, Flute, Oboe Steve Hackett – Guitars Tony Banks – Piano, Keyboards Mike Rutherford – Bass, Guitars Phil Collins – Drums, Percussion, Vocals

Banks has a long classical piano intro to the title track, “The Lamb Lies Down on Broadway”, which persists throughout behind the rock arrangement. Gabriel’s new vocal style for this album is also established here, as is Rutherford’s aggressive bass approach. Lyrically, the song introduces the protagonist Rael, who emerges from a night of mischief to witness an odd occurrence, and includes a slight rendition of The Drifters’ “On Broadway” in its outro. “Fly on a Windshield” is a direct sequel to title song, with strummed acoustic and spooky backing effects. Rutherford described the original inspiration as “Pharaohs going down the Nile” prior to Gabriel’s lyrics being added. In the story, Rael witnesses a big cloud solidify like a screen and follow him as he flees up Broadway, showing up pictures of what existed around it in the past. These images are described in “Broadway Melody of 1974”, a short but highly excellent track with a simple, choppy rock riff.

“Cuckoo Cocoon” is the first song on the album set up like a recent Genesis song, with picked guitar, melody, flute, and good vocal melodies. In the story, Rael regains consciousness to find himself wrapped in a cocoon and in some sort of dark cave. On the album’s first side, the group seems to try too hard to link songs in a continuum, However, the intro to “In the Cage” contains an exception link as it builds towards driving rhythms. The song itself builds tension with odd timings and beats, as all the instruments seem to be doing their own independent thing but yet somehow all jive together. There are exception rhythms by Rutherford and Collins and fantastic, multi-part leads by Banks in the long mid section. Noticing he is trapped in one of several linked cages, Rael sees his brother John for the first of several encounters that add metaphor to the deeper story. Next, Rael is spun into an empty modern hallway with a highly polished floor. much like a modern department store for “The Grand Parade of Lifeless Packaging”. Musically, this is a radical turn from the dramatic to the light and entertaining as this marching song builds with each verse, employing grand effects and instrumentation along the way.

Genesis In 1974 The album’s second side begins with “Back in N.Y.C.”, which was way ahead of its time musically. Gabriel’s vocals are at their most desperate and strained in an excellent rock manner above the synth motifs and pounding rhythms. Much tension is built through the music of Banks, Rutherford, and Collins, especially in the bridge section. This is the first of three tracks where we learn of Rael through retrospective stories, here revealed to have been a thug and pyromaniac in his past. “Hairless Heart” is the first instrumental of the album with some English style acoustic slight pedal guitar by Hackett and a thicker synth lead by Banks. The title reverts back lyrics in “Back in N.Y.C.” and seems to indicate a softer side to the character. “Counting Out Time” is the last of the retrospective trio, a light and entertaining pop song with just a touch of funk and wild, synth-effected guitar lead in the most “enossified” of any song thus far on the album. This lighter song speaks of Rael’s first intimate encounter, which he tried to execute through specific instructions from a book entitled Erogenous Zones.

“The Carpet Crawlers” brings us back to the present and the main plot, and is one of the most heralded tracks on the album. This pleasant and moody contains good harmonies by Collins and Gabriel’s lead vocals get more and more animated as the song goes along as more and more is being discovered by Rael in this dark room. Here, the protaganist finds himself among others for the first time as they point upwards towards an endless staircase that leads to a chamber which they “got to get in to get out”. “The Chamber of 32 Doors” starts with dramatic intro and guitar lead until the song proper is driven by bouncy bass of Rutherford, which slow to three-note measured rhythm during next desperate post-verse section. This fine, multi-part composition finds Rael facing the difficult choice of choosing the appropriate door. Here there is a bit of editorializing on the types of people to trust in this endeavor;

“I’d rather trust a countryman than a townman, You can judge by his eyes, take a look if you can, He’ll smile through his guard, Survival trains hard. I’d rather trust a man who works with his hands, He looks at you once, you know he understands, Don’t need any shield, When you’re out in the field…”

The person Rael chooses to lead him is the blind “Lilywhite Lilith” who feels her way through but leads him to a cave that he believes will bring him death. Musically, the song contains dual lead vocals in a pretty heavy rock song with multiple rock guitars and an outro refrain that revises “Broadway Melody 1974” but with more dynamic vocals. “Lilywhite Lilith” is also the only track credited solely to Gabriel and Collins. “The Waiting Room” is the wildest, sound-effect laden piece of experimental music, which Collins called “The Evil Jam” when it was started by Hackett and Banks back at Headley Grange. “Anyway” was deveoped from an unused 1969 composition called “The Light” and is often overlooked as a classic. This beautiful and desperate piano tune captures the mood and the various thoughts when it appears that Rael’s death is imminent. Just a hint of synths compliment the piano and later rock section with harmonized guitar lead by Hackett and great philosophical lyrics by Gabriel;

“Does Earth plug a hole in Heaven or Heaven plug a hole in Earth, how wonderful to be so profound when everything you are is dying underground…”

By contrast, “Here Comes the Supernatural Anaesthetist” is short, light and with little substance lyrically but its rock jam makes it entertaining overall. in all, the latter part of side three is the weakest part of the album, where it doesn’t quite seem to flow well. “The Lamia” contains a quirky intro as it really doesn’t fit with previous track. This long, story-telling piano ballad is very poetic and profound and probably the best song lyrically, but is slow developing musically until it finally ends with good lead by Hackett that seems to be cut off too soon. Here Rael faces death again in an erotic act that kills his seductive attacker. The most overt filler, “Silent Sorrow in Empty Boats” is all effect-laden, slow and surreal, but a weak way to end a side of a record.

A long, minute and a half instrumental intro with Eastern musical influence using various sound effects and percussion starts the extended “The Colony of Slippermen”. Soon, it breaks into upbeat and bouncy theatrical sound, in the same vein as “The Battle of Epping Forest” from their previous album. Rael is a little disillusioned, when the grotesque Slipperman reveal that the entire colony have one-by-one been through the same glorious romantic tragedy as he and now Rael shares their physical appearance and shadowy fate. The only escape from this colony is through a dreaded visit to the notorious Doktor Dyper who will remove the source of his “desire” problem. During the long middle section, the story turns but music remains upbeat and entertaining. After a most dramatic loss, Rael calls for his brother John to help him, but he refuses.

Genesis 1974

After “Ravine”, another link song with little substance, comes “The Light Dies Down on Broadway”, a recurrence of the opening song, but much more calmer and moderate. This is the only track where Gabriel did not write the lyrics (Banks and Rutherford took care of that) and it offers Rael a choice to “escape” back through a portal to New York City or save his drowning brother who had fallen in the rapids. He chose the latter, which carries through the next two tracks and the climax of the story. “Riding the Scree” is funky with odd-timed beats and carnival elements under a long synth lead by Banks. “In the Rapids” contains good guitars by Hackett throughout with layers as the piece builds in intensity. The moral of the story revealed here as Rael hauls his brother’s limp body out of the water and looks to find it is not John’s face, but his own. Collins remarked that the entire concept was about split personality, as Rael believed he is looking for John but is actually looking for a missing part of himself.

The closing track “It” contains fastly-strummed guitars and is upbeat and optimistic. This track is almost an epilogue outside of the main theme, as a song of discovery and revelation and directly quotes the Rolling Stones (then brand new) “It is only rock and roll but I like it” for it’s final line. Ultimately, the entire meaning of this complex story is defined by “It”, and “It” appears everywhere, either you get “It” or you don’t.

The Lamb Lies Down on Broadway reached number 10 in the UK, but didn’t cracking the US Top 40. Upon its release, Genesis went on a world concert tour and, at Gabriel’s insistence, performed the album in its entirety over 100 times. Gabriel had already revealed to the band that he was leaving before the tour commenced, but did not make this public until after the tour in Summer of 1975. Although the album was hardly a success at the time, it is now considered a Genesis classic.

Part of Classic Rock Review’s celebration of 1974 albums.

Top 9 Rock Festivals of All Time

August 17, 2014

by Ric Albano with 12 Comments Special Features

This week Classic Rock Review joins the celebration of the 45^th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

1. Woodstock

August 15-18, 1969
Bethel, New York
This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18^th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California
Credited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia
Still the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK
In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri
Ozark Music Festival stage “No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California
Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas
Starting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide
Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York
Organized to commemorate the 25^th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature

Bonus Top 9 List: Best Single Day, Single Location Shows

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40^th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA

Ric Albano

Genesis

June 20, 2013

by Classic Rock Review with 2 Comments Album Reviews

Buy Genesis

Although it is titled like an eponymous debut, Genesis was actually the twelfth studio album by Genesis. The group decided to name it such because it is the first album on which all (three) members of the group helped compose each track. The album was a huge commercial success, reaching the Top Ten on both sides of the Atlantic (#1 in England), remaining on the charts for a full calendar year, and eventually selling several million copies worldwide. While the 1980s version of the group deviated from the artistic realm, they still managed to be original within the pop realm and stretched the boundaries of “radio friendly-ness” with Genesis.

The album was recorded and released in 1983 and came smack in the middle of a very odd situation for the band. Lead singer and drummer Phil Collins had released two phenomenally successful solo albums with Face Value and Hello, I Must Be Going along with a string of radio hits through 1981 and 1982. Collins had also played drums on two solo albums for former Led Zeppelin vocalist Robert Plant and one album for former Genesis front man Peter Gabriel. Still Genesis, once a quintet which had lost two departing members in the late 1970s, remained a priority for the remaining three Collins, keyboardist Tony Banks and guitarist/bassist Mike Rutherford.

The album was the second to be co-produced by Hugh Padgham as well as the second to be recorded at Fisher Lane Farm, a converted cowshed and cottage owned by the band. Collins’s early solo albums had a rather dark presence which carried over into the themes on Genesis. He also made heavy use of drums and well-effected percussion, giving the overall sound an edge while making it more accessible than most traditional, art/rock Genesis albums. In fact, one reviewer called this “a Genesis album for people who normally hate Genesis” and “great music for the masses”.

Genesis by Genesis
Released: October 3, 1983 (Atlantic) Produced by: Genesis & Hugh Padgham Recorded: Fisher Lane Farm, Surrey, England, May–August 1983
Side One	Side Two
Mama That’s All Home by the Sea Second Home by the Sea	Illegal Alien Taking It All Too Hard Just a Job to Do Silver Rainbow It’s Gonna Get Better
Band Musicians
Phil Collins – Lead Vocals, Drums, Percussion Mike Rutherford – Guitars, Bass, Vocals Tony Banks – Keyboards, Vocals

Right from the start with the opener “Mama”, it is clear that the band borrows from some of the minimalist arrangements and sonic effects of Collins recent solo work. This very mechanical and slowly moving song migrates from being quiet and haunting to becoming ever more intense, slowly building with instrumentation until a full rock arrangement finally kicks in about five minutes into the song. The first single from the album, “Mama” reached the Top 10 in several European countries. Like awakening from a bitter nightmare, the light and entertaining “That’s All” could not contrast more from the vibe of “Mama”. Light, warm, and piano-driven, the song is a happy-go-lucky way to express the lyrical misery and contains a great middle organ solo by Banks, which is only topped by the excellent outro guitar lead by Rutherford. “That’s All”, was the band’s first U.S. Top 10 hit, peaking at #6.

“Home by the Sea” is a melodic adventure song which may have fit well with some of the more theatrical cuts from years past. Rutherford does excellent on bass, mainly stepping away from the guitar to let Banks’s keyboards drive most of the music. Lyrically, the storytelling song is about a burglar who breaks into a house only to find it is a prison, haunted by the ghosts who capture the intruder and force him to listen to their stories for the rest of his life. The most progressive part of the album, the song combines with the mainly instrumental “Second Home By the Sea” as a two=part suite. However, this second part is basically subtraction by addition as it is laced by ever-present electronic drums and unfocused keyboards which drown out the main funk guitar.

The second side begins with “Illegal Alien”, containing a nice blend of electronic percussion and effects with bouncy keyboard motifs. This is all topped by Collins catchy melody and several other sonic goodies with a great middle section filled with Caribbean/reggae motifs. The lyrics take a rather comical look at the frustrations of an illegal immigrant with Collins even trying a bit of an Mexican accent.

One of the finest tracks on the album, “Taking It All Too Hard”, is a ballad with a real edge. A combination of strong rhythm with topical electric piano and emotional vocals, along with just a splash of complimentary backing vocals, the song really shines, especially during the chorus parts (one of which was the song opening). “Just a Job to Do” is a pure eighties pop song, sounding like it came right out of Miami Vice. Musically, it is a frantic funk with bass patterns topped by a cheesy synth with the great vocal hook once again carrying the song to respectability. Lyrically, it tells the story of a private investigator chasing down his subject.

Genesis in 1983

Unfortunately, Genesis does not finish up on a very strong note. “Silver Rainbow” contains a big beat which feels very out of place among the other fine tracks on the album. When the song finally gains full focus, it sounds pleasant enough, but not enough to really carry it to respectability. The closer “It’s Gonna Get Better” tries too hard to make the most of synths and electronic effects and ultimately the album finishes much weaker than it potentially could have.

Following the release and success of Genesis Collins resumed his solo career, which would continue to produce hit songs and albums through the remainder of the decade. Rutherford followed suite with the formation of his solo studio group Mike + the Mechanics, which itself released several Top 40 hits in the mid 1980s, including the #1 single “The Living Years”. Like clockwork, Genesis returned three years later with the album Invisible Touch, another very successful album commercially.

Part of Classic Rock Review’s celebration of 1983 albums.

The Principle of Moments by Robert Plant

May 3, 2013

by Classic Rock Review with 6 Comments Album Reviews

Buy The Principle of Moments

The 1983 release of The Principle of Moments was the second solo album by Robert Plant, following the disbandment of Led Zeppelin in late 1980. The album follows close on the heels of Plant’s debut, Pictures At Eleven and employs the same musicians and production team. Recorded in Wales, the production was polished and clinical while maintaining enough rock edge to keep it original and interesting. Plant had declined to tour following his debut because he didn’t want to perform any Led Zeppelin songs live and didn’t yet have enough original solo material to justify a tour. With the release of this second album, Plant’s second life as a major recording artist took was fully spawned.

The Principle of Moments was the first release on Plant’s independent label Es Paranza Records, after the folding of Led Zeppelin’s label Swan Song, which was also the label from Plant’s debut. Swan Song ceased operations due to the failing health of Zeppelin manager Peter Grant. When Swan Song’s offices were cleared out in 1983, early demos from Iron Maiden, Heart and other popular bands were found.

The sound of The Principle of Moments fuses new wave rock with some elements of reggae and abstract motifs and is percussion heavy with sharp, high-pitched guitars, led by guitarist Robbie Blunt and drummer Phil Collins. While not as dynamic as in the heart of the Zeppelin years, Plant’s vocals are melodic and refined. The album’s title comes from the scientific Varignon’s Theorem, which states that the moment of any force is equal to the algebraic sum of the moments of the components of that force. With the experimental tracks on this album, Plant seems to be declaring his independence from the Zeppelin sound and celebrating his own “moment” in time.

The Principle of Moments by Robert Plant
Released: July 11, 1993 (Es Paranza) Produced by: Robert Plant, Benji LeFevre, & Pat Moran Recorded: Rockfield Studios in Monmouth, Wales, 1983
Side One	Side Two
Other Arms In the Mood Messin’ With the Mekon Wreckless Love	Thru With the Two Step Horizontal Departure Stranger Here…Than Over There Big Log
Primary Musicians
Robert Plant – Lead Vocals Robbie Blunt – Guitars Paul Martinez – Bass, Vocals Jezz Woodroffe – Keyboards Phil Collins – Drums

Although not officially released as a single, the opener “Other Arms” reached number one on the Billboard Mainstream Rock chart. Musically, the song continues the style of Pictures at Eleven, melodic and heavy on the chorus backing vocals, a long way from the improvised arrangements of Zeppelin’s early days. “In the Mood” (which was officially released as a single) follows and marks the point where the album starts to distinguish itself. Built on bassist Paul Martinez’s very simple yet infectious bass line, with Blunt’s simple, strummed chords on top and a strong percussion presence by Collins in contrast to laid back music and vocals. Plant’s melody rhythm is almost like blue-eyed rap and this translated into a Top 40 single on the pop charts.

Keyboardist Jezz Woodroffe shines brightest on the ballad “Through with the Two Step”, where Plant’s melodic verse vocals drip with melancholy sweetness to the waltz of Woodroffe’s wafty keyboards and in contrast to Blunt’s excellent lead later in the song. “Horizontal Departure” is a very upbeat and entertaining, sex-infused rock song, like a new wave version of Zeppelin’s “Whole Lotta Love”. Again Collins has a very strong and dynamic performances on drums, contrasting against the very measured riffs of Blunt and Martinez.

The album’s biggest hit is the closer “Big Log”. Reflective and somber, this is a mature song in every respect, musically, lyrically and production-wise. It employs some of the better synth-era techniques – the rubber kick effect, snappy top beat – along with well refined guitars, a swell of long synths, and vocal choruses by session singers John David and Ray Martinez. But this song is a true showcase for Robbie Blunt, one of rock’s forgotten great guitarists, whose cleaver Latin phrasing leaves the most indelible mark in this truly unique composition.

The Principle of Moments includes a trio of experimental songs. “Messin’ With the Mekon” starts with an almost Jimmy Page-like riff before giving way to a moderate Caribbean groove with measured beats, although the arrangement does seems hollow when trying too hard to fit odd pieces together. “Wreckless Love” contains a mixture of electronic and Middle Eastern textures and other highly experimental arrangement that only gels due to Plant’s strong melody. The song features Barriemore Barlow, formally of Jethro Tull, on drums, as does “Stranger Here…Then Oven There”. Another experimental song with some brilliant verse vocals, this song also suffers from too many superfluous effects and arrangements, which do little more than interrupt the reggae beat and flow of the song’s core.

Robert Plant band 1983

With two Top 10 albums under his belt, Plant launched a successful tour in late 1983, taking the stage for the first time since Zeppelin’s Knebworth concerts in 1979. In the following years Plant would work with his former band mates sporadically, starting with the short-lived oldies project The Honeydrippers, while continuing to build his solo career.

Part of Classic Rock Review’s celebration of 1983 albums.

Selling England by the Pound
by Genesis

February 1, 2013

by Classic Rock Review with 8 Comments Album Reviews

Buy Selling England by the Pound

The classic lineup of Genesis was at their absolute peak musically and melodically on the 1973 album Selling England by the Pound. The band had a steady progression in the early 1970s albums, leading to this climax which fused their heavy prog-rock and overtly theatrical background with an English folk theme topped by incredible rock virtuosity. The album has a storybook quality and is nearly drifts into “concept album” territory. Instead it is more a collection of short stories, fables, and fairy tales that don’t really have much in common save the English themes. And, of course, the fantastic musicianship that made this album one of the greatest albums of the progressive rock genre.

While all members of the quintet are at their absolute peak on this album, no one shines brighter than guitarist Steve Hackett. This is his absolute moment in the sun and makes one wonder why there was relatively so little from him in subsequent years (even though he stayed with Genesis through three more albums). On this album Hackett perfected the use of the tapping technique and sweep picking, techniques which would not become widely popular until a decade later. This is also the album were drummer Phil Collins (who would later be more associated as the band’s front man) best displays his drumming skills. Even lead singer Peter Gabriel gets into the musical act, providing flute on several tracks to add to the overall English folk vibe.

A nice balance is struck throughout the album and on a matrix of levels. The four epic pieces alternate with the four lighter pieces throughout the album and with these an alternation between deeper and heavier eccentricity with contemporary pop and fragile love song themes. There is also a nice consolidation between the rock and folk sections, the overt literary allusions and hook-driven themes often all within the same track. This combination makes this album infinitely listenable and not the least bit dated four decades after its release.

Selling England By the Pound by Genesis
Released: October 12, 1973 (Atlantic) Produced by: John Burns and Genesis Recorded: Island Studios, London, August 1973
Side One	Side Two
Dancing with the Moonlit Knight I Know What I Like (In Your Wardrobe) Firth of Fifth More Fool Me	The Battle of Epping Forest After the Odeal The Cinema Show Aisle of Plenty
Group Musicians
Peter Gabriel – Lead Vocals, Flute Steve Hackett – Guitars Tony Banks – Piano, Keyboards Mike Rutherford – Bass, Guitars, Cello Phil Collins – Drums, Percussion, Vocals

A long intro with only guitar textures and vocal melody mask the ultimate dynamics of “Dancing with the Moonlit Knight”, the de facto title song of Selling England by the Pound. This eight minute album opening song blends lyricism and acoustic texture during the opening verses with the exquisite musicianship during this middle jam. During this section each musician’s skills are showcased nicely before the song fades into an add yet intriguing mellow outro which eats up nearly two minutes with psychedelic rudiments. “I Know What I Like (In Your Wardrobe)” was the band’s first charting single through five LPs, climbing all the way to #21 on the UK charts. It has a mechanical sound-effect during the intro with spoken word intro before it breaks into a pleasant pop (almost “glam”) song with the chorus melody being mirrored by a heavy synth riff and a very active bass line by Mike Rutherford. The lyrics were derived from the painting by Betty Swanwick called The Dream, which originally did not include the lawn mower which the band asked Swanwick to add to the painting to match the song’s protagonist. A simple, “lawnmower man” who is constantly getting advice from people concerned with his future, but is content with what he is (“I know what I like and I like what I know”). Although the song was the most accessible in their collection to date, it still contains some Genesis edge including a return to the mechanical effect during the coda beneath a flute lead to end the song.

I don’t make such assertions lightly, but “Firth of Fifth” is one of the greatest rock masterpieces ever, despite its relative mainstream and radio obscurity. This song has everything great about a progressive rock song, starting with an unbelievable classical piano intro by Tony Banks which lasts over a minute alternating between among time signatures before giving way to a pure rock verse and chorus performed by the entire ensemble. The song then travels through a sonic journey of several sections, some with vocals, some instrumental, but all purely excellent. There is a part with a light flute solo by Gabriel over Banks’ methodical piano riffs, which leads to part where the piano builds and builds until breaking into a frantic synth led over the full band rendition of the opening piano piece, where Collins especially shines on drum. Then comes perhaps the greatest guitar lead ever by Hackett, who sustains notes into the stratosphere above a basic driving, bluesy backing rhythm. But this guitar is anything but basic, striking notes in the most methodical and melodic way where each one counts. Even the sparse lyrics are superior, especially during the final verse;

“Now that the river dissolves in sea, so death too has claimed another soul / and so with Gods and Men the sheep remain inside their pen until the shepherd leads his flock away / the sands of time were eroded by the river of constant change…”

The title of “Firth of Fifth” is a pun on the estuary of the River Forth in Scotland, commonly known as the Firth of Forth. Although, like all tracks on the album, “Firth of Fifth” is credited to all five band members, Banks was actually the author of most of this song with Rutherford helping out with some of the lyrics.

Genesis in 1973

Selling England by the Pound is also notable for a milestone in the band’s career, containing the first song with lead vocals by Phil Collins, who would take over those duties permanently following Gabriel’s departure in 1975. “More Fool Me” is a bit melodramatic yet pleasant love song and pretty much only involves Hackett and Rutherford on acoustic guitars and Collins on lead vocal. Collins sings soprano most of the way, which really stands out due to the song’s sparse arrangement.

Side two is a much more theatrical side, especially with the side’s opener “The Battle of Epping Forest”. This begins with colonial-type battle march, led by flute and a marching drum rhythm. It then bursts into a full prog-rock arrangement through the first verse before morphing its way through many multi-character, story-telling sections in a manner similar to “Get Em Out by Friday” from their previous album Foxtrot. A wild, choppy guitar provides rhythm for the second verse leading to a complete break in the middle “Reverend” section, with a waltz-like tempo and more deliberate melody. The song was inspired by territorial gang battles in East London but uses heavy allegory of middle age clashes in the forest while subtly eschewing an anti-war message;

“There’s no one left alive, it must be a draw…”

“After the Ordeal” is presented as an instrumental epilogue to “The Battle of Epping Forest” but acts more like an intermission bridge between two epic songs. Written mainly by Hackett, the piece has two distinct parts with the first half an up-tempo classical guitar piece with a piano backing and the second half a slower rock piece beneath Hackett’s electric lead. This lead is again masterful and the only real problem is that it is edited way too short.

The eleven-plus minute epic “The Cinema Show” sustained as the fan favorite from this album. It begins as a purely romantic, modern day “Romeo and Juliet” tale, led by dual acoustic folk guitars and melodic lead vocals by Gabriel. The lyrics from Banks and Rutherford were inspired from a T.S. Eliot poem along with Greek mythology and have highly sexualized overtones. Like the other epics on this album, the song builds into many sections once the entire band gets involved, including a complex vocal motif and yet another lead to great lead guitar by Hackett which segues into a five minute long jam with various synth leads by Banks, some backing operatic vocal choirs, and incredible drumming by Collins, playing a shuffle in 7/8 time. The synth sounds act as a sneak preview of the band’s next album, the double LP The Lamb Lies Down on Broadway. The song dissolves back to 4/4 time and segues into the closing song “Aisle of Plenty”, a reprise of “Dancing with the Moonlit Knight”, giving the album a bookend effect.

Selling England by the Pound was classic Genesis hitting on all cylinders, and the band put together a completely original and musically superior album like no other. Although it would pale in comparison to the commercial success of the band’s pop-oriented 1980s album, it nearly topped the charts in the UK, which was a big deal at the time. But where there album shines is artistically, and on this front it belongs on the list of best ever.

Part of Classic Rock Review’s celebration of 1973 albums.