One of my favorite Genesis songs, revisited by Steve Hackett forty years after its original release on the Genesis album Foxtrot, featuring vocals by Steven Wilson. In the early 2010s, the two Steves were in the same social circle for a while, and they appeared on each other’s albums. (Hackett provides guitar for Wilson’s “Remainder the Black Dog” on Grace for Drowning.)
It’s nearly Halloween, so please enjoy this song about killer plants!
For me, one of the highlights of the penultimate Genesis album is this atmospheric song with a dark lyric by Mike Rutherford. Once again, a great contrast is introduced when the real drums appear in the song, and the synth pads and progressions paint a suitably dark picture for the song’s subject matter.
A quirky and uplifting song with an equally quirky video. This is actually one of a few songs in the Genesis catalogue about aliens, in this case what happens to someone who has been abducted and brought to a peaceful utopia, but upon being returned to Earth, is unable to share the wonderful experiences they had in that other world.
On this April Fools’ Day, here is a song which fits the day’s spirit of silliness. I find it ironic that one of the band’s most experimental songs is also one of the most loathed by many fans. Criticizing a progressive band for making experimental music? That seems a bit backwards, but oh well. I still enjoy the song!
You can thank Tony Banks for this oddity from the Genesis catalogue. According to the band’s account in the Chapter and Verse Genesis autobiography, Tony had just gotten a new synthesizer and accidentally discovered that the sound patches could randomly change with each new keypress, and wanted to record a song around that novelty. Phil and Mike reluctantly agreed, with the thought that maybe Tony would stop bothering them about it if they recorded the song.
SO! Was it you or was it me?
This song written by Tony Banks contains some of my favorite Genesis lyrics with their symbolism:
“Beware the fisherman who’s casting out his line
into a dried up riverbed,
but don’t try to tell him ‘cos he won’t believe you.
Throw some bread to the ducks instead,
it’s easier that way.”
Since I’ve just rebooted this blog, I thought some new features might be worth trying. Music is one of my biggest interests, so I thought maybe a song of the week would be good. There is no shortage of music in my library and I like all kinds of music, so I’m hoping it is something I can keep up on a regular (weekly, in fact) basis. It’s mainly a matter of finding the song on YouTube so I can share it.
For the inaugural edition of “Song of the Week”, I have of course chosen my all-time favorite song, and it has held that status since about 1992 when I first heard it. Seconds Out was an album I heard very early on as I was discovering the band Genesis at the time of the We Can’t Dance album. I think discovering their (then-)new and old music at the same time made me appreciative of all of their music, and I didn’t become a fan of any “era”, but rather their whole discography.
But I digress. This feature isn’t meant to be a full-on blog post, but since I am starting with such a significant song to me, a short explanation was in order. Anyway, I will always remember the day I was in the car listening to my taped copy of Seconds Out (I had borrowed the CD from the library) on my walkman and this song came on. I had heard it several times before, but on this particular day, during the instrumental second half, it all fell into place. This was the band I had been waiting for. I was barely a teenager, and I was still new to being “serious” about music, but it was during the live version of this song (it wouldn’t be until a few months later that I heard the original version on Selling England by the Pound) that I decided that Genesis was my favorite band.
And they still are.