Sorry, can’t bring myself to watch it. I saw Peter Gabriel at Glastonbury in the late nineties or thereabouts and really enjoyed him, but ever since a mate played me Supper’s Ready when I was fifteen I’ve been completely allergic to Genesis, disliking them with a passion second only to my dislike of Yes.
If anyone’s up for a game of “please explain to Happiness Stan how his life would be improved by watching this clip”, I’m prepared to dive in, as long as I’m allowed to bale out after ten minutes.
Stan, I used to hate “Supper’s Ready.” Now I love it. Unfortunately, the clip that unlocked it for me is no longer online; someone had created a video for song using film clips from outre world cinema entries like Toby Dammit, The Devils, and On the Silver Globe. Suddenly, I got the epic sweep and vaguely pagan air of the song.
I also appreciate that during this era Phil Collins was able to create driving, swinging drum parts even when playing in ridiculous time signatures.
I tried, you know? I really tried to give this a chance, but O MY GOD this is lame. I had to bail when Peter Gabriel started playing the flute. (Peter Gabriel plays the flute?) If you want to plumb the depths, look up the lyrics to that first song. Some kind of classical mythology shit going on there.I find it hard to believe that Gabriel hasn’t hunted down and destroyed all copies of this.
I remember the early 70s. It was a tough time, and no one really knew where music was going. Thank god this kind of thing sort of petered out on its own.
Say this for that era of prog: those lads MEANT it. They were passionate about their music. Absolutely does not mean it didn’t suck, since most of it surely did. But there’s something to be said for the fact that they were every bit as emotionally committed—and commercially successful—as early punk bands like the Ramones. (While the likes of Yes and ELP were raking in the bucks by this point, Genesis was well into the red until after Peter Gabriel left.)
Yeah, I’m back. This time responding to Oats’s comment: Phil Collins is the only major prog drummer who could make odd time signatures actually swing. He didn’t have Palmer’s command of rudiments (the only good thing I can say about Carl Palmer’s drumming), he didn’t have Bill Bruford’s relentless experimentation, he didn’t have Neil Peart’s amazing ability to perfectly recreate tremendously difficult parts night after night. But he could make compound time feel GREAT, on a level none of them were ever able to come close to achieving.
Sorry, can’t bring myself to watch it. I saw Peter Gabriel at Glastonbury in the late nineties or thereabouts and really enjoyed him, but ever since a mate played me Supper’s Ready when I was fifteen I’ve been completely allergic to Genesis, disliking them with a passion second only to my dislike of Yes.
If anyone’s up for a game of “please explain to Happiness Stan how his life would be improved by watching this clip”, I’m prepared to dive in, as long as I’m allowed to bale out after ten minutes.
Nice to see Phil Collins w/an over abundance of hair.
I hope that Peter Gabriel has had his teeth fixed since then. He ‘s showing more passion here than on the Kate Bush holiday special from 1979.
Interesting to see Genesis before their Top 40 incarnation.
I don’t really feel like defending this. And yet…
Stan, I used to hate “Supper’s Ready.” Now I love it. Unfortunately, the clip that unlocked it for me is no longer online; someone had created a video for song using film clips from outre world cinema entries like Toby Dammit, The Devils, and On the Silver Globe. Suddenly, I got the epic sweep and vaguely pagan air of the song.
I also appreciate that during this era Phil Collins was able to create driving, swinging drum parts even when playing in ridiculous time signatures.
I tried, you know? I really tried to give this a chance, but O MY GOD this is lame. I had to bail when Peter Gabriel started playing the flute. (Peter Gabriel plays the flute?) If you want to plumb the depths, look up the lyrics to that first song. Some kind of classical mythology shit going on there.I find it hard to believe that Gabriel hasn’t hunted down and destroyed all copies of this.
I remember the early 70s. It was a tough time, and no one really knew where music was going. Thank god this kind of thing sort of petered out on its own.
Beautiful, BigSteve! Thanks for trying.
Pretentious, silly, jejune, dated, and I fucking adore every goddamns second of it.
“goddamns” — plural? I must REALLY love it!
Say this for that era of prog: those lads MEANT it. They were passionate about their music. Absolutely does not mean it didn’t suck, since most of it surely did. But there’s something to be said for the fact that they were every bit as emotionally committed—and commercially successful—as early punk bands like the Ramones. (While the likes of Yes and ELP were raking in the bucks by this point, Genesis was well into the red until after Peter Gabriel left.)
Yeah, I’m back. This time responding to Oats’s comment: Phil Collins is the only major prog drummer who could make odd time signatures actually swing. He didn’t have Palmer’s command of rudiments (the only good thing I can say about Carl Palmer’s drumming), he didn’t have Bill Bruford’s relentless experimentation, he didn’t have Neil Peart’s amazing ability to perfectly recreate tremendously difficult parts night after night. But he could make compound time feel GREAT, on a level none of them were ever able to come close to achieving.
There’s a reason Eno got Collins to play drums on some crucial tracks on his early solo albums.