Posts Tagged ‘Genesis’

CHART ATTACK!: 7/19/86

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Hello again, folks! Last time we met, we reviewed a pretty awesome chart from June of 1975. Well, since I choose these charts pretty much at random, you had to know it was inevitable that our luck might not hold out. Or did it? I’ll be interested in hearing what you think — let’s take a look at the pop-filled chart for the week ending July 19, 1986!

10. Love Touch — Rod Stewart Amazon iTunes
9. Your Wildest Dreams — The Moody Blues Amazon iTunes
8. There’ll Be Sad Songs (To Make You Cry) — Billy Ocean Amazon iTunes
7. Glory of Love — Peter Cetera Amazon iTunes
6. Who’s Johnny — El DeBarge Amazon iTunes
5. Holding Back the Years — Simply Red Amazon iTunes
4. Danger Zone — Kenny Loggins Amazon iTunes
3. Nasty — Janet Jackson Amazon iTunes
2. Sledgehammer — Peter Gabriel Amazon iTunes
1. Invisible Touch — Genesis Amazon iTunes

10. Love Touch — Rod Stewart

Even in 1986, how did Rod Stewart keep a straight face when singing the line “I’m gonna give you my love touch”? No, even worse, let’s look at the middle of the song, where Rod actually sings “Oooh, you’re gonna get a/oooh, you’re gonna get a big love touch.” That’s the worst of the bunch. “A big love touch”? Shame on you, Rod. I’d even take you making love to the camera a la “Do Ya Think I’m Sexy?” over this dreck. And who had the idea for steel drums? What a terrible idea! Although I think it’d be fun to go to the Bahamas and ask a traditional steel drum band if they know “Love Touch.” (C’mon, do we really need to hear them play Bob Marley’s “Three Little Birds” yet again?)

All this being said…for some inexplicable reason, I like the chorus of this song. (Well, up until he says the words “love” and “touch,” anyway.) I specifically love the line “Just gimme a chance!” because of the way he pronounces “chance.” It sounds like Harry Caray.

This is the first of four songs on this week’s chart taken from a movie soundtrack. This one in particular is from Legal Eagles, and some brilliant director decided to set the (awful) video in a courtroom, inserting scenes from the movie featuring Robert Redford, Debra Winger and Daryl Hannah. Fortunately, all three actors had the good sense to not make themselves available for the video, unlike another certain movie star…well, you’ll see.


The Friday Mixtape: 6/12/09

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Editor’s note: This week’s mixtape has an inordinate amount of song edits. While the prog purists who prefer the full-length epics might take offense, we simply cannot post 12-or-so tunes at 13-plus minutes apiece (and two songs clocking in at a half hour each). We hope you’ll understand why we’ve done as we’ve done and then show your support to the bands below by buying their albums.

10cc – Une Nuit a Paris from The Original Soundtrack (1975)
Transatlantic – Duel With the Devil from Bridge Across Forever (2001)
Frost* – Milliontown (Ballad Edit) from Milliontown (2006)
Dream Theater – Finally Free from Metropolis Part 2: Scenes From a Memory (1999)
Kerry Livgren featuring David Pack – Ground Zero from Seeds of Change (1980)
GTR – When the Heart Rules the Mind from GTR (1986)
Fates Warning – A Pleasant Shade of Gray Part Six from A Pleasant Shade of Gray (1997)
Emerson, Lake & Palmer – Take a Pebble from Emerson, Lake & Palmer (1970)
Fish – A Gentleman’s Excuse Me from Vigil in a Wilderness of Mirrors (1989)
Genesis – Fading Lights from We Can’t Dance (1991)
King Crimson – Model Man from Three of a Perfect Pair: 30th Anniversary (1984)
Marillion – Whatever Is Wrong With You from Vol. 2—Happiness Is the Road: The Hard Shoulder (2008)
Wetton Downes – Let Me Go from Icon (2005)
Yes – Soon (from The Gates Of Delirium) from Relayer (1974)

“When you think cogs, think Cogswell Cogs!”

Bootleg City: Genesis in London, July ‘87

Noah Lennox, otherwise known as Panda Bear in the band Animal Collective — and as a solo artist — plays art rock and experimental pop music. But it’s still pop, and when the Onion A.V. Club asked him to set his iPod to “shuffle” in October 2007 as part of its Random Rules feature, one of the songs that came up was Phil Collins’s 1985 hit “Sussudio.”

Lennox said, “I feel like the way people react to music is the same way they react to people; you either respond to the person and trust them, or you don’t. I can’t put my finger on it, but I get into guys like S.E. Rogie or Phil Collins — even somebody like George Michael — whereas there’s a lot of similar music that I won’t get into for whatever reason. It’s really difficult to for me to say why. The fact that [Collins] is really into what he’s doing comes through somehow, and that resonates with me very well.”

Collins, of course, was a hugely successful solo artist in the ’80s as well as the lead singer and drummer for Genesis, which made its name with progressive rock in the ’70s but shifted its focus to radio-friendly pop the following decade, scoring five top-ten hits alone with its 1986 album Invisible Touch. Collins has taken his fair share of abuse over the years for the earworms he’s created, with “Sussudio” showing up on many “worst songs of the ’80s” lists.

Why all the hate? Because rock stars aren’t supposed to be short and losing their hair, that’s why! It makes them too much like normal people, and we all know normal people suck. And rock stars apparently aren’t supposed to use a nonsense word like “Sussudio” for the title of a hit song that you’ll be singing for the rest of the day whether you like it or not. But for artists and fans like Panda Bear, Collins is king because he knows who he is, and the world is a better place for it. Don’t blame him for the fact that no matter where you are in the world at any given moment, one of his songs will be on the radio.

The following bootleg is a bit of a cheat: it’s an audio rip of Genesis’s Live at Wembley Stadium DVD, recorded in London in July 1987. But “Sussudio” is nowhere in sight, so those of you with a preexisting earworm infection can rest easy.

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Dw. Dunphy On… Penguimania 2009, Set 3

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May is the unofficial start of the summer concert season, so to unofficially celebrate the shows of 2009, Popdose.com and internet radio station The Penguin have teamed up for Penguimania 2009. Tune in each Wednesday at 9:00 EST for Radioshow With Dw. Dunphy to hear the live performance megamix in full. Then each week we’ll present a downloadable MP3 of a set from the “concert.”

Set Three

The third set starts with power trio Rush and one of their most popular (and most “pop”) tunes, “New World Man.”

RPWL started as a Pink Floyd tribute band, then emerged with original compositions. Ray Wilson was the lead vocalist for the band Stiltskin and the one-time singer for Genesis on the Calling All Stations album. Here is a version of his standout track from that album, “Not About Us.”

Steve Taylor started as a singer in the Christian contemporary market, and while wildly popular, was also controversial in his witty, sometimes flippant approach. He also pulled in musicians from the secular market to play on his recordings. He currently finds work as a director with his next film, Blue Like Jazz, now in production. “Violent Blue” comes from the band Chagall Guevara when Taylor, Lynn Nichols and Dave Perkins (of Passafist) shot for the big time on their self-titled MCA release.

Ritual is a folk/prog/metal group from Sweden, fronted by Patrik Lindstrom. Although the mix might seems strange and daunting, their turn on “Do You Want to See the Sun?” originally from their album Superb Birth, has a heavy stomp reminiscent of Led Zeppelin crossed with heavier aspects of King Crimson.

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We’ll see you here next week for the final set and, don’t forget: you can enjoy the entire mix over at The Penguin, Wednesday nights starting at 9:00 PM EST: find it at www.thepenguinrocks.com.

The Friday Mixtape: 5/15/09

I said I wouldn’t do it. I was called out, however, and if there’s one thing I’m not, that’s a punk. All my neon green hair fell out a long time ago. —Dw.

Ben Lee – Catch My Disease from Awake Is the New Sleep (2005)
Bleu – Could Be Worse from Redhead (2003)
Calexico – Ballad of Cable Hogue from Hot Rail (2000)
Devo – Devo Has Feelings Too from Smooth Noodle Maps (1990)
Fischerspooner – Never Win from Odyssey (2005)
Jethro Tull – Wond’ring Aloud from Aqualung (1971)
Kino – Holding On from Picture (2005)
Otis Redding – My Girl from Otis Blue: Otis Redding Sings Soul (1965)
Robert Vaughn & the Shadows – Love Came Falling from Love and War (1985)
RPWL featuring Ray Wilson – Roses from Live: Start the Fire (2005)
Sean Watkins – Summer’s Coming from Blinders On (2006)
Spoon – The Fitted Shirt from Girls Can Tell (2001)
Super Furry Animals – Lazer Beam from Love Kraft (2005)
Tammy Faye Bakker – The Ballad of Jim and Tammy from the 12-inch single (1987)
Terry Scott Taylor – Writer’s Block from John Wayne (1998)
Vanden Plas – Phoenix from Beyond Daylight (2002)

CHART ATTACK!: 4/11/87


Hi, everybody! This week’s CHART ATTACK! takes us back a whopping 22 years, and wow, do I feel old, considering I remember hearing just about every single one of these songs on the radio when they first came out. The songs this week aren’t that bad, actually, but as you’ll soon see, almost all of them are linked together in…well…just about the worst way possible. Stay tuned as we review the Top 10 from April 11, 1987!

10. The Finer Things — Steve Winwood Amazon iTunes
9. Let’s Go! — Wang Chung Amazon iTunes
8. Midnight Blue — Lou Gramm Amazon iTunes
7. Sign ‘O’ the Times — Prince Amazon iTunes
6. Come Go With Me — Exposé Amazon iTunes
5. Don’t Dream It’s Over — Crowded House Amazon iTunes
4. Tonight, Tonight, Tonight — Genesis Amazon iTunes
3. I Knew You Were Waiting (For Me) — Aretha Franklin and George Michael Amazon iTunes
2. Lean on Me — Club Nouveau Amazon iTunes
1. Nothing’s Gonna Stop Us Now — Starship Amazon iTunes

10. The Finer Things — Steve Winwood

“The Finer Things” is just one of the many collaborations between Winwood and his writing partner for most of the ’80s, Will Jennings. Jennings co-wrote almost all of Winwood’s hits, including “While You See a Chance,” which clearly inspired the opening of this song — all synths, baby! I’m usually anti-synth, but if it’s Steve Winwood, I’m okay with it. “The Finer Things” was the second biggest hit from Back in the High Life, peaking at #8.

Jennings, as I’ve mentioned in previous posts, is quite the accomplished songwriter: in addition to his work with Winwood, he wrote/co-wrote songs such as “Tears in Heaven,” “Up Where We Belong” and “My Heart Will Go On.” There’s a nice interview with him over at Songfacts.

Any fans of Kids Incorporated in the house? Y’know, that cheesy kids’ TV show from the ’80s and early ’90s? If so, good news! Here’s their cover! Hooray, I guess…?

9. Let’s Go! — Wang Chung (download)

I had no idea I had ever heard this song before until I reached the chorus, although to be fair, it’s not like I can really remember the verses of “Everybody Have Fun Tonight,” either. While this song did make it to the Top 10 (peaking here at #9), it wasn’t a strong enough hit to make the overall Hot 100 for 1987. I do like this mention of the song over at Wikipedia, though (emphasis mine): “The single was a hit for Wang Chung in the United States, and it provided the band with their second (and so far, last) top-10 hit.” Isn’t that cute? Who knows, everybody — Wang Chung may be making a comeback! Simple Minds, you’re on deck!

Not much to say about “Let’s Go!” — It follows the same format as their previous hit: stupid lyrics, catchy chorus. But, uh, hey: if you liked Kids Incorporated, this should be a happy day for you. They covered it!

8. Midnight Blue — Lou Gramm

I remember what my father said. He said, “Son, life is simple. It’s either cherry red, or midnight blue.”

What the hell does that mean? Is that really the best advice you got from your father? ‘Cause that’s shitty advice. Really shitty advice. It’s just unhelpful. Is there some double entendre I’m missing here?

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Bottom Feeders: The Ass End of the ’80s, Part 35

I made a mistake recently. I think I opened a door to a world of bad ‘80s music hurt that I had been trying to keep closed. See, I went to Prex, and going to the Princeton Record Exchange can be both a rewarding and a disappointing trip for me.

It was late November that I went for the first time in ages — so long ago that I can’t remember when. Frankly, that’s too long to miss out on one of the greatest used CD and record stores I’ve ever seen. The reality is, I go for the records. I go for the $1 bins that are stashed on the floor beneath all the expensive records and under the feet of customers there to pay big dollars for a nice clean copy of some Replacements LP. I sit on the floor and risk losing feeling in my legs for the chance to look through probably a few thousand $1 records (and occasionally there might be some nice Princeton University student with a skirt on). Since the ‘80s are pretty much made for the $1 bins, I usually only find a handful of records that I don’t own, even with a nice turnover and only visiting once or twice a year. So I usually really look forward to going only to walk away slightly disappointed at my take. This time, not only did I not walk away disappointed, I might have opened the door to something I shouldn’t have.

As I’ve mentioned before, I own a hard copy of all but one song on the Billboard Hot 100 chart in the ‘80s. I own maybe three-quarters of the rock charts, 60% of the R&B chart, maybe half the dance chart and by default, I own the majority of the Adult Contemporary and Bubbling Under chart. The one I haven’t mentioned here is the ’80s Country Chart. About two years ago I got the Billboard Country Chart book for Christmas, thinking it was time to move the collection in that direction as well, but I quickly found out that not only did I not own very much that was on the country chart, but that pretty much every record ever made in that genre seemed to chart. We’re talking four or five songs from every record and artists putting out records every six months. We’re talking a billion songs that hit #1 for only one week, therefore creating a tremendous turnover. We’re talking opening up a can of something that I didn’t have the money for. And then Prex happened.

Someone must have sold their entire ‘80s country collection to the Princeton Record Exchange just in the few weeks before I came. One after another, there was a $1 record that I didn’t have. I had to pick up at least 150 of these puppies before I didn’t think I could carry any more home. I probably could have had another 150 if I really wanted to. And while this was an extremely rewarding trip, I think I’ve now opened the door to collecting country music – something that I don’t want to listen to and will simply break me if I try to get all of it. Damn Prex to hell for being such a great store.

I have no country music for you this week, though, as we trudge on through the muck that is the ass end of the Billboard Hot 100 Chart, with more G artists. (more…)

Dw. Dunphy On… Bonus, Baby!

A funny thing happened in the middle of the 1990s: Record labels looked into their vaults and found that most of their best selling titles had been in circulation for awhile on CD and, as one would expect, weren’t as exciting to the buying public anymore. Remember that in the initial run of the compact disc labels were suddenly flush with cash, old assets were getting new sales life and all was right with the world. Once they had reached the tipping point where most consumers had CDs of Rumours, Dark Side of the Moon, Sgt. Pepper’s, etc., they had a crucial decision to make. Shall we now go out into the great, wide world of new music acts and fill our rosters with exciting, up and coming talent?

Nah, too much work. Let’s reissue those old CDs again, only this time, we’ll stuff the back nine with B-sides, unreleased tracks and live cuts. It sounds crass, but don’t knock it. It works. The labels did get a kick-up of interest through this process of “double-dipping,” and sometimes it was for the best. Labels like Rykodisc and Rhino took a lot of care in representing classic albums, often bringing them back with better, remastered sound to make the package more palatable to those who had tinny, digitally fraught originals. Other labels took notice and, as you’d expect, the business of the deluxe reissue started booming. CDs wound up with extra tracks best left on the cutting room floor, songs pared with awful guide vocals, blooper reels, inclusions of little to no interest to the average music fan. The Elvis Costello fan has felt the impact the hardest, as Mr. MacManus’ output has rotated from the original Sony Music auspices to the Ryko reissues, then to the Rhino reissues, then to his current home at Universal Music. You could own four separate versions of My Aim Is True, each with its own plusses and minuses, none rising above the rest to definitive status.

Look, I’m a fan and a collector. I’ve been skunked more than once by the “special edition” label. I know what it’s like to buy something only to have it supplanted only a year later by the bigger, better, badder version. To prove my point, I have dedicated this week’s post to some of my favorite special edition extras. These are things the labels would rather we left alone. After all, some of these tracks are the only reason why you ought to repurchase these things, and I’m going all renegade by just plopping them here for your perusal. I’m a rebel and I’ll never, ever be any good. Ready to receive your bonuses? Oh la Saleema! (more…)

Dw. Dunphy On… My Holiday Music

Grab a hold of something, folks, and take a deep breath. Next week is Halloween, the unofficial start of the holiday season. Christmas Club accounts are starting to turn around, desperate retail outlets fearing one of the worst shopping quarters in decades are trying to pump up the good cheer, candy cane colors and “insane year-end prices!” The kids are starting to get in the spirit and while, for some, that means the spirit of getting more than giving, you can’t help but be just a little tweaked when they’re so happy. They don’t know the extremes of bad finance, credit crunch, etc. et. al. I hope that, when they get to my age and position, they’ll never have to.

Another thing that comes with the holidays is holiday music. I won’t go into that too much (we’ll just say there’s a nice lump of something coming in your Popdose stocking soon enough, and leave it at that) but I’ve made no bones about my opinion of such tunes. They’re a hat you can only wear once a year. Even my beloved A Charlie Brown Christmas soundtrack sounds slightly screwy in the midsummer heat, don’tcha know, so music of lesser stature and quality definitely doesn’t see the light of day until the temperatures flirt with the 40s. And besides, in my messed-up brain, I associate other music with holidays anyhow. Mostly, they’re involved with gifts received during festivities, but often it’s because they’re things I’d rather listen to any day rather than the standard “Holly jolly, nice ‘n rosy, comfy cozy, shove a fistful of mistletoe up your bunghole” repertoire. Feelin’ all jingle-belly now? Outstanding, let’s begin.

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Mix Six: “Bloody Hell”

DOWNLOAD THE FULL MIX HERE

After hurricane Gustav, I was deluged with a few emails from the American Red Cross asking for donations (both monetary and otherwise) to help out in the relief efforts.  And yes, they were asking for blood donations – which made me start thinking of a certain Pete Townshend song.  Pete’s song dovetailed into searching for other songs that either have blood in the title or mention blood in the lyrics, and here we have today’s “Bloody Hell” mix.


“Give Blood,” Pete Townshend
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Because this is the song that started me thinking about this mix, why not put it first? I did see the film White City when it was released in ‘85, and had a tough time following the storyline, but I’ve always had a fondness for this solo album — even though it feels incomplete. It’s like Pete had these grand plans for a rather lengthy project and then scaled it back to a collection of songs that, while very good at times, seem like they were part of a larger narrative. (more…)