Genesis – Harold the Barrel
I love the entirety of the early Genesis records, so am well familiar with this song, if not this version. It shows that Genesis had a bit of a pop sensibility from their very early stages. I always thought the line “You must be joking,” and how it’s phrased, sounded like it could be in a Joe Jackson song – Madness comes to mind as well. It was one of the well-needed respites, on the Nursery Cryme record, from the 8 to 10 ½ minute length of songs like “The Musical Box” & “The Return of the Giant Hogweed.” This was the first record of theirs on which Phil Collins appeared and he apparently injected the humor (lightening up what Peter Gabriel was bringing, I’m thinking). I saw the tribute band The Musical Box do a replica of a show from Genesis’ tour for this record – It’s a shame this wasn’t on the set list. A well-chosen Deep Cut! (IMHO)
Love it. I have a student DJ (19) who plays this on his show every now and again. Love the upbeat, offbeat nature of the track. I think it showcases the story telling that early Genesis and then Gabriel were so good at.
El Clash Combo:
One of my favourites from this album. Demonstrates that this band wasn’t afraid to stretch the sound and style. As with many (most) tracks Strummer puts politics front and center without being pedantic. Showing why they remain, “The Only Band That Matters.”
The Clash – Straight to Hell
It’s been so long since I’ve given Combat Rock a listen (must remedy), that I’ll have to admit I had completely forgotten this track. (I think much of my vinyl fell into that abyss – never digitized, pull out one here and there.)
Certainly not what most would think of as the typical sound of The Clash, especially if mostly familiar with their punk beginnings, but certainly not a surprise if you listened to the entirety of their previous effort, the triple-album Sandinista. It has a very loose feel – great percussion, pretty spare all-in-all. It’s like they were just kind of lazily jamming and letting the vocals impart the message of the thought-provoking lyrics. I needed to go to wikipedia for a little help there – some good information https://en.m.wikipedia.org/wiki/Straight_to_Hell_(song)
ahhh..this was a long week; feel like I have not given this weeks entries enough ear time but here it goes
Straight To Hell: Love the percussion setting the “tone” to the rambling around the world in a day feel beside lyrics that do not paint such a pretty picture of life. I do not know a great deal about the Clash but I want to know more. I have said this before, ….Mr. Strummer has a quality/character/timbre to his voice that I just gravitate to and this song carries through for me as well.
Harold the Barrel: I have two early Genesis works: The Lamb Lies Down on Broadway and And Then There Were None. This song sounds to me like it could possibly fit inside them. When I listen to this one on its own and pick it apart I can’t figure out why I like it but I do (tempo a tad fast perhaps? but maybe not). I think its because my brain sits it inside these other two albums as a bigger work. I must now find a way to acquire Nursery Cryme for a listen in its proper context to correct my brain’s mis-placement.
Sir David cites the little-known And Then There Were None album (which I believe is the current one). The more popular record is And Then There Were Three – which contained their first pop hit in Follow You, Follow Me.
Genesis/”Harold”. Spritely little operetta about a suicidal fellow. I like multiple perspectives (Harold, the crowd), the honky-tonkish bridge bit, and the fast little guitar lick. Uncharacteristically brief for early Genesis. Is it Phil singing or Peter? I can’t always tell.
I think they made it tough on this one Bill:
“The track was recorded with Gabriel and Collins singing the song as a duet. Their vocals were mixed onto the same audio track so they cannot be separated” https://en.m.wikipedia.org/wiki/Nursery_Cryme
Though this is a live at the BBC version (specified by submitter) – Gabriel takes the lead as on most tracks while he was in the band.
Genesis: It’s fun, it’s fast. It very neatly fits my definition of prog rock. “Music you can’t bang your head to”
I was expecting phil collins, but forgot that Peter Gabriel was in Genesis too. These guys are on my list of bands to dive into. I have 6 albums by them, and I need a random rainy weekend to take that plunge.
The Clash: This is a band that the more I hear, the more i like. I haven’t taken the plunge on them either but i recently got a CD copy of london calling from my uncle who passed. It was great.
That bongo drum and the bass in sync was great. I like the occasional mixing it up with a real drum kit and cymbals.
I know they are punk, but i have a hard time seeing them as punk. New wave without the synth?
Genesis – Harold the Barrel
I love the entirety of the early Genesis records, so am well familiar with this song, if not this version. It shows that Genesis had a bit of a pop sensibility from their very early stages. I always thought the line “You must be joking,” and how it’s phrased, sounded like it could be in a Joe Jackson song – Madness comes to mind as well. It was one of the well-needed respites, on the Nursery Cryme record, from the 8 to 10 ½ minute length of songs like “The Musical Box” & “The Return of the Giant Hogweed.” This was the first record of theirs on which Phil Collins appeared and he apparently injected the humor (lightening up what Peter Gabriel was bringing, I’m thinking). I saw the tribute band The Musical Box do a replica of a show from Genesis’ tour for this record – It’s a shame this wasn’t on the set list. A well-chosen Deep Cut! (IMHO)
Genesis:
Love it. I have a student DJ (19) who plays this on his show every now and again. Love the upbeat, offbeat nature of the track. I think it showcases the story telling that early Genesis and then Gabriel were so good at.
El Clash Combo:
One of my favourites from this album. Demonstrates that this band wasn’t afraid to stretch the sound and style. As with many (most) tracks Strummer puts politics front and center without being pedantic. Showing why they remain, “The Only Band That Matters.”
The Clash – Straight to Hell
It’s been so long since I’ve given Combat Rock a listen (must remedy), that I’ll have to admit I had completely forgotten this track. (I think much of my vinyl fell into that abyss – never digitized, pull out one here and there.)
Certainly not what most would think of as the typical sound of The Clash, especially if mostly familiar with their punk beginnings, but certainly not a surprise if you listened to the entirety of their previous effort, the triple-album Sandinista. It has a very loose feel – great percussion, pretty spare all-in-all. It’s like they were just kind of lazily jamming and letting the vocals impart the message of the thought-provoking lyrics. I needed to go to wikipedia for a little help there – some good information https://en.m.wikipedia.org/wiki/Straight_to_Hell_(song)
Loving My Five, Song Edition – great selections!
ahhh..this was a long week; feel like I have not given this weeks entries enough ear time but here it goes
Straight To Hell: Love the percussion setting the “tone” to the rambling around the world in a day feel beside lyrics that do not paint such a pretty picture of life. I do not know a great deal about the Clash but I want to know more. I have said this before, ….Mr. Strummer has a quality/character/timbre to his voice that I just gravitate to and this song carries through for me as well.
Harold the Barrel: I have two early Genesis works: The Lamb Lies Down on Broadway and And Then There Were None. This song sounds to me like it could possibly fit inside them. When I listen to this one on its own and pick it apart I can’t figure out why I like it but I do (tempo a tad fast perhaps? but maybe not). I think its because my brain sits it inside these other two albums as a bigger work. I must now find a way to acquire Nursery Cryme for a listen in its proper context to correct my brain’s mis-placement.
Sir David cites the little-known And Then There Were None album (which I believe is the current one). The more popular record is And Then There Were Three – which contained their first pop hit in Follow You, Follow Me.
Genesis/”Harold”. Spritely little operetta about a suicidal fellow. I like multiple perspectives (Harold, the crowd), the honky-tonkish bridge bit, and the fast little guitar lick. Uncharacteristically brief for early Genesis. Is it Phil singing or Peter? I can’t always tell.
I think they made it tough on this one Bill:
“The track was recorded with Gabriel and Collins singing the song as a duet. Their vocals were mixed onto the same audio track so they cannot be separated”
https://en.m.wikipedia.org/wiki/Nursery_Cryme
Though this is a live at the BBC version (specified by submitter) – Gabriel takes the lead as on most tracks while he was in the band.
Genesis: It’s fun, it’s fast. It very neatly fits my definition of prog rock. “Music you can’t bang your head to”
I was expecting phil collins, but forgot that Peter Gabriel was in Genesis too. These guys are on my list of bands to dive into. I have 6 albums by them, and I need a random rainy weekend to take that plunge.
The Clash: This is a band that the more I hear, the more i like. I haven’t taken the plunge on them either but i recently got a CD copy of london calling from my uncle who passed. It was great.
That bongo drum and the bass in sync was great. I like the occasional mixing it up with a real drum kit and cymbals.
I know they are punk, but i have a hard time seeing them as punk. New wave without the synth?
Funny, this one doesn’t strike me as a prog song.