Yeah, i agree- personal choice. I get a little oversensitive when people
start tearing down the accomplishments of the "classic" progressive
players of the 70's. At that time, as you know, there was acute criticism
of the progressive rock form to begin with and someone without the
advantage of bodyguards could get beaten for liking Yes or Genesis in
certain parts of Long Island!
I certainly don't want to defend Genesis, they bash the progressive
period of their career worse than anybody. I don't know if i would
actually stop anyone from throwing Phil Collins or Tony Banks under a
bus. Sell-outs!
I would still like to know why that album sounds the way it does. Was it
a choice made by the band, was it the producer? Trident studios
obviously had the equipment to get a mellotron sounding right. I've
heard several versions of Watchers and a few live ones. The Genesis live
album has it played much slower and the Mellotron is more prominent- I
think it is more effective there.
Good- bad , whatever. I just like knowing about stuff. Isn't the Watchers
tape mix just 3 violin and mixed brass blended together? You'd have to add
the bass accordian on the left hand side.
> For me, it's not a question of good or bad, bashing anyone's music, or
> throwing anything under the bus; it's a question of whether or not it's
> personally
> appealing, steering away from any technical analysis or the merits of the
> music itself - a whole 'nother story. In the case of "Watcher"/Genesis,
> it's
> an interesting tron sound (which I have in my MkII) and they were an
> interesting band that produced some interesting music, but neither
> "Watcher" nor
> Genesis simply carried as much personal appeal for me as, say, YES (up to
> and
> including Close To The Edge), Moodies (classic 7), Strawbs (up to and
> including
> Ghosts), or ELP (up to and including Brain Salad Surgery) from that era.
> Others may and certainly do feel differently. Personal choice; I don't
> lose
> sleep over it. Not limiting this idea to bands, Celine Dion (aside from
> the
> fact she does not write any of her material) sells tons of records and
> sells out
> all her shows and has mass appeal, but you won't find any of her
> recordings
> in my collection; rather you'll find me listening to the likes of Edwina
> Hayes, or L.A.-based Meredith Meyer. Again, the eye of the beholder...
>
> ...and I also like anchovies on a pizza; some of you don't!
>
> Frank 1
>
>
> In a message dated 3/8/2008 6:44:11 P.M. Pacific Standard Time,
> zappaboggs@yahoo.com writes:
>
> I'm amazed how everyone has thrown "Watcher" under the bus like it was a
> 2000 era bullshit Fripp tune... (boring!)
>
> That opening defined that era... Don't hide...
>
> Hey... Wake up y'all... This is why we are here... Not because some
> dude
> from the 18th century wrote some tune that "brings you back"... or some
> dude
> in 2008 who pretends to write the same bull shit that nobody gives a
> shit
> about that "brings you back"...
>
> Don't care... What was important was hearing Wakeman destroy the sound
> system at the Spectrum in Philly opening up with Firebird in 73'... That
> was
> important...
>
> We are here because someone took this piece of machinery and played "And
> You
> and I", or "Court", or "Tuesday" or "Cirkus" or some other bull shit
> "Prog"
> tune... Don't over-analyse. D
>
> It really pisses me off when I hear the real people slag it off like it
> didn't exist...
>
> I work with a person who always wondered what the fuck that sound was...
> So
> I played it for her and now there is another "sucker", I mean person, who
> understands how "Heart of the Sunrise" begins...
>
> Never forget...
>
>
>
>
>
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