GENESIS VS. YES! GENEYES? From Genesis To Revelation To Heaven & Earth! Calling All Stations!

[Mithrandir]

Another interesting thing about these two bands, Genesis almost always takes longer to pull me in, and is always more rewarding in the end. You see, the first Yes album I heard was The Yes Album, and it grabbed me immediately. It also instantly became my favorite Yes album, as none of the other ones I listened to quite topped it (CTTE of course coming as close as possible). The first Genesis album I heard was We Can't Dance, cuz it was in my parents' cd collection. I also loved this, but I never really cared to revisit it most of the time (probably because the second half is such a bore, as I later realized).

 

Later on curiosity would lead me to look into more Yes and more Genesis, though I was more interested in Yes as I knew I liked their proggy side, whereas all I'd really heard of Genesis was post Hackett. I believe my next albums by each band were Fragile and ...And Then There Were Three (I was curious about Genesis' proggy past, but wanted the safeguard of one song of theirs that I knew already). Fragile I instantly loved, though it didn't totally click like The Yes Album (be real, there's some filler in there, and I also prefer Perpetual Change to Heart of the Sunrise). ATTWT did basically nothing for me, just a bunch of drums and keyboards banging around without anything resembling a hook until the single at the end (I wasn't listening very closely if I recall). The thing was, as much as I found I loved Yes, Fragile wore off, while I still had this lingering curiosity about Genesis, and their mysterious first singer.

 

The next album in each camp was vitally important. CTTE, intentionally, and Nursery Cryme, on a whim (was cheap at the record store and my curiosity said Genesis... Not Yes). Close To The Edge I once again loved instantly, more so than Fragile, and I immediately understood I was listening to one of the all time greatest Prog albums. I would debate for a long time whether I preferred it to The Yes Album, but after such a time had passed that I got to know each album better, I realized CTTE, while magical and kind of perfect, had also managed to wear off on me a bit. There was something of a monotony in Yes' sound by that time (I think I'd also exposed myself to Tales and 90250 by then, Tales being the point), and they just didn't seem as personally affecting to me as I had imagined they could be, except for The Yes Album, which still rocked in every way. Nursery Cryme was an entirely different story. Much like attwt, my first Gabriel album initially seemed hookless and monotonous, nothing in particular that I cared to hear again. It also didn't help that the second side had a misprinted label for Foxtrot instead of Cryme so I had to look up the songs. I listened a bit more, having bought the record instead of just borrowing from the library like with the Yes albums (though I'd purchase a number of them), and a few things did start to catch on. Harold The Barrol was fun, and theatrically tragic, which I appreciated. The Musical Box had a guitar lead that sounded like the chorus of a Muse song, Hogweed and Seven Stones were pleasant on the ears, and Salmacis had some kind of earworm hook hidden in it that I grew to love. Now I still didn't care too much for this record, but this was my first real step in becoming a major Genesis fan.

 

My next Yes album was probably Union (dad found a record of it discarded at goodwill or something, wonder why), but it doesn't really factor in to my opinions here, so I'll move on to 90250. This was another record I immediately loved, with it's great hit singles and some good in between tracks. However, as I began to notice a pattern, it quickly wore off and I lost much interest in it. I still like it, I still think it's great, I'll still listen to it, but it lost my interest for repeat plays. On to Genesis, my next album was the highly recommended Foxtrot. Now, this one I checked out for, the library, so I wasn't likely to pay it as much attention as one I bought, but I fully intended to give it a listen in the car. Watcher Of The Skies was an immediate standout, as it doesn't take a big Genesis fan to appreciate some drama and dramatic buildup. Unfortunately, my naive and probably distracted ears didn't really comprehend the rest of the record. I read a bunch of the lyrics to Supper's Ready as it was playing, but being in the car it kind of faded in and out and I was never sure what was going on. I knew by this s point this was considered one of those ultimate records and SR was one of the ultimate songs, progress overly speaking, but I wasn't able to decipher what all the fuss was about.

 

(Somewhere in here I put on SEBTP on Spotify on vacation, but only noticed the entrancing synths, not really paying attention)

 

So then we hit the next record in each department, and this becomes a major turning and understanding point for Genesis. As for yes, my next album was Tales, and though I really loved the sound and melody at the start, it was too long and monotonous for me to get through before I returned it to the library. I would later return to find I still really enjoy that whole first epic, and the rest sounds pleasant enough. As for Genesis, my next album was, oddly enough, Wind And Wuthering. I was still increasingly curious about what I was missing with this band, and I spotted another one of those early, hitless records at the record store, so I grabbed it, dismissing the utterly awful cover art (or lack therof) for potential musical satisfaction. I believe the first time I put it on I was going to bed, and I discovered it was a great record to fall asleep to, with all those synth washes and lulabye melodies. Then I discovered that I'd actually made out those synth washes and lulabye melodies, that something in there was sticking (I think it was Your Own Special Way though) I revisited this album a number of times as I discovered it had a great opener, and a great ballad. This lead me to listen back to Cryme of course, where I discovered I really did like a lot of it, and The Musical Box started creeping out as a major standout. Suddenly I had a Genesis album that I liked to listen to, if only for the headspace it's synths soundscape brought me to.

 

Here my Genesis journey gets really recent and picks up a lot of speed, whereas Yes are stil just a great band I look into sometimes. After listening increasingly to Wind and Cryme, I decided based on my semi-recent interest (it might have been a few months) to look into Foxtrot again, figure out what I was missing. Well, as I remembered Watcher was a brilliant opener, but now I noticed how w elk they played with dynamics in it. The second song had an irresistable chorus hook that I liked. The third seemed fun and complex and once again had a great "chorus" type of hook. The fourth was interesting and had a great distorted bass pedal groove. The acoustic guitar piece was nice, and then there was Supper's Ready. Actually listening this time, I thought it very strange that it didn't have an epic intro like mist epics. It just kind of started going. As it went on I tried to follow the lyrics but got kind if hopelessly lost. I think I immediately loved Willow Farm, and Apocalypse in 9/8 seemed threatening and cool. Mostly I was confused about what it was about, so I did what I always do, I googled up some answers. Once I started reading about the song I couldn't stop. So where along the line I read Gabriel's story of the event which inspired the song and I was hooked. I listened again, this time with a head full of information that proved to be the key to unlocking this song for me. I suddenly realized how amazing it is, how epic it is, how it ran the spectrum of my emotions, how Gabriel was a genius, how Hackett could make his guitar cry, how Banks was astounding for playing that solo in a completely different time than the rythm section. Everything made sense, and then I watched avide I of them doing it live with Gabriel, and I realized I'd just discovered quite possibly my second favorite song ever. Genesis were now real contenders for becoming my fourth favorite band, permanently. I loved Foxtrot, I kept liking Wind And Wuthering, and I eventually figured out Nyrsery Cryme. I had to work hard to get there, but if was finally paying off big time.

 

Next Yes album was Going For The One. Interesting at first with the slightly more commercial sounds, but ultimately weaker than Fragile and not inspiring. Next Genesis album was Duke. Duke began a trend of 80s Genesis albums hooking me quick and hard. I loved it at first, though I still didn't quite get why Turn It On Again was a hit. A couple listens later, it was competing for my favorite 80s Genesis song with Behind The Lines, which spoke directly to my slightly love struck heart at the time (I was in the middle of the process which led me to ask a girl to prom). Duke was excellent, though a little monotonous, but it started solid, had a highlight in the middle, and ended solid, so I loved it. After this I revisited SEBTP by checking it out, and here I became confused. I liked it, but I didn't love it. Firth Of Fifth was kinda just okay. The Cinema Show seemed like a rehash of part of Supper's ready and some neat soloing. Dancing had an uncomfortable vocal start. Epping Forest was catchy but severely lacking flow and substance. I Know What I Like was catchy but too simple. More Fool Me was nice and pretty, but obviously not what the album was about, and the other two I couldn't quite differentiate from the songs surrounding them. I decided it was somehow sterile for me, or just lacking in the songwriting department and let it slip to the bottom if my rankings. Then something interesting happened. Some time after getting the s/t (which I lived loved loved and it didn't wear off) and ABACAB (which I loved loved and it only wore off a bit), I realized I'd been listening to England a bit more, I'd been craving it a bit more. It wasn't long before I decided to buy it outright from Amazon, and after spending months with it and sleeping to it, what was meh gradually became essential, with only Battle holding it back from perfect. Once again Gabriel's Genesis had to really grow on me, but it proved all the more worth it to now really love those albums and this band. Also in there was a lot of reading about Genesis and listening to solo Gabriel (So, mainly, as someone told me my promposal reminded them of a scene in a movie featuring In Your Eyes, which I then instantly loved).

 

 

 

 

 

Long story short, for me, Genesis is a career made for the long run, whereas Yes lack some repeatability.

 

:D

 

Nice write up!! I love the cover of Wind & Wuthering. One of my all time favorites!

[Entre_Perpetuo]

Another interesting thing about these two bands, Genesis almost always takes longer to pull me in, and is always more rewarding in the end. You see, the first Yes album I heard was The Yes Album, and it grabbed me immediately. It also instantly became my favorite Yes album, as none of the other ones I listened to quite topped it (CTTE of course coming as close as possible). The first Genesis album I heard was We Can't Dance, cuz it was in my parents' cd collection. I also loved this, but I never really cared to revisit it most of the time (probably because the second half is such a bore, as I later realized).

 

Later on curiosity would lead me to look into more Yes and more Genesis, though I was more interested in Yes as I knew I liked their proggy side, whereas all I'd really heard of Genesis was post Hackett. I believe my next albums by each band were Fragile and ...And Then There Were Three (I was curious about Genesis' proggy past, but wanted the safeguard of one song of theirs that I knew already). Fragile I instantly loved, though it didn't totally click like The Yes Album (be real, there's some filler in there, and I also prefer Perpetual Change to Heart of the Sunrise). ATTWT did basically nothing for me, just a bunch of drums and keyboards banging around without anything resembling a hook until the single at the end (I wasn't listening very closely if I recall). The thing was, as much as I found I loved Yes, Fragile wore off, while I still had this lingering curiosity about Genesis, and their mysterious first singer.

 

The next album in each camp was vitally important. CTTE, intentionally, and Nursery Cryme, on a whim (was cheap at the record store and my curiosity said Genesis... Not Yes). Close To The Edge I once again loved instantly, more so than Fragile, and I immediately understood I was listening to one of the all time greatest Prog albums. I would debate for a long time whether I preferred it to The Yes Album, but after such a time had passed that I got to know each album better, I realized CTTE, while magical and kind of perfect, had also managed to wear off on me a bit. There was something of a monotony in Yes' sound by that time (I think I'd also exposed myself to Tales and 90250 by then, Tales being the point), and they just didn't seem as personally affecting to me as I had imagined they could be, except for The Yes Album, which still rocked in every way. Nursery Cryme was an entirely different story. Much like attwt, my first Gabriel album initially seemed hookless and monotonous, nothing in particular that I cared to hear again. It also didn't help that the second side had a misprinted label for Foxtrot instead of Cryme so I had to look up the songs. I listened a bit more, having bought the record instead of just borrowing from the library like with the Yes albums (though I'd purchase a number of them), and a few things did start to catch on. Harold The Barrol was fun, and theatrically tragic, which I appreciated. The Musical Box had a guitar lead that sounded like the chorus of a Muse song, Hogweed and Seven Stones were pleasant on the ears, and Salmacis had some kind of earworm hook hidden in it that I grew to love. Now I still didn't care too much for this record, but this was my first real step in becoming a major Genesis fan.

 

My next Yes album was probably Union (dad found a record of it discarded at goodwill or something, wonder why), but it doesn't really factor in to my opinions here, so I'll move on to 90250. This was another record I immediately loved, with it's great hit singles and some good in between tracks. However, as I began to notice a pattern, it quickly wore off and I lost much interest in it. I still like it, I still think it's great, I'll still listen to it, but it lost my interest for repeat plays. On to Genesis, my next album was the highly recommended Foxtrot. Now, this one I checked out for, the library, so I wasn't likely to pay it as much attention as one I bought, but I fully intended to give it a listen in the car. Watcher Of The Skies was an immediate standout, as it doesn't take a big Genesis fan to appreciate some drama and dramatic buildup. Unfortunately, my naive and probably distracted ears didn't really comprehend the rest of the record. I read a bunch of the lyrics to Supper's Ready as it was playing, but being in the car it kind of faded in and out and I was never sure what was going on. I knew by this s point this was considered one of those ultimate records and SR was one of the ultimate songs, progress overly speaking, but I wasn't able to decipher what all the fuss was about.

 

(Somewhere in here I put on SEBTP on Spotify on vacation, but only noticed the entrancing synths, not really paying attention)

 

So then we hit the next record in each department, and this becomes a major turning and understanding point for Genesis. As for yes, my next album was Tales, and though I really loved the sound and melody at the start, it was too long and monotonous for me to get through before I returned it to the library. I would later return to find I still really enjoy that whole first epic, and the rest sounds pleasant enough. As for Genesis, my next album was, oddly enough, Wind And Wuthering. I was still increasingly curious about what I was missing with this band, and I spotted another one of those early, hitless records at the record store, so I grabbed it, dismissing the utterly awful cover art (or lack therof) for potential musical satisfaction. I believe the first time I put it on I was going to bed, and I discovered it was a great record to fall asleep to, with all those synth washes and lulabye melodies. Then I discovered that I'd actually made out those synth washes and lulabye melodies, that something in there was sticking (I think it was Your Own Special Way though) I revisited this album a number of times as I discovered it had a great opener, and a great ballad. This lead me to listen back to Cryme of course, where I discovered I really did like a lot of it, and The Musical Box started creeping out as a major standout. Suddenly I had a Genesis album that I liked to listen to, if only for the headspace it's synths soundscape brought me to.

 

Here my Genesis journey gets really recent and picks up a lot of speed, whereas Yes are stil just a great band I look into sometimes. After listening increasingly to Wind and Cryme, I decided based on my semi-recent interest (it might have been a few months) to look into Foxtrot again, figure out what I was missing. Well, as I remembered Watcher was a brilliant opener, but now I noticed how w elk they played with dynamics in it. The second song had an irresistable chorus hook that I liked. The third seemed fun and complex and once again had a great "chorus" type of hook. The fourth was interesting and had a great distorted bass pedal groove. The acoustic guitar piece was nice, and then there was Supper's Ready. Actually listening this time, I thought it very strange that it didn't have an epic intro like mist epics. It just kind of started going. As it went on I tried to follow the lyrics but got kind if hopelessly lost. I think I immediately loved Willow Farm, and Apocalypse in 9/8 seemed threatening and cool. Mostly I was confused about what it was about, so I did what I always do, I googled up some answers. Once I started reading about the song I couldn't stop. So where along the line I read Gabriel's story of the event which inspired the song and I was hooked. I listened again, this time with a head full of information that proved to be the key to unlocking this song for me. I suddenly realized how amazing it is, how epic it is, how it ran the spectrum of my emotions, how Gabriel was a genius, how Hackett could make his guitar cry, how Banks was astounding for playing that solo in a completely different time than the rythm section. Everything made sense, and then I watched avide I of them doing it live with Gabriel, and I realized I'd just discovered quite possibly my second favorite song ever. Genesis were now real contenders for becoming my fourth favorite band, permanently. I loved Foxtrot, I kept liking Wind And Wuthering, and I eventually figured out Nyrsery Cryme. I had to work hard to get there, but if was finally paying off big time.

 

Next Yes album was Going For The One. Interesting at first with the slightly more commercial sounds, but ultimately weaker than Fragile and not inspiring. Next Genesis album was Duke. Duke began a trend of 80s Genesis albums hooking me quick and hard. I loved it at first, though I still didn't quite get why Turn It On Again was a hit. A couple listens later, it was competing for my favorite 80s Genesis song with Behind The Lines, which spoke directly to my slightly love struck heart at the time (I was in the middle of the process which led me to ask a girl to prom). Duke was excellent, though a little monotonous, but it started solid, had a highlight in the middle, and ended solid, so I loved it. After this I revisited SEBTP by checking it out, and here I became confused. I liked it, but I didn't love it. Firth Of Fifth was kinda just okay. The Cinema Show seemed like a rehash of part of Supper's ready and some neat soloing. Dancing had an uncomfortable vocal start. Epping Forest was catchy but severely lacking flow and substance. I Know What I Like was catchy but too simple. More Fool Me was nice and pretty, but obviously not what the album was about, and the other two I couldn't quite differentiate from the songs surrounding them. I decided it was somehow sterile for me, or just lacking in the songwriting department and let it slip to the bottom if my rankings. Then something interesting happened. Some time after getting the s/t (which I lived loved loved and it didn't wear off) and ABACAB (which I loved loved and it only wore off a bit), I realized I'd been listening to England a bit more, I'd been craving it a bit more. It wasn't long before I decided to buy it outright from Amazon, and after spending months with it and sleeping to it, what was meh gradually became essential, with only Battle holding it back from perfect. Once again Gabriel's Genesis had to really grow on me, but it proved all the more worth it to now really love those albums and this band. Also in there was a lot of reading about Genesis and listening to solo Gabriel (So, mainly, as someone told me my promposal reminded them of a scene in a movie featuring In Your Eyes, which I then instantly loved).

 

 

 

 

 

Long story short, for me, Genesis is a career made for the long run, whereas Yes lack some repeatability.

 

:D

 

Nice write up!! I love the cover of Wind & Wuthering. One of my all time favorites!

 

Thanks! Yeah, I've grown to appreciate WaW's cover art, but I still won't say it's great.

[Entre_Perpetuo]

Another interesting thing about these two bands, Genesis almost always takes longer to pull me in, and is always more rewarding in the end. You see, the first Yes album I heard was The Yes Album, and it grabbed me immediately. It also instantly became my favorite Yes album, as none of the other ones I listened to quite topped it (CTTE of course coming as close as possible). The first Genesis album I heard was We Can't Dance, cuz it was in my parents' cd collection. I also loved this, but I never really cared to revisit it most of the time (probably because the second half is such a bore, as I later realized).

 

Later on curiosity would lead me to look into more Yes and more Genesis, though I was more interested in Yes as I knew I liked their proggy side, whereas all I'd really heard of Genesis was post Hackett. I believe my next albums by each band were Fragile and ...And Then There Were Three (I was curious about Genesis' proggy past, but wanted the safeguard of one song of theirs that I knew already). Fragile I instantly loved, though it didn't totally click like The Yes Album (be real, there's some filler in there, and I also prefer Perpetual Change to Heart of the Sunrise). ATTWT did basically nothing for me, just a bunch of drums and keyboards banging around without anything resembling a hook until the single at the end (I wasn't listening very closely if I recall). The thing was, as much as I found I loved Yes, Fragile wore off, while I still had this lingering curiosity about Genesis, and their mysterious first singer.

 

The next album in each camp was vitally important. CTTE, intentionally, and Nursery Cryme, on a whim (was cheap at the record store and my curiosity said Genesis... Not Yes). Close To The Edge I once again loved instantly, more so than Fragile, and I immediately understood I was listening to one of the all time greatest Prog albums. I would debate for a long time whether I preferred it to The Yes Album, but after such a time had passed that I got to know each album better, I realized CTTE, while magical and kind of perfect, had also managed to wear off on me a bit. There was something of a monotony in Yes' sound by that time (I think I'd also exposed myself to Tales and 90250 by then, Tales being the point), and they just didn't seem as personally affecting to me as I had imagined they could be, except for The Yes Album, which still rocked in every way. Nursery Cryme was an entirely different story. Much like attwt, my first Gabriel album initially seemed hookless and monotonous, nothing in particular that I cared to hear again. It also didn't help that the second side had a misprinted label for Foxtrot instead of Cryme so I had to look up the songs. I listened a bit more, having bought the record instead of just borrowing from the library like with the Yes albums (though I'd purchase a number of them), and a few things did start to catch on. Harold The Barrol was fun, and theatrically tragic, which I appreciated. The Musical Box had a guitar lead that sounded like the chorus of a Muse song, Hogweed and Seven Stones were pleasant on the ears, and Salmacis had some kind of earworm hook hidden in it that I grew to love. Now I still didn't care too much for this record, but this was my first real step in becoming a major Genesis fan.

 

My next Yes album was probably Union (dad found a record of it discarded at goodwill or something, wonder why), but it doesn't really factor in to my opinions here, so I'll move on to 90250. This was another record I immediately loved, with it's great hit singles and some good in between tracks. However, as I began to notice a pattern, it quickly wore off and I lost much interest in it. I still like it, I still think it's great, I'll still listen to it, but it lost my interest for repeat plays. On to Genesis, my next album was the highly recommended Foxtrot. Now, this one I checked out for, the library, so I wasn't likely to pay it as much attention as one I bought, but I fully intended to give it a listen in the car. Watcher Of The Skies was an immediate standout, as it doesn't take a big Genesis fan to appreciate some drama and dramatic buildup. Unfortunately, my naive and probably distracted ears didn't really comprehend the rest of the record. I read a bunch of the lyrics to Supper's Ready as it was playing, but being in the car it kind of faded in and out and I was never sure what was going on. I knew by this s point this was considered one of those ultimate records and SR was one of the ultimate songs, progress overly speaking, but I wasn't able to decipher what all the fuss was about.

 

(Somewhere in here I put on SEBTP on Spotify on vacation, but only noticed the entrancing synths, not really paying attention)

 

So then we hit the next record in each department, and this becomes a major turning and understanding point for Genesis. As for yes, my next album was Tales, and though I really loved the sound and melody at the start, it was too long and monotonous for me to get through before I returned it to the library. I would later return to find I still really enjoy that whole first epic, and the rest sounds pleasant enough. As for Genesis, my next album was, oddly enough, Wind And Wuthering. I was still increasingly curious about what I was missing with this band, and I spotted another one of those early, hitless records at the record store, so I grabbed it, dismissing the utterly awful cover art (or lack therof) for potential musical satisfaction. I believe the first time I put it on I was going to bed, and I discovered it was a great record to fall asleep to, with all those synth washes and lulabye melodies. Then I discovered that I'd actually made out those synth washes and lulabye melodies, that something in there was sticking (I think it was Your Own Special Way though) I revisited this album a number of times as I discovered it had a great opener, and a great ballad. This lead me to listen back to Cryme of course, where I discovered I really did like a lot of it, and The Musical Box started creeping out as a major standout. Suddenly I had a Genesis album that I liked to listen to, if only for the headspace it's synths soundscape brought me to.

 

Here my Genesis journey gets really recent and picks up a lot of speed, whereas Yes are stil just a great band I look into sometimes. After listening increasingly to Wind and Cryme, I decided based on my semi-recent interest (it might have been a few months) to look into Foxtrot again, figure out what I was missing. Well, as I remembered Watcher was a brilliant opener, but now I noticed how w elk they played with dynamics in it. The second song had an irresistable chorus hook that I liked. The third seemed fun and complex and once again had a great "chorus" type of hook. The fourth was interesting and had a great distorted bass pedal groove. The acoustic guitar piece was nice, and then there was Supper's Ready. Actually listening this time, I thought it very strange that it didn't have an epic intro like mist epics. It just kind of started going. As it went on I tried to follow the lyrics but got kind if hopelessly lost. I think I immediately loved Willow Farm, and Apocalypse in 9/8 seemed threatening and cool. Mostly I was confused about what it was about, so I did what I always do, I googled up some answers. Once I started reading about the song I couldn't stop. So where along the line I read Gabriel's story of the event which inspired the song and I was hooked. I listened again, this time with a head full of information that proved to be the key to unlocking this song for me. I suddenly realized how amazing it is, how epic it is, how it ran the spectrum of my emotions, how Gabriel was a genius, how Hackett could make his guitar cry, how Banks was astounding for playing that solo in a completely different time than the rythm section. Everything made sense, and then I watched avide I of them doing it live with Gabriel, and I realized I'd just discovered quite possibly my second favorite song ever. Genesis were now real contenders for becoming my fourth favorite band, permanently. I loved Foxtrot, I kept liking Wind And Wuthering, and I eventually figured out Nyrsery Cryme. I had to work hard to get there, but if was finally paying off big time.

 

Next Yes album was Going For The One. Interesting at first with the slightly more commercial sounds, but ultimately weaker than Fragile and not inspiring. Next Genesis album was Duke. Duke began a trend of 80s Genesis albums hooking me quick and hard. I loved it at first, though I still didn't quite get why Turn It On Again was a hit. A couple listens later, it was competing for my favorite 80s Genesis song with Behind The Lines, which spoke directly to my slightly love struck heart at the time (I was in the middle of the process which led me to ask a girl to prom). Duke was excellent, though a little monotonous, but it started solid, had a highlight in the middle, and ended solid, so I loved it. After this I revisited SEBTP by checking it out, and here I became confused. I liked it, but I didn't love it. Firth Of Fifth was kinda just okay. The Cinema Show seemed like a rehash of part of Supper's ready and some neat soloing. Dancing had an uncomfortable vocal start. Epping Forest was catchy but severely lacking flow and substance. I Know What I Like was catchy but too simple. More Fool Me was nice and pretty, but obviously not what the album was about, and the other two I couldn't quite differentiate from the songs surrounding them. I decided it was somehow sterile for me, or just lacking in the songwriting department and let it slip to the bottom if my rankings. Then something interesting happened. Some time after getting the s/t (which I lived loved loved and it didn't wear off) and ABACAB (which I loved loved and it only wore off a bit), I realized I'd been listening to England a bit more, I'd been craving it a bit more. It wasn't long before I decided to buy it outright from Amazon, and after spending months with it and sleeping to it, what was meh gradually became essential, with only Battle holding it back from perfect. Once again Gabriel's Genesis had to really grow on me, but it proved all the more worth it to now really love those albums and this band. Also in there was a lot of reading about Genesis and listening to solo Gabriel (So, mainly, as someone told me my promposal reminded them of a scene in a movie featuring In Your Eyes, which I then instantly loved).

 

 

 

 

 

Long story short, for me, Genesis is a career made for the long run, whereas Yes lack some repeatability.

 

:D

 

An amazing post.

 

Sorry we don't see eye to eye on Green Day. I wasn't angry. I just love ripping that horrific local band of crap.

 

 

I'm not an angry guy.

 

Just love to stir the pot.

 

Lol, thanks again Earl. I forgive you Green Day, it doesn't matter, they're pretty devicive and I get that. Love your posts too, man. Keep on, keepin' on.

[Rutlefan]

Went with Yes as Duke and ABACAB were the only Genesis albums I really love, while I love all Yes, as long as Steve Howe was playing and there were no messy vegi-fruits on the cover.

[RUSHHEAD666]

Another interesting thing about these two bands, Genesis almost always takes longer to pull me in, and is always more rewarding in the end. You see, the first Yes album I heard was The Yes Album, and it grabbed me immediately. It also instantly became my favorite Yes album, as none of the other ones I listened to quite topped it (CTTE of course coming as close as possible). The first Genesis album I heard was We Can't Dance, cuz it was in my parents' cd collection. I also loved this, but I never really cared to revisit it most of the time (probably because the second half is such a bore, as I later realized).

 

Later on curiosity would lead me to look into more Yes and more Genesis, though I was more interested in Yes as I knew I liked their proggy side, whereas all I'd really heard of Genesis was post Hackett. I believe my next albums by each band were Fragile and ...And Then There Were Three (I was curious about Genesis' proggy past, but wanted the safeguard of one song of theirs that I knew already). Fragile I instantly loved, though it didn't totally click like The Yes Album (be real, there's some filler in there, and I also prefer Perpetual Change to Heart of the Sunrise). ATTWT did basically nothing for me, just a bunch of drums and keyboards banging around without anything resembling a hook until the single at the end (I wasn't listening very closely if I recall). The thing was, as much as I found I loved Yes, Fragile wore off, while I still had this lingering curiosity about Genesis, and their mysterious first singer.

 

The next album in each camp was vitally important. CTTE, intentionally, and Nursery Cryme, on a whim (was cheap at the record store and my curiosity said Genesis... Not Yes). Close To The Edge I once again loved instantly, more so than Fragile, and I immediately understood I was listening to one of the all time greatest Prog albums. I would debate for a long time whether I preferred it to The Yes Album, but after such a time had passed that I got to know each album better, I realized CTTE, while magical and kind of perfect, had also managed to wear off on me a bit. There was something of a monotony in Yes' sound by that time (I think I'd also exposed myself to Tales and 90250 by then, Tales being the point), and they just didn't seem as personally affecting to me as I had imagined they could be, except for The Yes Album, which still rocked in every way. Nursery Cryme was an entirely different story. Much like attwt, my first Gabriel album initially seemed hookless and monotonous, nothing in particular that I cared to hear again. It also didn't help that the second side had a misprinted label for Foxtrot instead of Cryme so I had to look up the songs. I listened a bit more, having bought the record instead of just borrowing from the library like with the Yes albums (though I'd purchase a number of them), and a few things did start to catch on. Harold The Barrol was fun, and theatrically tragic, which I appreciated. The Musical Box had a guitar lead that sounded like the chorus of a Muse song, Hogweed and Seven Stones were pleasant on the ears, and Salmacis had some kind of earworm hook hidden in it that I grew to love. Now I still didn't care too much for this record, but this was my first real step in becoming a major Genesis fan.

 

My next Yes album was probably Union (dad found a record of it discarded at goodwill or something, wonder why), but it doesn't really factor in to my opinions here, so I'll move on to 90250. This was another record I immediately loved, with it's great hit singles and some good in between tracks. However, as I began to notice a pattern, it quickly wore off and I lost much interest in it. I still like it, I still think it's great, I'll still listen to it, but it lost my interest for repeat plays. On to Genesis, my next album was the highly recommended Foxtrot. Now, this one I checked out for, the library, so I wasn't likely to pay it as much attention as one I bought, but I fully intended to give it a listen in the car. Watcher Of The Skies was an immediate standout, as it doesn't take a big Genesis fan to appreciate some drama and dramatic buildup. Unfortunately, my naive and probably distracted ears didn't really comprehend the rest of the record. I read a bunch of the lyrics to Supper's Ready as it was playing, but being in the car it kind of faded in and out and I was never sure what was going on. I knew by this s point this was considered one of those ultimate records and SR was one of the ultimate songs, progress overly speaking, but I wasn't able to decipher what all the fuss was about.

 

(Somewhere in here I put on SEBTP on Spotify on vacation, but only noticed the entrancing synths, not really paying attention)

 

So then we hit the next record in each department, and this becomes a major turning and understanding point for Genesis. As for yes, my next album was Tales, and though I really loved the sound and melody at the start, it was too long and monotonous for me to get through before I returned it to the library. I would later return to find I still really enjoy that whole first epic, and the rest sounds pleasant enough. As for Genesis, my next album was, oddly enough, Wind And Wuthering. I was still increasingly curious about what I was missing with this band, and I spotted another one of those early, hitless records at the record store, so I grabbed it, dismissing the utterly awful cover art (or lack therof) for potential musical satisfaction. I believe the first time I put it on I was going to bed, and I discovered it was a great record to fall asleep to, with all those synth washes and lulabye melodies. Then I discovered that I'd actually made out those synth washes and lulabye melodies, that something in there was sticking (I think it was Your Own Special Way though) I revisited this album a number of times as I discovered it had a great opener, and a great ballad. This lead me to listen back to Cryme of course, where I discovered I really did like a lot of it, and The Musical Box started creeping out as a major standout. Suddenly I had a Genesis album that I liked to listen to, if only for the headspace it's synths soundscape brought me to.

 

Here my Genesis journey gets really recent and picks up a lot of speed, whereas Yes are stil just a great band I look into sometimes. After listening increasingly to Wind and Cryme, I decided based on my semi-recent interest (it might have been a few months) to look into Foxtrot again, figure out what I was missing. Well, as I remembered Watcher was a brilliant opener, but now I noticed how w elk they played with dynamics in it. The second song had an irresistable chorus hook that I liked. The third seemed fun and complex and once again had a great "chorus" type of hook. The fourth was interesting and had a great distorted bass pedal groove. The acoustic guitar piece was nice, and then there was Supper's Ready. Actually listening this time, I thought it very strange that it didn't have an epic intro like mist epics. It just kind of started going. As it went on I tried to follow the lyrics but got kind if hopelessly lost. I think I immediately loved Willow Farm, and Apocalypse in 9/8 seemed threatening and cool. Mostly I was confused about what it was about, so I did what I always do, I googled up some answers. Once I started reading about the song I couldn't stop. So where along the line I read Gabriel's story of the event which inspired the song and I was hooked. I listened again, this time with a head full of information that proved to be the key to unlocking this song for me. I suddenly realized how amazing it is, how epic it is, how it ran the spectrum of my emotions, how Gabriel was a genius, how Hackett could make his guitar cry, how Banks was astounding for playing that solo in a completely different time than the rythm section. Everything made sense, and then I watched avide I of them doing it live with Gabriel, and I realized I'd just discovered quite possibly my second favorite song ever. Genesis were now real contenders for becoming my fourth favorite band, permanently. I loved Foxtrot, I kept liking Wind And Wuthering, and I eventually figured out Nyrsery Cryme. I had to work hard to get there, but if was finally paying off big time.

 

Next Yes album was Going For The One. Interesting at first with the slightly more commercial sounds, but ultimately weaker than Fragile and not inspiring. Next Genesis album was Duke. Duke began a trend of 80s Genesis albums hooking me quick and hard. I loved it at first, though I still didn't quite get why Turn It On Again was a hit. A couple listens later, it was competing for my favorite 80s Genesis song with Behind The Lines, which spoke directly to my slightly love struck heart at the time (I was in the middle of the process which led me to ask a girl to prom). Duke was excellent, though a little monotonous, but it started solid, had a highlight in the middle, and ended solid, so I loved it. After this I revisited SEBTP by checking it out, and here I became confused. I liked it, but I didn't love it. Firth Of Fifth was kinda just okay. The Cinema Show seemed like a rehash of part of Supper's ready and some neat soloing. Dancing had an uncomfortable vocal start. Epping Forest was catchy but severely lacking flow and substance. I Know What I Like was catchy but too simple. More Fool Me was nice and pretty, but obviously not what the album was about, and the other two I couldn't quite differentiate from the songs surrounding them. I decided it was somehow sterile for me, or just lacking in the songwriting department and let it slip to the bottom if my rankings. Then something interesting happened. Some time after getting the s/t (which I lived loved loved and it didn't wear off) and ABACAB (which I loved loved and it only wore off a bit), I realized I'd been listening to England a bit more, I'd been craving it a bit more. It wasn't long before I decided to buy it outright from Amazon, and after spending months with it and sleeping to it, what was meh gradually became essential, with only Battle holding it back from perfect. Once again Gabriel's Genesis had to really grow on me, but it proved all the more worth it to now really love those albums and this band. Also in there was a lot of reading about Genesis and listening to solo Gabriel (So, mainly, as someone told me my promposal reminded them of a scene in a movie featuring In Your Eyes, which I then instantly loved).

 

 

 

 

 

Long story short, for me, Genesis is a career made for the long run, whereas Yes lack some repeatability.

 

:D

 

An amazing post.

 

Sorry we don't see eye to eye on Green Day. I wasn't angry. I just love ripping that horrific local band of crap.

 

 

I'm not an angry guy.

 

Just love to stir the pot.

 

Lol, thanks again Earl. I forgive you Green Day, it doesn't matter, they're pretty devicive and I get that. Love your posts too, man. Keep on, keepin' on.

 

You are awesome my friend. Glad you are a real person and a good guy.

 

I will always have your back.

 

Cheers!!!!!!

 

You just made a friend.

[Fridge]

Yes by a country mile/......

[Digital Dad]

Ill take Calling All Stations over any Yes album post-90125.

 

Bold statement I know but I donnae give a shite.

[Mithrandir]

Another interesting thing about these two bands, Genesis almost always takes longer to pull me in, and is always more rewarding in the end. You see, the first Yes album I heard was The Yes Album, and it grabbed me immediately. It also instantly became my favorite Yes album, as none of the other ones I listened to quite topped it (CTTE of course coming as close as possible). The first Genesis album I heard was We Can't Dance, cuz it was in my parents' cd collection. I also loved this, but I never really cared to revisit it most of the time (probably because the second half is such a bore, as I later realized).

 

Later on curiosity would lead me to look into more Yes and more Genesis, though I was more interested in Yes as I knew I liked their proggy side, whereas all I'd really heard of Genesis was post Hackett. I believe my next albums by each band were Fragile and ...And Then There Were Three (I was curious about Genesis' proggy past, but wanted the safeguard of one song of theirs that I knew already). Fragile I instantly loved, though it didn't totally click like The Yes Album (be real, there's some filler in there, and I also prefer Perpetual Change to Heart of the Sunrise). ATTWT did basically nothing for me, just a bunch of drums and keyboards banging around without anything resembling a hook until the single at the end (I wasn't listening very closely if I recall). The thing was, as much as I found I loved Yes, Fragile wore off, while I still had this lingering curiosity about Genesis, and their mysterious first singer.

 

The next album in each camp was vitally important. CTTE, intentionally, and Nursery Cryme, on a whim (was cheap at the record store and my curiosity said Genesis... Not Yes). Close To The Edge I once again loved instantly, more so than Fragile, and I immediately understood I was listening to one of the all time greatest Prog albums. I would debate for a long time whether I preferred it to The Yes Album, but after such a time had passed that I got to know each album better, I realized CTTE, while magical and kind of perfect, had also managed to wear off on me a bit. There was something of a monotony in Yes' sound by that time (I think I'd also exposed myself to Tales and 90250 by then, Tales being the point), and they just didn't seem as personally affecting to me as I had imagined they could be, except for The Yes Album, which still rocked in every way. Nursery Cryme was an entirely different story. Much like attwt, my first Gabriel album initially seemed hookless and monotonous, nothing in particular that I cared to hear again. It also didn't help that the second side had a misprinted label for Foxtrot instead of Cryme so I had to look up the songs. I listened a bit more, having bought the record instead of just borrowing from the library like with the Yes albums (though I'd purchase a number of them), and a few things did start to catch on. Harold The Barrol was fun, and theatrically tragic, which I appreciated. The Musical Box had a guitar lead that sounded like the chorus of a Muse song, Hogweed and Seven Stones were pleasant on the ears, and Salmacis had some kind of earworm hook hidden in it that I grew to love. Now I still didn't care too much for this record, but this was my first real step in becoming a major Genesis fan.

 

My next Yes album was probably Union (dad found a record of it discarded at goodwill or something, wonder why), but it doesn't really factor in to my opinions here, so I'll move on to 90250. This was another record I immediately loved, with it's great hit singles and some good in between tracks. However, as I began to notice a pattern, it quickly wore off and I lost much interest in it. I still like it, I still think it's great, I'll still listen to it, but it lost my interest for repeat plays. On to Genesis, my next album was the highly recommended Foxtrot. Now, this one I checked out for, the library, so I wasn't likely to pay it as much attention as one I bought, but I fully intended to give it a listen in the car. Watcher Of The Skies was an immediate standout, as it doesn't take a big Genesis fan to appreciate some drama and dramatic buildup. Unfortunately, my naive and probably distracted ears didn't really comprehend the rest of the record. I read a bunch of the lyrics to Supper's Ready as it was playing, but being in the car it kind of faded in and out and I was never sure what was going on. I knew by this s point this was considered one of those ultimate records and SR was one of the ultimate songs, progress overly speaking, but I wasn't able to decipher what all the fuss was about.

 

(Somewhere in here I put on SEBTP on Spotify on vacation, but only noticed the entrancing synths, not really paying attention)

 

So then we hit the next record in each department, and this becomes a major turning and understanding point for Genesis. As for yes, my next album was Tales, and though I really loved the sound and melody at the start, it was too long and monotonous for me to get through before I returned it to the library. I would later return to find I still really enjoy that whole first epic, and the rest sounds pleasant enough. As for Genesis, my next album was, oddly enough, Wind And Wuthering. I was still increasingly curious about what I was missing with this band, and I spotted another one of those early, hitless records at the record store, so I grabbed it, dismissing the utterly awful cover art (or lack therof) for potential musical satisfaction. I believe the first time I put it on I was going to bed, and I discovered it was a great record to fall asleep to, with all those synth washes and lulabye melodies. Then I discovered that I'd actually made out those synth washes and lulabye melodies, that something in there was sticking (I think it was Your Own Special Way though) I revisited this album a number of times as I discovered it had a great opener, and a great ballad. This lead me to listen back to Cryme of course, where I discovered I really did like a lot of it, and The Musical Box started creeping out as a major standout. Suddenly I had a Genesis album that I liked to listen to, if only for the headspace it's synths soundscape brought me to.

 

Here my Genesis journey gets really recent and picks up a lot of speed, whereas Yes are stil just a great band I look into sometimes. After listening increasingly to Wind and Cryme, I decided based on my semi-recent interest (it might have been a few months) to look into Foxtrot again, figure out what I was missing. Well, as I remembered Watcher was a brilliant opener, but now I noticed how w elk they played with dynamics in it. The second song had an irresistable chorus hook that I liked. The third seemed fun and complex and once again had a great "chorus" type of hook. The fourth was interesting and had a great distorted bass pedal groove. The acoustic guitar piece was nice, and then there was Supper's Ready. Actually listening this time, I thought it very strange that it didn't have an epic intro like mist epics. It just kind of started going. As it went on I tried to follow the lyrics but got kind if hopelessly lost. I think I immediately loved Willow Farm, and Apocalypse in 9/8 seemed threatening and cool. Mostly I was confused about what it was about, so I did what I always do, I googled up some answers. Once I started reading about the song I couldn't stop. So where along the line I read Gabriel's story of the event which inspired the song and I was hooked. I listened again, this time with a head full of information that proved to be the key to unlocking this song for me. I suddenly realized how amazing it is, how epic it is, how it ran the spectrum of my emotions, how Gabriel was a genius, how Hackett could make his guitar cry, how Banks was astounding for playing that solo in a completely different time than the rythm section. Everything made sense, and then I watched avide I of them doing it live with Gabriel, and I realized I'd just discovered quite possibly my second favorite song ever. Genesis were now real contenders for becoming my fourth favorite band, permanently. I loved Foxtrot, I kept liking Wind And Wuthering, and I eventually figured out Nyrsery Cryme. I had to work hard to get there, but if was finally paying off big time.

 

Next Yes album was Going For The One. Interesting at first with the slightly more commercial sounds, but ultimately weaker than Fragile and not inspiring. Next Genesis album was Duke. Duke began a trend of 80s Genesis albums hooking me quick and hard. I loved it at first, though I still didn't quite get why Turn It On Again was a hit. A couple listens later, it was competing for my favorite 80s Genesis song with Behind The Lines, which spoke directly to my slightly love struck heart at the time (I was in the middle of the process which led me to ask a girl to prom). Duke was excellent, though a little monotonous, but it started solid, had a highlight in the middle, and ended solid, so I loved it. After this I revisited SEBTP by checking it out, and here I became confused. I liked it, but I didn't love it. Firth Of Fifth was kinda just okay. The Cinema Show seemed like a rehash of part of Supper's ready and some neat soloing. Dancing had an uncomfortable vocal start. Epping Forest was catchy but severely lacking flow and substance. I Know What I Like was catchy but too simple. More Fool Me was nice and pretty, but obviously not what the album was about, and the other two I couldn't quite differentiate from the songs surrounding them. I decided it was somehow sterile for me, or just lacking in the songwriting department and let it slip to the bottom if my rankings. Then something interesting happened. Some time after getting the s/t (which I lived loved loved and it didn't wear off) and ABACAB (which I loved loved and it only wore off a bit), I realized I'd been listening to England a bit more, I'd been craving it a bit more. It wasn't long before I decided to buy it outright from Amazon, and after spending months with it and sleeping to it, what was meh gradually became essential, with only Battle holding it back from perfect. Once again Gabriel's Genesis had to really grow on me, but it proved all the more worth it to now really love those albums and this band. Also in there was a lot of reading about Genesis and listening to solo Gabriel (So, mainly, as someone told me my promposal reminded them of a scene in a movie featuring In Your Eyes, which I then instantly loved).

 

 

 

 

 

Long story short, for me, Genesis is a career made for the long run, whereas Yes lack some repeatability.

 

:D

 

Nice write up!! I love the cover of Wind & Wuthering. One of my all time favorites!

 

Thanks! Yeah, I've grown to appreciate WaW's cover art, but I still won't say it's great.

 

Plus the cover art fits the album's music extremely well.

[Entre_Perpetuo]

Another interesting thing about these two bands, Genesis almost always takes longer to pull me in, and is always more rewarding in the end. You see, the first Yes album I heard was The Yes Album, and it grabbed me immediately. It also instantly became my favorite Yes album, as none of the other ones I listened to quite topped it (CTTE of course coming as close as possible). The first Genesis album I heard was We Can't Dance, cuz it was in my parents' cd collection. I also loved this, but I never really cared to revisit it most of the time (probably because the second half is such a bore, as I later realized).

 

Later on curiosity would lead me to look into more Yes and more Genesis, though I was more interested in Yes as I knew I liked their proggy side, whereas all I'd really heard of Genesis was post Hackett. I believe my next albums by each band were Fragile and ...And Then There Were Three (I was curious about Genesis' proggy past, but wanted the safeguard of one song of theirs that I knew already). Fragile I instantly loved, though it didn't totally click like The Yes Album (be real, there's some filler in there, and I also prefer Perpetual Change to Heart of the Sunrise). ATTWT did basically nothing for me, just a bunch of drums and keyboards banging around without anything resembling a hook until the single at the end (I wasn't listening very closely if I recall). The thing was, as much as I found I loved Yes, Fragile wore off, while I still had this lingering curiosity about Genesis, and their mysterious first singer.

 

The next album in each camp was vitally important. CTTE, intentionally, and Nursery Cryme, on a whim (was cheap at the record store and my curiosity said Genesis... Not Yes). Close To The Edge I once again loved instantly, more so than Fragile, and I immediately understood I was listening to one of the all time greatest Prog albums. I would debate for a long time whether I preferred it to The Yes Album, but after such a time had passed that I got to know each album better, I realized CTTE, while magical and kind of perfect, had also managed to wear off on me a bit. There was something of a monotony in Yes' sound by that time (I think I'd also exposed myself to Tales and 90250 by then, Tales being the point), and they just didn't seem as personally affecting to me as I had imagined they could be, except for The Yes Album, which still rocked in every way. Nursery Cryme was an entirely different story. Much like attwt, my first Gabriel album initially seemed hookless and monotonous, nothing in particular that I cared to hear again. It also didn't help that the second side had a misprinted label for Foxtrot instead of Cryme so I had to look up the songs. I listened a bit more, having bought the record instead of just borrowing from the library like with the Yes albums (though I'd purchase a number of them), and a few things did start to catch on. Harold The Barrol was fun, and theatrically tragic, which I appreciated. The Musical Box had a guitar lead that sounded like the chorus of a Muse song, Hogweed and Seven Stones were pleasant on the ears, and Salmacis had some kind of earworm hook hidden in it that I grew to love. Now I still didn't care too much for this record, but this was my first real step in becoming a major Genesis fan.

 

My next Yes album was probably Union (dad found a record of it discarded at goodwill or something, wonder why), but it doesn't really factor in to my opinions here, so I'll move on to 90250. This was another record I immediately loved, with it's great hit singles and some good in between tracks. However, as I began to notice a pattern, it quickly wore off and I lost much interest in it. I still like it, I still think it's great, I'll still listen to it, but it lost my interest for repeat plays. On to Genesis, my next album was the highly recommended Foxtrot. Now, this one I checked out for, the library, so I wasn't likely to pay it as much attention as one I bought, but I fully intended to give it a listen in the car. Watcher Of The Skies was an immediate standout, as it doesn't take a big Genesis fan to appreciate some drama and dramatic buildup. Unfortunately, my naive and probably distracted ears didn't really comprehend the rest of the record. I read a bunch of the lyrics to Supper's Ready as it was playing, but being in the car it kind of faded in and out and I was never sure what was going on. I knew by this s point this was considered one of those ultimate records and SR was one of the ultimate songs, progress overly speaking, but I wasn't able to decipher what all the fuss was about.

 

(Somewhere in here I put on SEBTP on Spotify on vacation, but only noticed the entrancing synths, not really paying attention)

 

So then we hit the next record in each department, and this becomes a major turning and understanding point for Genesis. As for yes, my next album was Tales, and though I really loved the sound and melody at the start, it was too long and monotonous for me to get through before I returned it to the library. I would later return to find I still really enjoy that whole first epic, and the rest sounds pleasant enough. As for Genesis, my next album was, oddly enough, Wind And Wuthering. I was still increasingly curious about what I was missing with this band, and I spotted another one of those early, hitless records at the record store, so I grabbed it, dismissing the utterly awful cover art (or lack therof) for potential musical satisfaction. I believe the first time I put it on I was going to bed, and I discovered it was a great record to fall asleep to, with all those synth washes and lulabye melodies. Then I discovered that I'd actually made out those synth washes and lulabye melodies, that something in there was sticking (I think it was Your Own Special Way though) I revisited this album a number of times as I discovered it had a great opener, and a great ballad. This lead me to listen back to Cryme of course, where I discovered I really did like a lot of it, and The Musical Box started creeping out as a major standout. Suddenly I had a Genesis album that I liked to listen to, if only for the headspace it's synths soundscape brought me to.

 

Here my Genesis journey gets really recent and picks up a lot of speed, whereas Yes are stil just a great band I look into sometimes. After listening increasingly to Wind and Cryme, I decided based on my semi-recent interest (it might have been a few months) to look into Foxtrot again, figure out what I was missing. Well, as I remembered Watcher was a brilliant opener, but now I noticed how w elk they played with dynamics in it. The second song had an irresistable chorus hook that I liked. The third seemed fun and complex and once again had a great "chorus" type of hook. The fourth was interesting and had a great distorted bass pedal groove. The acoustic guitar piece was nice, and then there was Supper's Ready. Actually listening this time, I thought it very strange that it didn't have an epic intro like mist epics. It just kind of started going. As it went on I tried to follow the lyrics but got kind if hopelessly lost. I think I immediately loved Willow Farm, and Apocalypse in 9/8 seemed threatening and cool. Mostly I was confused about what it was about, so I did what I always do, I googled up some answers. Once I started reading about the song I couldn't stop. So where along the line I read Gabriel's story of the event which inspired the song and I was hooked. I listened again, this time with a head full of information that proved to be the key to unlocking this song for me. I suddenly realized how amazing it is, how epic it is, how it ran the spectrum of my emotions, how Gabriel was a genius, how Hackett could make his guitar cry, how Banks was astounding for playing that solo in a completely different time than the rythm section. Everything made sense, and then I watched avide I of them doing it live with Gabriel, and I realized I'd just discovered quite possibly my second favorite song ever. Genesis were now real contenders for becoming my fourth favorite band, permanently. I loved Foxtrot, I kept liking Wind And Wuthering, and I eventually figured out Nyrsery Cryme. I had to work hard to get there, but if was finally paying off big time.

 

Next Yes album was Going For The One. Interesting at first with the slightly more commercial sounds, but ultimately weaker than Fragile and not inspiring. Next Genesis album was Duke. Duke began a trend of 80s Genesis albums hooking me quick and hard. I loved it at first, though I still didn't quite get why Turn It On Again was a hit. A couple listens later, it was competing for my favorite 80s Genesis song with Behind The Lines, which spoke directly to my slightly love struck heart at the time (I was in the middle of the process which led me to ask a girl to prom). Duke was excellent, though a little monotonous, but it started solid, had a highlight in the middle, and ended solid, so I loved it. After this I revisited SEBTP by checking it out, and here I became confused. I liked it, but I didn't love it. Firth Of Fifth was kinda just okay. The Cinema Show seemed like a rehash of part of Supper's ready and some neat soloing. Dancing had an uncomfortable vocal start. Epping Forest was catchy but severely lacking flow and substance. I Know What I Like was catchy but too simple. More Fool Me was nice and pretty, but obviously not what the album was about, and the other two I couldn't quite differentiate from the songs surrounding them. I decided it was somehow sterile for me, or just lacking in the songwriting department and let it slip to the bottom if my rankings. Then something interesting happened. Some time after getting the s/t (which I lived loved loved and it didn't wear off) and ABACAB (which I loved loved and it only wore off a bit), I realized I'd been listening to England a bit more, I'd been craving it a bit more. It wasn't long before I decided to buy it outright from Amazon, and after spending months with it and sleeping to it, what was meh gradually became essential, with only Battle holding it back from perfect. Once again Gabriel's Genesis had to really grow on me, but it proved all the more worth it to now really love those albums and this band. Also in there was a lot of reading about Genesis and listening to solo Gabriel (So, mainly, as someone told me my promposal reminded them of a scene in a movie featuring In Your Eyes, which I then instantly loved).

 

 

 

 

 

Long story short, for me, Genesis is a career made for the long run, whereas Yes lack some repeatability.

 

:D

 

Nice write up!! I love the cover of Wind & Wuthering. One of my all time favorites!

 

Thanks! Yeah, I've grown to appreciate WaW's cover art, but I still won't say it's great.

 

Plus the cover art fits the album's music extremely well.

 

Yeah, it's perfect to fall asleep too! :P

 

 

Actually I do agree though. And the font is better for WaW than the font on England is for its contents. Why, why, why is it just some basic labeling font after Nursery Cryme and Foxtrot? Why? Great picture though.

[Entre_Perpetuo]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

[bluefox4000]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

[Entre_Perpetuo]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

Edited December 23, 2016 by Entre_Perpetuo

[bluefox4000]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

 

Tull i really never got either. i can't STAND the flute-y medieval Schick.......like at......all.

 

i enjoy maybe 2 aalbums by them.

 

Genesis is probably my fav prog band. classic era prog band i mean.

 

Mick

Edited December 23, 2016 by bluefox4000

[greg2112]

Love them both, but giving the call to GENESIS.

[Digital Dad]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

 

Tull i really never got either. i can't STAND the flute-y medieval Schick.......like at......all.

 

i enjoy maybe 2 aalbums by them.

 

Mick

 

What do you think about Gentle Giant?

[Digital Dad]

If you are talkin pure classic "Prog" then I go...

 

Pink Floyd

Genesis

VDGG

Jethro Tull

Yes

King Crimson (Primarily the 72-74 band)

Gentle Giant

ELP

Edited December 24, 2016 by Digital Dad

[bluefox4000]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

 

Tull i really never got either. i can't STAND the flute-y medieval Schick.......like at......all.

 

i enjoy maybe 2 aalbums by them.

 

Mick

 

What do you think about Gentle Giant?

 

i liked Gentle Giant better.......i have to devote more time to them. i Know there a BIG inspiration to Spock's Beard Harmony Wise.

 

thoes weird counter point vocals they both use.

 

Mick

[Digital Dad]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

 

Tull i really never got either. i can't STAND the flute-y medieval Schick.......like at......all.

 

i enjoy maybe 2 aalbums by them.

 

Mick

 

What do you think about Gentle Giant?

 

i liked Gentle Giant better.......i have to devote more time to them. i Know there a BIG inspiration to Spock's Beard Harmony Wise.

 

thoes weird counter point vocals they both use.

 

Mick

 

Yeah. Ive listened to Spocks and thought to myself why am I listening to this when I could be listening to Gentle Giant.

[bluefox4000]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

 

Tull i really never got either. i can't STAND the flute-y medieval Schick.......like at......all.

 

i enjoy maybe 2 aalbums by them.

 

Mick

 

What do you think about Gentle Giant?

 

i liked Gentle Giant better.......i have to devote more time to them. i Know there a BIG inspiration to Spock's Beard Harmony Wise.

 

thoes weird counter point vocals they both use.

 

Mick

 

Yeah. Ive listened to Spocks and thought to myself why am I listening to this when I could be listening to Gentle Giant.

 

very funny, lol. and i'll probably think the opposite, lol

 

Mick

[Digital Dad]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

 

Tull i really never got either. i can't STAND the flute-y medieval Schick.......like at......all.

 

i enjoy maybe 2 aalbums by them.

 

Mick

 

What do you think about Gentle Giant?

 

i liked Gentle Giant better.......i have to devote more time to them. i Know there a BIG inspiration to Spock's Beard Harmony Wise.

 

thoes weird counter point vocals they both use.

 

Mick

 

Yeah. Ive listened to Spocks and thought to myself why am I listening to this when I could be listening to Gentle Giant.

 

very funny, lol. and i'll probably think the opposite, lol

 

Mick

 

 

Probably ;).

[RUSHHEAD666]

I may have to revise my statement. I just got Close To The Edge on vinyl...this one doesn't wear off. It might actually be my fav ahead of The Yes Album.

 

 

Yes have two utterly perfect albums and a number of good ones.

 

yea i have to be honest and say out of all the "classic" prog bands. as a whole......Yes ranks among my least favs

 

but my when they did something right......Yes album, Close to the Edge........it's pure Gold.

 

i just find their discography, as a whole, Wildly inconsistant..

 

Mick

 

ELP I find more unique, Floyd I find more consistent, Crimson I've yet to really explore, Genesis I love to death, and Tull are the only ones who really annoy me with Ian's nonstop blabbering about how he hates religion (of course, of really only listened to Aqualung, so maybe that's not always the norm). It wouldn't take much to convince me that I agree with your sentiment, lol. But Close To The Edge though....ugh, magic. Plus, why did no one tell me the gatefold artwork on the inside is so much more amazing than the actual cover, lol.

 

EDIT: and let's not forget I love Rush even more to death than Genesis, lol. ;)

 

Tull i really never got either. i can't STAND the flute-y medieval Schick.......like at......all.

 

i enjoy maybe 2 aalbums by them.

 

Mick

 

What do you think about Gentle Giant?

 

i liked Gentle Giant better.......i have to devote more time to them. i Know there a BIG inspiration to Spock's Beard Harmony Wise.

 

thoes weird counter point vocals they both use.

 

Mick

 

Yeah. Ive listened to Spocks and thought to myself why am I listening to this when I could be listening to Gentle Giant.

 

Spock's Queered is one of the worst prog fake bands in the land.

 

Neal Morse is a totally overrated pansy pussy. One of the weakest vocalists period. He should sing for Disney's Princesses Club.

 

He sings like a little girl running naked in a Marillion Meadow.

 

WEAK ASS shitE

Edited December 25, 2016 by RUSHHEAD666

[RUSHHEAD666]

GENTLE GIANT RULES!

 

 

I'm listening to The Specials tonight.

 

I'm depressed.

 

"Ghost Town"

 

 

Derek Carr's injury has killed my soul.

Edited December 25, 2016 by RUSHHEAD666

[Digital Dad]

GENTLE GIANT RULES!

 

 

I'm listening to The Specials tonight.

 

I'm depressed.

 

"Ghost Town"

 

 

Derek Carr's injury has killed my soul.

 

Yeah well they are going to be in Vegas in two years anyway

 

Merry Christmas!!;)

[RUSHHEAD666]

GENTLE GIANT RULES!

 

 

I'm listening to The Specials tonight.

 

I'm depressed.

 

"Ghost Town"

 

 

Derek Carr's injury has killed my soul.

 

Yeah well they are going to be in Vegas in two years anyway

 

Merry Christmas!! ;)

 

UGH!!! SHOOT ME NOW!

 

MERRY CHRISTMAS!!

 

GO DENVER!

[Entre_Perpetuo]

Mike Rutherford is such an underrated bassist.

 

I think I prefer him to Chris Squire actually, or at least I can clearly hear what notes he's playing on Genesis records, which is more than I can say for a number of great Yes albums.