^ "Carpet Crawlers" was also released as a single.
^ "Carpet Crawlers" was also released as a single.
It was played a full year before that, on their first overseas gig: March of '71 in Belgium, available on that lousy-sounding but historical boot tape (also featuring The Light.)Originally Posted by JJ88
Carpet Crawlers is perhaps the only one that can be plucked from the story and presented on its own, being that the lyrics can be taken in a more general sense.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
*** Join me in the Garden of Delights for 3 hours of tune-spinning... every Saturday at 5pm EST on Deep Nuggets radio! www.deepnuggets.com ***
The only songs from The Lamb I ever heard on the FM progressive rock station in my area back in the mid 70s were Carpet Crawlers and most often the title track itself. I always assumed LLDOB was released as a single, but don't know; didn't matter to me, I wasn't into buying vinyl singles.
It wasn't clear, but I meant lead single. I wonder if they have ever explained why they chose 'Counting Out Time' instead.
Then again, obviously, most of their bigger selling peers were not releasing singles at all in the UK at this point.
Probably because it was the closest thing on the album to another "I Know What I Like," which had been a success for them as a single.
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
"Counting Out Time" is delightful. Sounds like Genesis teaming up with 10cc.
I used to own a DVD of Genesis MTV videos. Most were from the pop era, but it included a video of Carpet Crawlers.
"Well my son, life is like a beanstalk, isn't it?"--Dalai Lama
...so it was issued as a one-sided 7" floppy vinyl disc in a music magazine (the name of which escapes me).
Hell, they ain't even old-timey ! - Homer Stokes
It was in the US. Most places, no.
I agree that Selling is a great album, but songs like More Fool Me and Battle of Epping Forest have some flaws.
Other than that this album is almost perfect since it has some of the greatest Genesis moments like "Dancing with the Moonlit Knight", "Firth of Fifth", "After the Ordeal", "Cinema Show" and "Isle of Plenty".
Listening to Nursery Cryme. What a great album.
you should add "IMHO", coz for many it's pure bliss- a sort of ubearthed gem, and unlike Happy The Man, it sounded like the good Genesis.... Unheard by the early Genesis fan masses until the mid to late 90's.
It's not perfect, but I love it and sits in the middle of the pack or Gabe-era tracks.
COT is a gas, and really funny (almost as much as Epping Forest)
COT certainly didn't need guitar histrionics... It wasn't intended to be Firth or something
Of course Alehouse was not new anymore (earliest it dates is Tresspass, I think) but it still was a valid track that would've bettered SEBTP by a mile if replacing MFM.
Both would've been great as singles, but in Canada, neither got any airplay at the time of release (Crawlers would with the Seconds Out version, though), but the title track did (almost ad-nauseam)
If both CC and COT had played, I muight've bought the album sooner (I waited until W&W was released... It was the last Gabe-era album I owned (yes, even FGTR I had bought before)
Yup, as someone hinted, it could've been a 10 CC single
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
He did, if you read it. (Okay, not the "H")
Ummm... yeah, I don't think it needed guitar histrionics either. I just agree with Steve that it needed a bit more of a hook than what it has.
That was Counting Out Time.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
*** Join me in the Garden of Delights for 3 hours of tune-spinning... every Saturday at 5pm EST on Deep Nuggets radio! www.deepnuggets.com ***
One of the most beautiful musical moments ever in my opinion.
I remember reading that when the band shared the new record with girlfriends/ family, they learned that carpet crawlers was the special song on the album and not CoT.
Kinda funny, they were too in the weeds to realize what was the best material.
In the top 10 but I'd have Close To The Edge at the top.
I listened to it again just recently, and yes, it is nice. For some reason I noticed the flute more, and it added a lot to it. (There's no flute in the Seconds Out version... it really just does noodle on with a bunch of "atmospheric" sound effects in the background.) So I take it back. The original version is quite nice, but live versions don't measure up.One of the most beautiful musical moments ever in my opinion.
"Arf." -- Frank Zappa, "Beauty Knows No Pain" (live version)
I love the studio version of CS, but the Seconds Out version is even better, more powerful and atmospheric. The flute part is recreated with synths, and then expanded upon. Banks is in top form in those 76 versions.
Agreed. The flute and oboe are essential. Live, without, doesn't recreate the magic for that interlude.
yeah, I quoted wrong on the one
Well, though very fun (musically) and even funnier (lyrics-wise), I'm not sure wives and GFs would appreciate COT (make them seem like a complicated machine), while CC is the dream slow dance.
I lobe both, but the live version in SO wins out, because it's dynamite/energetic with the two drummer bits. Those duos are among my fave drumming bits ever, particularly because they're short and wild.I love the studio version of CS, but the Seconds Out version is even better, more powerful and atmospheric. The flute part is recreated with synths, and then expanded upon. Banks is in top form in those 76 versions.
They didn't try to either... They had to rearrange some of the early stuff, and managed quite well IMHO
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
On my YouTube feed this morning:
Hurtleturtled Out of Heaven - an electronic music composition, on CD and vinyl
https://michaelpdawson.bandcamp.com
http://www.waysidemusic.com/Music-Pr...MCD-spc-7.aspx
lmfao
And the code is a play, a play is a song, a song is a film, a film is a dance...
Cause of breakfast.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
Neil Peart on seeing SEBTP tour:
http://www.2112.net/powerwindows/tra...0400rhythm.htm
I Love Phil (Neil Peart on Phil Collins)
By Neil Peart, Rhythm, April 2011, transcribed by pwrwindows
Phil Collins was an enormous influence on my drumming in the '70s, and thus remains a part of my playing even today. His recorded drum parts with Genesis and Brand X in those years were technically accomplished, yet so musical - even lyrical. His rhythmic patterns were woven into the intricacy of the music, while lending a smooth, fluid pulse to the songs and extended instrumentals. His fills were imaginative and exciting, alive with energy and variety, while the refined technique was always in the service of the music. Even within those fills, Phil applied a jazz drummer's sense of dynamics, which also guided his ensemble playing, and inspired me to try to incorporate that sensibility into my own triple-f approach.
Plus, his drums sounded so good. Good-sounding drums are always the result of a good-sounding drummer, and speak of the player's touch. Phil's combination of that quality and the natural drive of his playing produced truly melodic-sounding drum parts - flowing and musical. One outstanding piece of work that reflected all of those qualities was the Genesis album Selling England By The Pound, from '73. In the summer of '74, just before I joined Rush, I attended one of the shows on that tour (at the Century Theater, Buffalo, New York), and it was simply a galvanising performance, by him and all of that excellent band. The music from that night's show echoed in my head long after, while Phil's vocal performance on 'More Fool Me', was a harbinger of a whole other career to come.
Although Phil and I have never met properly, some years ago he and I corresponded about my invitation for him to play at a Buddy Rich memorial concert. His reply was regretful, pleading a lack of time that year (though he took part in one of the shows later on), and his letterhead featured a charming cartoon of himself as a Cabbage Patch Kid.
I find it amusing that despite not meeting 'formally', Phil and I have actually encountered each other face-to-face, unknown to him, on two occasions, almost 20 years apart. In the late '70s, I was recording with Rush in London, and one day popped into a science-fiction bookstore in Soho called Dark They Were And Golden Eyed. At the door, I stood back to hold it for another patron, a bearded little guy in flat cap and overcoat, on his way out. Our eyes met for a moment, we nodded courteously, and I recognised Phil in his hirsute 'Artful Dodger' period, just before he was thrust into the frontman position with Genesis that would so change his life - from modestly successful drummer to immense international popstar.
In Bill Bruford's fine memoir (titled simply The Autobiography), Bill wrote about getting together with Phil just after they had played together in the first post-Gabriel incarnation of Genesis (some wonderful drum duets in that live show). Phil played Bill his solo album Face Value for the first time - neither of them imagining how hugely successful it was to be, or the phenomenal solo career it would launch. Not to mention the impact of that gated-ambience tom sound Phil had developed with Peter Gabriel - the world would be hearing a lot of that.
In the mid-90s, I was in Geneva, Switzerland, with my friend Brutus, at the end of a motorcycle journey that had taken us from Munich down through Italy to Tunisia and into the Sahara. Brutus and I had survived some harrowing adventures before finally arriving at the Hotel du Rhone in Geneva, so we were feeling extremely fortunate just to be there - and to be revelling in an incredible dinner of European haute cuisine. A murmur went through the room, and Brutus and I turned to see Phil Collins being seated just behind us. I believe he was performing at the nearby Montreux Jazz Festival.
I felt no need to impose upon his evening, and my own evening was already full; Brutus and me sharing a journey's end combination of exaltation and relief. But I smiled to myself at the coincidence. In any case, it seems to me that when someone you have long admired becomes so enormously popular that his arrival sends a murmur through a high-class restaurant, you can't help but feel a kind of personal pride... 'Why, I remember Phil Collins when he was just a drummer.'
^^^
Very cool remembrance by Peart. I had thought they had drummed together on one of those Rich tributes, but I guess not.
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