Genesis

Black Winter Day said:
...and something tells me that the spice rack thread will be more popular here. :lol:
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I just checked it, it has 6 more replies and about 120 more views. :D

Don't feel like bumping the idiocy contained, but someone else can if they want to.
 
I listened to it about 3 times last night, it's good stuff that has a lot of room for growth in the ears of my mind, or something.
 
While I didn't really understand everything that happens in the song without paying close attention to the lyrics, it was obvious to me that the way the seven distinct sections are integrated is brilliant, and the concluding section is as beautiful as...well, watching a pornstar spread her legs in slow motion. :)
 
PJ: If you like Yes and Rush half as much as you say you do, you OWE IT TO YOURSELF to hear Nursery Cryme, Foxtrot, Selling England By the Pound and The Lamb Lies Down on Broadway. These album are, and will forever be, the pinnacle of progressive music.

Demonspell: You're right, of course. Does music get any more emotional than when, at the end, Peter screams "...JERUSALEEEEMMMM!!!" and Hackett plays the most tearful solo in the world? Brilliant!

J.: (It's unlikely that he will check this thread, but...) Have you heard Jeff Buckley's version of "Back in NYC" yet? If so, how is it?
 
Black Winter Day said:
PJ: If you like Yes and Rush half as much as you say you do, you OWE IT TO YOURSELF to hear Nursery Cryme, Foxtrot, Selling England By the Pound and The Lamb Lies Down on Broadway. These album are, and will forever be, the pinnacle of progressive music.
Click to expand...
Is Phil on any of those? Honestly, I am a fan of his voice and I was wondering if he was on any of their more progressive recordings...
 
4.30 pm. The tube train draws to a halt There is no station in sight Anxious glances dart around amongst the passengers as they acknowledge each others presence for the first time.

At the end of the train, a young lady in a green trouser-suit stands up in the centre of the carriage and proceeds to unbutton her jacket, which she removes and drops to the dirty wooden floor. She also takes off her shoes, her trousers, her blouse, her brassiere, her tights and her floral panties, dropping them all in a neat pile. This leaves her totally naked. She then moves her hands across her thighs and begins to fiddle around in between her legs. Eventually she catches hold of something cold and metallic, and very slowly she starts to unzip her body: working in a straight line up the stomach, between the breasts, up the neck. taking it right on through the centre of her face to her forehead. Her fingers probe up and down the resulting slits; finally coming to rest on either side of her navel. She pauses for a moment before meticulously working her flesh apart Slipping her right hand into the open gash she pushes up through her throat, latching on to some buried solid at the top. of her spine. With tremendous effort, she loosens and pulls out a thin, shimmering, golden rod. Her fingers release their grip and her crumpled body, neatly sliced, slithers down the liquid surface of the rod to the floor.

SPLAT!

The rod remains hovering just off the ground. A flagpole without flag.
The other passengers have been totally silent but at the sound of the body dropping on the floor, a large middle-aged lady, wearing a pink dress and matching poodle, stands up and shouts, "STOP THIS, IT'S DISGUSTING!"

The golden rod disappeared, the green trouser-suit was left on a hanger, with a dry-cleaning ticket pinned to the left arm.
On the ticket was written:

NAME.........................................
ADDRESS....................................
................................................
................................................
................................................
 
Dick Sirloin said:
4.30 pm. The tube train draws to a halt There is no station in sight Anxious glances dart around amongst the passengers as they acknowledge each others presence for the first time.

At the end of the train, a young lady in a green trouser-suit stands up in the centre of the carriage and proceeds to unbutton her jacket, which she removes and drops to the dirty wooden floor. She also takes off her shoes, her trousers, her blouse, her brassiere, her tights and her floral panties, dropping them all in a neat pile. This leaves her totally naked. She then moves her hands across her thighs and begins to fiddle around in between her legs. Eventually she catches hold of something cold and metallic, and very slowly she starts to unzip her body: working in a straight line up the stomach, between the breasts, up the neck. taking it right on through the centre of her face to her forehead. Her fingers probe up and down the resulting slits; finally coming to rest on either side of her navel. She pauses for a moment before meticulously working her flesh apart Slipping her right hand into the open gash she pushes up through her throat, latching on to some buried solid at the top. of her spine. With tremendous effort, she loosens and pulls out a thin, shimmering, golden rod. Her fingers release their grip and her crumpled body, neatly sliced, slithers down the liquid surface of the rod to the floor.

SPLAT!

The rod remains hovering just off the ground. A flagpole without flag.
The other passengers have been totally silent but at the sound of the body dropping on the floor, a large middle-aged lady, wearing a pink dress and matching poodle, stands up and shouts, "STOP THIS, IT'S DISGUSTING!"

The golden rod disappeared, the green trouser-suit was left on a hanger, with a dry-cleaning ticket pinned to the left arm.
On the ticket was written:

NAME.........................................
ADDRESS....................................
................................................
................................................
................................................
Click to expand...

WATCH-
ER
OF
THE
SKIES
WATCHER OF ALLLLLLLL
HIS IS A WORLD ALOOOOOOONE
NO WORLD IS HIS OWN


DUN DUN DUN DA DUN DUN DUN DUN DUN



:kickass:
 
Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.
 
Chromatose said:
Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.
Click to expand...

what
 
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