In 1983, keyboardist Tony Banks stepped out of his comfort zone to sing lead vocals on his second solo album, “The Fugitive.” Was this experiment a success? The Tabletop weighs in with the help of two special guests, writers (and longtime Genesis fans) Antony Johnston and Al Melchior.
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Thanks for the great show. I am with Tom here. Firstly, I too thought of “Free As A Bird” when “K2” was played. Secondly, I adore “Charm”. The dynamics, the build-up, and its overall feeling of joy. It’s the musical equivalent of strolling down the avenue on a warm, sunny spring day. That song just makes me smile.
Having said all that, I appreciated the insights on the rest of the songs. Lots of stuff I never noticed or considered. Plus there’s your use of remixes. (I assume they were used here as the drums sounded more Lars Ulrichian than I am used to.) I notice sounds in the remixes that were buried in the original mixes and this adds different shades to the songs.
Thanks again,
Skip
I agree with the snippets of the songs played sounded so much fuller than I remembered.
A great review. The guys really seem to understand the music and never got snarky about any of the songs. I learned some interesting information. The Fugitive was a favorite of mine many years ago. I see it now in a new light and will give it a new listen on Amazon Prime.
I enjoyed the discussion and excerpts far more than anticipated. Thanks, as always.
This was an excellent podcast, guys. Thank you so much for the time and effort you put in. I really enjoyed it while on my daily walks here in Dublin, Ireland during the current lockdown. It took me completely away from everything that’s going on in the world at the moment.
I had never heard the album before and now I’m addicted to playing it on youtube (might buy the CD too). I’ll probably listen to the podcast again to remind myself of all the cool musical bits to look out for on the album. I love that you discussed the album in such depth. Tony’s music takes a bit of work but once it clicks it’s fantastic…and it’s just clicked for me!
I already have Strictly Inc. on cassette from way back but I will definitely be checking out his other solo albums now too. Thank you for opening it all up to me. Genesis is a band that just keeps on giving, so much great music from all the members!
Anyway, I just had to write to let you know how much I enjoyed the chat. It was great to hear the opinions of the ‘experts’ brought in who are big fans of the album too. Very insightful. (No mention of the album cover! What do you think of it?)
Keep up the great work and thanks again for sending this out to the world. It was brilliant. Would love to hear a podcast ‘By You’ in the future doing a deep-dive on Strictly Inc. if you ever you get the time.
Stay safe,
Niall
Great podcast, gents. I really appreciate the varying perspectives and the musician’s technical take from Antony and Al complementing the fan views I expect from Tom and Mike. With all of the attention (appropriately) paid to Tony’s vocals, I’m surprised noone mentioned the similarity of Tony’s voice to Al Stewart’s. The similarity, particularly on “And The Wheels Keep Turning” and “At the Edge of Night,” is remarkable to me. (Did Al influence Tony to try his own vocal album? Come to think of it, why did every one in Genesis decide they were a lead vocalist until three of them released an album that proved they weren’t? Just asking.)
Regarding the suggestion to speed up some songs (e.g., “And The Wheels Keep Turning”), I suggest not speeding it up, but giving the rhythm more swing would liven the tracks. As a drummer and Collins affectionado, a little swing in even a straight rhythm gives a big lift to the movement without a song’s groove. As a example, listen to the demo of “Do They Know It’s Christmas” before Phil plays on it (https://youtu.be/5ICXpX5l_UU?t=58), when he plays on it at the same 115BPM tempo (https://youtu.be/bjQzJAKxTrE?t=95) or when played live without him (https://youtu.be/Gifrd7ljNL4?t=107) speeding it up to 119BPM to get the same lift. Maybe Phil might have been better served to stay at Wembely instead of underrehearsed jamming with Led Zep.
Keep the podcasts coming. You’re finding your stride even without Simon and Stacy (though we miss them). Good stuff.
Sorry, team. The earlier comment autopopulated with my wife’s name. I’m Robert.
Enjoyed the program. Good guests. Antony’s comment about the whole being greater than the sum of the parts was right on point. I think I like this better than curious feeling as I believe one of you said. Not on the same level as Melt or Hello I Must be Going, but some good stuff on here. I did read once that Phil’s favorites of Tony’s and Mike’s albums were the ones they sang on like this and Acting Very Strange. Given the previous comments I’ve heard regarding this album, I know you won’t agree, but I think there’s a good number of good songs on this, the whole first side is good I think.
I was really excited with the guests: Antony Johnston?! I loved “The Coldest City.” Wow, I was so excited. I never heard “The Fugitive”….
And then I listened to the samples you played. The vocals ruined it for me.
Sorry, guys. I couldn’t take it. I had to bail on this podcast. Probably the only one I did not listen to all the way through. 🙁
I’m just now getting around to listening to this edition of the podcast and I have to say is you guys have done a great job discussing The Fugitive. Mike I’m in agreement with you “At the Edge of Night” next to “Charm” is the killer track on the album. I bought the album, the day it was released and have been a huge fan of it. Tony’s voice isn’t strong, but there are many times where he reminds me of Paul Westerberg… great job gang!
Shitsandwich.
I’m joking of course, no hate here. But this record was not up my alley. I could have bought it on vinyl today for 25 Swedish crowns (about 2,50 dollars) but I bought Smallcreeps day instead.