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Get 'Em out by Friday the Official Release Dates 1968-78 Introduction
Genesis: Get ‘Em Out By Friday The Official Release Dates 1968-78 Introduction Depending on where one looks for the information, the original release dates of Genesis singles and albums are often misreported. This article uses several sources, including music paper cuttings, websites and books, to try and determine the most likely release date in the UK for their officially released product issued between 1968 and 1978. For a detailed analysis to be completed beyond 1978 will require the input of others that know that era far better than I with the resources to examine it in appropriate levels of detail. My own collection of source material essentially runs dry after 1978. As most people searching for release dates are likely to go to Wikipedia that is where this search for the truth behind Genesis’ back catalogie. The dates claimed on Wikipedia would themselves have come from a number of sources referenced by contributors over the years but what these references lack is the evidence to back up their claims. This article aims to either confirm or disprove these dates with the added bonus of citing where this information stems from. It’s not without a fair share of assumptions and educated deductions but it offers more on this subject than any previously published piece. The main sources consulted in the writing of this article are as follows: 1. The Genesis File Melody Maker 16 December 1972 2. Genesis Information Newsletter Issue No. 1 October 1976 3. Wax Fax by Barry Lazzell - a series of articles on Genesis releases published in Sounds over several weeks in 1977 4. -
The Classic Rock String Quartet the Genesis Chamber Suite Mp3, Flac, Wma
The Classic Rock String Quartet The Genesis Chamber Suite mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Genesis Chamber Suite Country: UK Released: 2003 MP3 version RAR size: 1744 mb FLAC version RAR size: 1697 mb WMA version RAR size: 1823 mb Rating: 4.5 Votes: 302 Other Formats: DXD MMF ADX MP1 MP2 WMA RA Tracklist Hide Credits Looking For Someone 1 5:24 Written-By – Anthony Phillips, Mike Rutherford, Peter Gabriel, Tony Banks White Mountain 2 4:55 Written-By – Anthony Phillips, Mike Rutherford, Peter Gabriel, Tony Banks Musical Box (Abridged) 3 5:36 Written-By – Mike Rutherford, Peter Gabriel, Phil Collins, Steve Hackett, Tony Banks Supper's Ready (Abridged) 4 3:59 Written-By – Mike Rutherford, Peter Gabriel, Phil Collins, Steve Hackett, Tony Banks Ripples 5 4:18 Written-By – Mike Rutherford, Phil Collins, Steve Hackett, Tony Banks Entangled 6 4:17 Written-By – Mike Rutherford, Phil Collins, Steve Hackett, Tony Banks Mad Man Moon 7 5:00 Written-By – Mike Rutherford, Phil Collins, Steve Hackett, Tony Banks Afterglow 8 3:32 Written-By – Tony Banks One For The Vine 9 4:56 Written-By – Tony Banks Follow You Follow Me 10 3:53 Written-By – Mike Rutherford, Phil Collins, Tony Banks The Lady Lies 11 3:53 Written-By – Tony Banks Please Don't Ask 12 4:02 Written-By – Phil Collins Los Endos 13 4:48 Written-By – Mike Rutherford, Phil Collins, Steve Hackett, Tony Banks Notes Dolby Digital 5.1 & DTS Barcode and Other Identifiers Barcode: 5060071500897 Related Music albums to The Genesis Chamber Suite by The Classic Rock String Quartet The Phil Collins Big Band - The Phil Collins Big Band Big Hits Sampler Genesis - .. -
Large-Scale Strategy and Compositional Design in the Early Music of Genesis
Copyrighted Material 12 Large-Scale Strategy and Compositional Design in the Early Music of Genesis MARK SPICER Th e title of this chapter might remind some readers of an article by Andrew Mead that appeared in Perspectives of New Music more than two decades ago (Mead 1985), in which the author used sophisticated set-theoretic analytical techniques to dig beneath the surface of Arnold Schoenberg’s music, disclos- ing a “large-scale strategy” at work within several of the twelve-tone composi- tions. Mead had the advantage of writing for a scholarly community already well convinced of Schoenberg’s genius. I suspect the idea of placing the music of the British rock group Genesis in the same league as Schoenberg would be greeted with considerable skepticism—if not downright horror—by many musicologists, and this is certainly not my intent in the present essay. (Alas, it will probably require some drastic revolutions in taste before such early- Genesis classics as “Th e Return of the Giant Hogweed” are admitted into the canon of twentieth-century masterworks.) But I do hope to show that despite being several musical worlds removed from Schoenberg, Genesis’ music is rich, diverse, and equally worthy of our analytical attention. One of the most infl uential and long-lasting of the so-called “progressive rock” bands that emerged in Britain around 1970 in the wake of the Beatles, Genesis is probably better known to most pop-rock fans as the supergroup who made frequent appearances on the Billboard charts during the 1980s and early 1990s, with -
I Genesis E Le Rivelazioni Esoteriche Di Peter Gabriel
www.centrosangiorgio.com RICCARDO CUCCO I Genesis e le rivelazioni esoteriche di Peter Gabriel Centro Culturale San Giorgio 1 www.centrosangiorgio.com AVVERTENZA Il presente saggio, pubblicato sul sito www.centrosangiorgio.com a mero scopo divulgativo, può essere riprodotto parzialmente o integralmente da chiunque lo desideri, purché non a fini di lucro e con la raccomandazione di citarne la fonte. Ultima revisione: 29 marzo 2018 «La verità vi farà liberi» (Gv. 8,32) 2 www.centrosangiorgio.com SOMMARIO INTRODUZIONE 4 I. I PRIMI ALBUM 5 II. WATCHER OF THE SKIES E LA FANTASCIENZA GNOSTICA DI ARTHUR C. CLARKE 17 III. THE LAMB LIES DOWN ON BROADWAY: UN VIAGGIO INIZIATICO 41 IV. RIVELAZIONI ESOTERICHE E RIVOLUZIONE SESSUALE 84 ARTICOLI CORRELATI 126 3 www.centrosangiorgio.com INTRODUZIONE Maschere con la testa di una volpe, ali di pipistrello intorno al capo di Peter Gabriel. Una piscina con tre lamia (esseri mitologici metà donna e metà serpente). Una stanza con 32 porte. Questi sono solo alcuni esempi delle curiose trovate presenti negli album e nei concerti dei Genesis. Non è facile addentrarsi nei meandri dei testi e delle rappresentazioni del gruppo inglese, che si può tranquillamente considerare uno dei più colti e raffinati di tutto il panorama rock, soprattutto per quanto realizzato durante il loro periodo progressive degli anni ’70. Peter Gabriel (voce, flauto), Mike Rutherford (basso), Tony Banks (organo, mellotron, piano, ecc...) e il primo chitarrista Anthony Phillips provenivano da una prestigiosa scuola privata del Surrey, la Charterhouse. Ma anche i membri che si aggiunsero col terzo LP, il nuovo chitarrista Steve Hackett e il batterista Phil Collins non erano certo degli sprovveduti. -
Genesis' “The Fountain of Salmacis”
Forever To Be Joined As One: Genesis‟ “The Fountain of Salmacis” and Ovid In November of 1971 the progressive rock group Genesis released their album Nursery Cryme. Their third album, it is considered by music critics and fans to be their first „classic‟ album, first in a series of ambitious albums released between 1971 and 1974 (Erlewine, 2014; Prog Archives, 2014). Musically the album features songs of lengths and structures unusual in pop music, with four of the seven tracks lasting more than five minutes and one of those stretching to nearly ten and a half minutes. This musical ambition was matched by singer and primary lyricist, Peter Gabriel, who treated subject matter far outside the norm for pop music and who adopted a number of personas across the course of the album, even changing points of view several times within the same song. The final song of the album, the eight-minute long, “The Fountain of Salmacis,” encapsulates many of these features. Gabriel draws upon Ovid‟s story of Hermaphroditus and Salmacis at Met. 4.274-388 (Fransson, 1990). Gabriel assumes the parts of narrator, Hermaphroditus, and Salmacis, just as Ovid gives voice to Hermaphroditus, Salmacis, and the narrator of the story, Alcithoë. Gabriel follows Ovid‟s narrative fairly closely, describing the rearing of Hermaphroditus at Mount Ida, his travels through the wilderness, the pool of Salmacis, her advances and his failed rejections, and the merging of their bodies. It is likely that Gabriel encountered Ovid while a student at Chaterhouse School at Godalming, Surrey, UK (Bright, 1998). In my paper I will first lay out the correspondences between Ovid‟s narrative and Genesis‟ song. -
Read Book Genesis Ebook, Epub
GENESIS PDF, EPUB, EBOOK Sebastiao Salgado,Lella Salgado | 520 pages | 15 Jun 2013 | Taschen GmbH | 9783836538725 | English | Cologne, Germany Genesis PDF Book Macalister, Gezer II , p. And while it might not have become a pop culture phenomenon, the album and the song did find an audience among collegiate listeners. Charterhouse alumnus, recording artist, and producer Jonathan King heard the tape and arranged for the group to continue working in the studio, and it was also King who renamed the band Genesis. We are told in the second chapter of Genesis that God caused all the animals to pass before Adam to see what he would call them. But Peter Gabriel , with his growing array of costume changes and acting out of roles, far transcended anything seen on a rock stage -- it was true rock theater, and an intense listening experience. The members began thinking about getting on with their lives outside of music, and especially attending college. As you are aware, this is an unprecedented time and our agency needs are changing and evolving at a rapid pace. In addition, the group has provided a launching pad for the superstardom of members Peter Gabriel and Phil Collins , and star solo careers for members Tony Banks , Michael Rutherford , and Steve Hackett. The creation: secular, Jewish, Catholic, Protestant, and Muslim perspectives. Contrast: C C. Reading the Old Testament. See how many words from the week of Oct 12—18, you get right! Rogo-te que te apartes de mim. They merged, with the result that year-olds Peter Gabriel , Tony Banks , and Michael Rutherford joined with year-old Anthony Phillips , calling themselves the New Anon and recording a six-song demo featuring songs primarily written by Rutherford and Phillips. -
The Peter Vickers Genesis Collection Wednesday 16Th May 2018 at 10.00
Hugo Marsh Neil Thomas Plant (Director) Shuttleworth (Director) (Director) The Peter Vickers Genesis Collection Wednesday 16th May 2018 at 10.00 Viewing: 14th May 10.00-16.00 For enquiries relating to the auction 15th May 2018 09:00 - 16:00 please contact: 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 David Martin Fax: 0871 714 6905 Music & Email: [email protected] Entertainment www.specialauctionservices.com As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to the auction; the purchase will be made at their own risk. Special Auction Services will give indica- tions of provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. Buyers Premium: 17.5% plus Value Added Tax making a total of 21% of the Hammer Price Internet Buyers Premium: 20.5% plus Value Added Tax making a total of 24.6% of the Hammer Price The Peter Vickers Genesis Collection Peter Vickers started collecting Genesis Records and Memorabilia in the Mid 1970s and became a well known and respected member of the Genesis fan community, writing a number of articles on the band for magazines and on line. Peter also self produced several limited edition books on the history of Genesis and Rare Collectibles. It is doubtful if anyone else had the depth and breadth of his knowledge regarding the Band’s Recorded output around the world. -
Official Release Dates 1968-78 Contents 1
Get ‘Em Out By Friday Genesis: The Official Release Dates 1968-78 Contents 1. Introduction 3 • Sources 2. In the Beginning…. 5 • The Decca Years 3. The Ball’s Begun, the Champagne’s Flat 16 • Trespass and Nursery Cryme 4. More Opened Ears and Opened Eyes 34 • Foxtrot, Genesis Live and Selling England By the Pound 5. Take a Little Trip Back …. 46 • From Genesis to Revelation (cassette) and In the Beginning 6. The Last Great Adventure…. 52 • The Lamb Lies Down on Broadway and The Genesis Collections 7. And Then (For a While) There Were Four 63 • A Trick of the Tail, Rock Roots and Wind and Wuthering 8. Stepping Out the Back Way 75 • Second’s Out, And Then There Were Three and Genesis Live 9. Epilogue 87 Appendices A - Genesis UK Discography (1968-78) B - Genesis: A Winter’s Tale - A Tale Unfolds 1 Get ‘Em Out By Friday Genesis: The Official Release Dates 1968-78 Introduction Depending on where one looks for the information, the original release dates of Genesis singles and albums are often misreported. This article uses several sources, including music paper cuttings, websites and books, to try and determine the most likely release date in the UK for their officially released product issued between 1968 and 1978. For a detailed analysis to be completed beyond 1978 will require the input of others that know that era far better than I, with the resources to examine it in an appropriate level of detail. My own collection of source material essentially runs dry around 1978. -
Die 3-Cd Genesis- Anthologie 'R-Kive'
DIE 3-CD GENESIS- ANTHOLOGIE ‘R-KIVE’ VÖ: 03. Oktober 2014 Erstmals vereint: 37 der besten Songs von Genesis und aus den Solowerken der einzelnen Musiker Am 03. Oktober wird Virgin EMI / Universal Music Catalogue die drei CDs umfassende Genesis-Anthologie ‘R- Kive’ veröffentlichen. Das 37 Songs umfassende CD-Set, das 42 Schaffensjahre umfasst, dokumentiert die Bandgeschichte mit klassischen Arbeiten von Genesis und ausgewähltem Material aus den Solokarrieren von Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett sowie Mike Rutherford / Mike + The Mechanics. Die Werke von Genesis und die aus der Band hervorgegangenen Soloprojekte sind im Laufe der Jahre zu einer mehr als bemerkenswerten Serie von Glanzleistungen angewachsen und haben es gemeinsam auf unglaubliche 14 Alben gebracht, die die Charts anführten, sowie zwei weitere Dutzend in den Top 10. Insgesamt wurden von Genesis und den Solowerken der Bandmusiker weltweit mehr als 300 Millionen Alben verkauft. ‘R-Kive’ enthält in chronologischer Reihenfolge die größten Hits von Genesis, darunter ‘Invisible Touch’, ‘Turn It On Again’, ‘Land of Confusion’ und ‘I Can’t Dance’. Dazu gesellen sich, in entsprechender Reihenfolge, Soloklassiker wie ‘The Living Years’ und ‘Over My Shoulder’ von Mike + The Mechanics, ‘In The Air Tonight’ von Collins und sein Duett mit Philip Bailey, ‘Easy Lover’, sowie Peter Gabriels ‘Solsbury Hill’. ‘R-Kive’ beginnt mit ‘The Knife’, einer neunminütigen Proto-Punk-Nummer, die bei den frühen Konzerten den krönenden Abschluss bildete und noch zu jener Zeit entstanden war, bevor Hackett und Collins zur Band stießen. Zu den insgesamt 22 Songs von Genesis ist jeder der fünf Musiker gleichberechtigt mit jeweils drei Songs seiner Solowerke vertreten. -
Genesis Trespass / Nursery Cryme / Foxtrot Mp3, Flac, Wma
Genesis Trespass / Nursery Cryme / Foxtrot mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Trespass / Nursery Cryme / Foxtrot Country: Europe Released: 1990 Style: Prog Rock MP3 version RAR size: 1197 mb FLAC version RAR size: 1376 mb WMA version RAR size: 1649 mb Rating: 4.6 Votes: 577 Other Formats: MPC VOC AUD MOD AC3 VOX DXD Tracklist Trespass 1-1 Looking For Someone 1-2 White Mountain 1-3 Visions Of Angels 1-4 Stignation 1-5 Dusk 1-6 The Knife Nursery Cryme 2-1 The Musical Box 2-2 For Absent Friends 2-3 The Return Of The Giant Hogweed 2-4 Seven Stones 2-5 Harold The Barrel 2-6 Harlequin 2-7 The Fountain Of Salmacis Foxtrot 3-1 Watcher Of The Skies 3-2 Time Table 3-3 Get'Em Out By Friday 3-4 Can-Utility And The Coastliners 3-5 Horizons 3-6 Supper's Ready 3-6.i Lover's Leap 3-6.ii The Guaranteed Eternal Sanctuary Man 3-6.iii Ikhnaton And Itsacon And Their Band Of Merry Men 3-6.iv How Dare I Be So Beautiful? 3-6.v Willow Farm 3-6.vi Apocalypse In 9/8 (Co-Starring The Delicious Talents Of Gablbe Ratchet) 3-6.vii As Sure As Eggs Is Eggs (Aching Men's Feet) Credits Acoustic Guitar [12 String], Guitar [Lead Electric], Dulcimer, Backing Vocals [Voices] – Anthony Phillips (tracks: 1-1 to 1-6) Acoustic Guitar [12 Strings], Electric Bass, Guitar [Nylon], Cello, Backing Vocals [Voices] – Michael Rutherford* (tracks: 1-1 to 1-6) Bass, Pedalboard [Bass Pedals], Guitar [12 String], Backing Vocals [Voices] – Michael Rutherford* (tracks: 2-1 to 2-7) Bass, Pedalboard [Bass Pedals], Guitar [12 String], Backing Vocals [Voices], Cello – Michael -
Download Poll DR Report Here
Link Artist Title Media Score Votes DR Poll 16 Horsepower SECRET SOUTH [D] 7.93 14 DR7 Poll 3 Doors Down AWAY FROM THE SUN [D][S] 7.27 26 DR11 Poll 3 Doors Down SEVENTEEN DAYS [D] 7.80 10 DR11 Poll A Bad Think LIFELIKE [B] 8.67 3 Poll A Bad Think THE SAVIOR [B] 8.00 1 Poll Aaron Neville NATURE BOY (The Standards Album) [D][S] 9.14 7 DR13 Poll Aerosmith TOYS IN THE ATTIC [S] 7.96 112 DR12 Poll Airto FINGERS & AIRTO/DEODATO IN CONCERT (Quad [S] 8.25 16 DR12 Poll Al Di Meola CONSEQUENCE OF CHAOS [S] 8.52 23 DR13 Poll Al Green GREATEST HITS (Quad & 5.1) [D] 8.32 37 DR13 Poll Al Jarreau ALL I GOT [S] 8.80 5 DR14 Poll Alan Williams EVIDENCE UNEARTHED [B] 9.15 13 DR9 Poll Alanis Morissette UNDER RUG SWEPT [D] 6.79 24 DR11 Poll Alice Cooper BILLION DOLLAR BABIES [D] 7.72 60 DR13 Poll Alice Cooper MUSCLE OF LOVE (Quad) [S] 8.48 33 DR12 Poll Alice Cooper WELCOME TO MY NIGHTMARE [D] 8.25 40 DR13 Poll Alice in Chains GREATEST HITS [S] 5.79 24 DR10 Poll Alicia Keys SONGS IN A MINOR [D] 7.76 17 DR11 Poll Alison Krauss NEW FAVORITE [S] 9.04 51 DR13 Poll Alison Krauss and Union LIVE! [S] 8.95 22 DR14 Poll Amanda Marshall EVERYBODY'S GOT A STORY [S] 8.20 5 Poll America HEARTS (Quad) [S] 8.31 36 DR12 Poll America HOMECOMING [D][S] 9.21 130 DR13 Poll America STRUTTIN' OUR STUFF [S] 6.22 9 Poll Amin Bhatia THE INTERSTELLAR SUITE [B] 9.53 34 DR14 Poll Anathema THE OPTIMIST [B] 8.52 21 DR12 Poll Anathema WEATHER SYSTEMS FLAC 8.35 17 DR11 Poll Anathema WE'RE HERE BECAUSE WE'RE HERE [D] 8.76 42 DR10 Poll Andre Kostelanetz PLAYS THE MUSIC OF VILLA-LOBOS & CONDUCT -
MARK SPICER Genesis's Foxtrot* One of the Most Ironic
MARK SPICER Genesis’s Foxtrot* One of the most ironic developments in Billboard chart history occurred in July 1986, when Genesis, basking in the success of having finally scored their first (and only) U.S. #1 hit with Invisible Touch were knocked out of the top spot just one week later by their former frontman Peter Gabriel, who, in turn, scored his first (and only) U.S. #1 with Sledgehammer. While I must admit to having a personal affection for their later records, I think it is safe to say that most fans would prefer to forget the slick, synthesizer-driven pop that characterized much of Genesis’s output in the 1980s and 1990s, and instead look back fondly to the first half of the 1970s — the golden age of British progressive rock — when the group was famous for crafting epic rock pieces in which the multiple shifts of texture, affect, tonality and groove echo those typically found, say, in a large-scale symphonic work by Liszt or Holst. Like Yes, Emerson, Lake & Palmer (ELP), Gentle Giant, King Crimson, Jethro Tull, Soft Machine, Henry Cow, and their other compatriots in British progressive rock during this remarkable period, Genesis did not set out to create music that was immediately catchy or danceable (although one can certainly imagine dancing, however awkwardly, to many of their odd-metered grooves). Theirs was serious music intended for serious listeners. Indeed, as John Covach has put it, “there was the perception [among fans] that these musicians were attempting to shape a new kind of classical music — a body of music that would not disappear after a few weeks or months on the pop charts, but would instead be listened to (and perhaps even studied), like the music of Mozart, Beethoven and Brahms, for years to come.” (Covach, 1997: 4) Figure 1 shows a chronology of Genesis albums released through October 1977, when guitarist Steve Hackett left the group and the three remaining members decided to continue as a trio.