Genesis: Watcher of the Skies

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While I’ve probably seen only fifty concerts or so over the years, people often ask me, “What was the best show?” Well, I’ve seen some pretty good ones such as Bruce Springsteen at Pittsburgh’s Three Rivers Stadium; Madonna at Madison Square Garden; Emerson, Lake, and Palmer at the Charleston, WV Civic Center; and Heart at the Huntington, WV Civic Center; however, the best show I’ve seen was on November 30, 1974.

I was on Thanksgiving break from college and my birthday present from my brother that year was a chance to accompany him to see Genesis live at the Syria Mosque in Pittsburgh. Sadly, this intimate and ornate hall is no more having been demolished to make room for something really important – a parking lot. Grrrr.

Every seat in the house was a great seat and I am not sure how many rows back from the stage we were situated, but we were in the last row at stage center – it was like being at the fifty yard line. It couldn’t have been more than 20 rows back. This was still very close to see all of the action and Peter Gabriel’s Genesis had plenty of action.

“The Lamb Lies Down on Broadway” tour was not just a musical event; it was a theatrical event. This was the best concert, bar none, that I’ve attended. Apologies are extended to ZZ Top, Van Halen, Rod Stewart, Tina Turner, Robert Plant, Jefferson Starship, and a host of others that I’ve attended over the years.

I became a fan of Genesis when I heard selections from the “Nursery Cryme” LP played over Carnegie, PA’s WZUM – Sweet 16 on your AM dial. Being that Carnegie was some distance from my home (17 miles) and that this 1,000 watt daytime station was at the second worst dial position (1590) on the AM dial, it was difficult to pick it up always. (By the way, the worst position was 1600 kHz; however, since the medium wave spectrum was extended in the Western Hemisphere during 1993, 1700 is now the worst position on the dial.)

The station had a split format – ethnic (read Slovak, Polish, Ukrainian, etc.) music until sometime in the afternoon (4 PM perhaps) and then album rock until signoff. I could not wait until the ethnic music went off the air. Whoever was programming the selections in the late afternoon did a great job. I shortly purchased my first Genesis album – “Nursery Cryme.” “Foxtrot” and “Genesis Live” followed shortly.

During the concert, I was hoping to hear some of their older material, but alas, only one older Genesis number was featured in the encore. It was “The Musical Box” from “Nursery Cryme.” While I like this particular song, I was hoping that at some point the song they used to begin shows would be used. This was the opening cut from their 1973 album “Foxtrot.”

“Watcher of the Skies” started out with keyboardist Tony Banks playing this surreal string intro on his Mark II Mellotron. The chords just sound fantastic. It is said that this particular string sound could was only available on the Mark II version. For the latest Mellotron emulator, the Manikin Electronics’ Memotron has samples from the Mark II Mellotron (recorded from the speakers no less) to get that true “Watcher of the Skies” sound.

When performed live, Peter Gabriel wore a headdress similar to bat wings. He also used fluorescent makeup that glowed under black lights on stage. I would have loved to have seen this, but I never got the opportunity.

The Single Mix

For a shortened version of the single, Genesis completely re-recorded “Watcher of the Skies” that cut the length down from the 7:52 version to 3:44. The guitar parts are very different on the single.

Also extricated from the song was its now famous Mellotron intro – which was too long of an intro for AM radio (excepting WZUM) and the newer breed of FM Contemporary Hit Radio stations. “Watcher” redux is good in its own right and worth a listen or two as it is a completely different mix. The single failed to chart in the Hot 100.

The Moody Blues: Melancholy Man

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If you’ve noticed that the songs I’ve picked by the Moody Blues, they have leaned heavily toward Justin Hayward compositions with an occasional John Lodge or Ray Thomas piece.

“Blue World” – Justin Hayward
“Cities” – Justin Hayward
“Blue Guitar” – Justin Hayward
“Are You Sitting Comfortably” – Justin Hayward and Ray Thomas
“Legend of a Mind” – Ray Thomas
“Candle of Life” – John Lodge
“Emily’s Song” – John Lodge
“When A Child is Born” – not composed by the band, but sung by Hayward and Lodge

Although, I had picked today’s Friday Flipside before I did this exercise, I did not realize that I have never featured a Mike Pinder song. Mike was the master of the Mellotron and may have been the first artist to consistently use this new technology in the 1960s.

Other prog rock bands would learn to rely upon this strange but wonderful keyboard instrument that was belabored with mechanical problems, but it gave the illusion of a full orchestra, a choir, and provided other sounds at the hands of a master. It was the predecessor to technology that created digital sampling keyboards in the 1980s.

Mellotrons were big, clunky, and at the mercy of the roadies, voltage irregularities, and humidity. Come to think of it, my Ensoniq Mirage Sampler in the 1980s was subject to all of those same problems – especially problems in voltage fluctuation.

We used to play at this one venue in Summersville, WV where the out of phase wiring would cause my Mirage to go haywire. As for the roadies – we had none, but a friend during the post band years of mine dropped my keyboard and it remains broken; however, it is an easy fix. I’ll get around to it eventually. Ah yes, I had similar experiences to what Mike Pinder no doubt suffered with his Mellotron – that is sans the adoring fans, the recording contract, and a name known round the world.

Mike was the only member of the classic version of the Moody Blues that I have not met. Pinder left the band in 1978 and was replaced by Patrick Moraz. Although, Moraz’s role in the band was subject to some questioning, he stayed until 1992. The band claimed he was a sideman and not an actual member; however, Moraz sued the band and won the judgment; however, he was not awarded as large an amount of back royalties.

Well back to Pinder, most people assume that the recitations written by drummer Graeme Edge were all spoken by the creator – not so. Mike Pinder’s excellent speaking voice was the primary vehicle for Edge’s creations. Think . . . “Breathe deep the gathering gloom. Watch lights fade from every room . . .”

Today’s Friday Flipside is the “B” side to the “The Story in Your Eyes.” As with a number of singles, the flip comes from a previous album. While the “A” side was from “Every Good Boy Deserves Favour,” “Melancholy Man” was from “A Question of Balance.”

In France, “Melancholy Man” was the hit and was a number one record; however, in the US “The Story in Your Eyes,” which is one of my favorite Moody Blues’ singles only charted at #23. The single failed to chart in the UK, but was a Top 10 record in Canada. “A Question of Balance” did quite well charting at #3 in the US and Canada, #2 in Australia, and #1 in the UK. It was certified as a platinum release in both the US and Canada.

Styx: Lady

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Used in a 2002 commercial for California Happy Cows, our TV Thursday special is provided by Styx from their 1973 second album, which was appropriately titled “Styx II.” The song “Lady” eventually became a national hit in 1974 after much airplay by WLS’ Dick Biondi. Eventually after a re-release of the single, the band’s first hit charted at #6.

Styx’s first four albums were released by Wooden Nickel Records, which signed artists from its home base, the Greater Chicago area. Wooden Nickel, playing on its name, did not have Sides 1 and 2 of an album or the A & B sides to the singles; the sides were known as “Heads” and “Tails.”

“Styx II” did very well by charting at 20 and was their highest charting album until their seventh release, “The Grand Illusion,” peaked at #6 in 1977.

In 1995, several members of Styx reunited to re-record “Lady” so that it might appear on A&M Records compilation “Styx: Greatest Hits.” The new version, named “Lady 95,” is surprisingly close to the original and is the version that is generally found on YouTube. The selection below is the original single release.

Emerson, Lake, & Palmer: From the Beginning

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There are songs and there are songs. Emerson, Lake, & Palmer’s “From the Beginning” is in the latter category. From their fourth album “Trilogy,” 1972’s “From the Beginning” was their only top 40 hit in the US and therefore, it is a one hit wonder – just barely as it only peaked at 39.

I know people will take exception to the categorization of ELP being a one hit wonder, but the definition of the category is an artist who only has had one single to chart within the Top 40. No matter how popular a band or its songs may be, if it didn’t chart in the Top 40, it is not categorized as a mainstream hit.

ELP only had three other songs chart within the Top 100: “Lucky Man” at 48, “Nutrocker” at 70, and “C’est La Vie” at 91. Despite their lack of chart success, they remain one of my favorite progressive rock bands – a genre sometimes called classical rock or art rock back in the day.

Greg Lake shines on this number. He is playing umpteen guitars (several acoustics – and perhaps a 12-string), at least two electric guitars, and bass. I love the bass track on this recording. Carl Palmer is on drums and percussion. While Palmer plays the toms in concert by using mallets, I believe he is also playing congas on this track.

Arriving late in the tune is Keith Emerson doing one of his signature Moog synthesizer leads. One thing bothered me about this lead as that at the end he hangs on the “A” note four times before dropping an octave and repeating the “A” note all over again for five times only an octave lower. Not that I really disliked it, but I was wanting more – but as the old musical adage often rings true, “less is more.”

The song reminds me of 1977 when Jon Weiner and I performed it live during an open stage at The Portfolio on South Craig Street in Pittsburgh. I played my red España acoustic guitar while Jon did the synth parts on his ‘cello.

I learned the guitar parts from a guy by the name of Mike out of Ashland, KY. Unfortunately, I don't remember his name. He showed me this and the Allman Brothers' "Little Martha." I didn’t learn until recently, that I learned the wrong chords inversions for "From the Beginning"; however, the chords were correct and easier to play than the way Greg plays them. I never learned the guitar intro, but started playing where the single edit begins.

Greg Lake Version Live Version from 2005

Here’s a nice alternative version by Greg Lake. It is a slightly different arrangement with different instrumentation. I like the female backup vocalists – they give the song a dreamy timbre. I prefer Lake’s lead on the original to this version – it sounds too much like Peter Frampton with the auto-wah effect – not that there is anything wrong with that.

The keyboard starts out mimicking Keith Emerson’s lead, but switches to an electric piano sound that reminds me of Brian Auger. I learned something from this version – there was a line in the song that I could never quite understand it – so I sang, “The very latest.” It never made sense to me, but today after listening the first time, I finally understood what he was singing – “But there it is.” Duh. This is a very nice version, but I still prefer the original ’72 release.

Yes: America

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Eleven years ago on this date America experienced the greatest act of terrorism in this country’s history. I will not belabor the point of where I was when I heard the news nor the nature of the attacks, as I did that in previous posts on the anniversaries of 911.

America changed that day and heightened regulations at airports commenced immediately as well as suspicions of anyone who is of foreign birth and even some folks who are native born. We all became scared and a little jaded. We will never forget; but in time, healing may come.

Today’s recording celebrates America with a trip of two lovers across the United States to their apparent destination of New York City. While New York is never mentioned in the song, it appears to be the logical conclusion of the trip that started in Saginaw, Michigan, and then to Pittsburgh, Pennsylvania, and onto the New Jersey Turnpike. I featured Simon and Garfunkel’s original version during my September 11th tribute in 2010. Today’s Tasty Lick Tuesday selection is the cover from the progressive rock band Yes.

Originally released in 1972 as a non-album single, Yes recorded their version around the time of the session for the “Fragile” album. The full length 10:30 original version appears on the 1972 sampler album “The New Age of Atlantic.”

Most major labels in the early seventies provided samplers at a reduced price and it was a good way to introduce acts to the public. Both the Yes track and a Led Zeppelin B-side appeared for the first time on an album with this sampler.

Later in 1975, the full length version of “America” was added to the Yes compilation album “Yesterdays” and was the only track that featured the lineup of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Bill Bruford – the best known version of the band. The other selections on the album featured the previous lineup with Peter Banks and Tony Kaye. 

With the advent of CD technology that could feature up to 80 minutes of music, both the single and album versions were released as bonus tracks on the CDs “Fragile” (the full length version) and “Close to the Edge” (the single version). The single also appeared on the box sets “Yesyears” and “Yesstory.”

While a totally different arrangement than Simon and Garfunkel’s original, Yes’ “America” showcases the talent of this band and notably the bass of Chris Squire, the guitar of Steve Howe, and the keyboards of Rick Wakeman.

Full Length Version

Single Edit

1-2-3’s Version of America

While Yes’ arrangement of “America” was different, it may have been loosely inspired the arrangement of a Scottish band named 1-2-3. In 1967, 1-2-3 had performed as a house band at London’s Marquee Club. During their sets, they played “America,” a song that was learned from a demo tape cut by Paul Simon in 1966. In fact, I-2-3’s recording of “America” predated Simon and Garfunkel’s commercial release of the song.

It has been said that David Bowie, Keith Emerson, and Rick Wakeman were present during the performances 1-2-3 and that Wakeman's and Emerson's performance styles were both influenced by 1-2-3’s keyboardist, Billy Ritchie.  Bowie later performed his own arrangement of “America” live using an Omnichord.

1-2-3 was only a three piece band, and beside Ritchie, it featured Ian Ellis on bass and vocals and Harry Hughes on drums. Although managed by Brian Epstein and later Robert Stigwood, 1-2-3 had little success. The band joined the Chrysalis management group and were rebranded as Clouds.

While Yes’ version probably took its initial inspiration from 1-2-3’s performance, there is enough difference between the two to conclude that Yes’ version was unique. I would liken 1-2-3 more to the sound of Vanilla Fudge and other bands that heavily used the Hammond B-3 organ.

Zon: Man In The Mirror

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For our Mélange Monday, I bring you a group with which most Americans are not familiar; however, they have a substantial following in their native Canada. Formed in Toronto in 1977, Zon was a progressive rock band that produced three albums during their short, four-year career. I characterize their sound as a poor man’s Styx.

I have their 1978 debut album “Astral Projector”; it was an import from Canada on Epic Records of Canada. I bought the album solely on the premise that it was released on blue vinyl. Being that I collected colored vinyl and other oddities at the time, I felt it was a good addition to my collection.

Although not having heard the group prior to buying the disc, I was pleased with the purchase. While some songs are stronger than others, I have selected my favorite – “Man in the Mirror.” It has screaming guitars, monophonic synthesizers, and tubular bells – what else could anyone want.

Nitty Gritty Dirt Band: I Find Jesus

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Since 1966, the Nitty Gritty Dirt Band has entertained millions with their brand of original and roots music. From 1976 until 1981, the name was shortened to The Dirt Band; however, by summer 1981 they returned to their original moniker. I saw them in concert at the West Virginia State Fair in Fairlea, WV during August 1981 and was impressed with their big sound.

Nitty Gritty Dirt Band, West Virginia State Fair, August 1981. 

Front row: Jimmie Fadden, Jeff Hanna, unknown fan, Michael Gardiner. 

Back Row: Richard Hathaway, Dave Blandford, Ron Hill, Jim Owston

I had a chance to meet most of the band after the show, but did not get to talk to them much. They seemed like a nice crew of guys, but they were also very rushed as the band was doing two shows that night and we had met them after the first set.

Jimmie Fadden and Jeff Hanna; August 1981

Released on their 2002 “Will the Circle Be Unbroken, Volume III” CD, Jimmy Ibbotson provided the song “I Find Jesus.” According to Jimmy on a Gaither Homecoming special,

“That song came to me in a dream. I was down in Costa Rica one night and I dreamt I was in this southern church and all the people were looking at me and going, ‘Get up and sing your song.’ And I didn’t know anybody in the church except through their smiles and their acceptance. And I said, ‘What do you mean? Get up and sing what song?’ Somebody said, ‘You’re new song’ and someone tapped me on the back and it was my dad who had passed on a couple months before. And he said, ‘Go on Jimmy, get up and sing it.’ So the thing came in real time.”

John McEuen; August 1981.

Today’s video features band members Jimmy Ibbotson on guitar and lead vocals, Jeff Hanna on slide guitar and vocals, John McEuen on mandolin, Jimmie Fadden on drums and harmonica, and Bob Carpenter on accordion and vocals. The bassist was a sideman and not a member of the band.

Enjoy our Spiritual Sunday selection.

Lyrics

I walk in silence when it comes
This feeling when the Spirit leads me on
If the dogs are barking and the night is rough
I take it as a sign to climb above.

The city to the hill among the clouds
Where I can see my Savior now
He's waiting with His palm to me outstretched
His mercy is a balm when I'm perplexed.

I find Jesus in the darkest night
I find Jesus in the morning light
I find Jesus in the face of those
Whose hearts are singing with the Heavenly Host.

Sometimes when I feel all alone
I look around and all are gone
The friends that I rely upon
Are busy doing what they want.

I look within and I am told
It's Sunday morning in my soul
And there I find a holy hall
Where congregations heed the call.

I find Jesus in the darkest night
I find Jesus in the morning bright
I find Jesus in the face of those
Whose hearts are singing with the Heavenly Host.

And when I lay down my last time
And feel a chill run up my spine
And recognize my time has come
I'll look around, He'll lead me home.

He'll reach His loving hand to me
And bid me climb to victory
Where we'll find kindred spirits there
Hearts raised in song without a care.

I find Jesus in the darkest night
I find Jesus in the morning bright
I find Jesus in the face of those
Whose hearts are singing with the Heavenly Host.