Genesis – Ten of the Best?

Prog magazine recently asked their readers to help them identify the cream of the crop of Genesis tunes. Being that Genesis is one of my favorite bands I threw in my two cents, voting for the ten “best” (actually my favorites) tracks. I thought I’d provide some explanation of my choices, as well as point out one honorable mention that I couldn’t vote for in the poll.

As I suspected, this was pretty tough. I didn’t put any particular limitations on my choices (only one song from any album, etc.), but I did try and cover as much of the band’s history as I could. Here they are, arranged chronologically . . .

“The Musical Box” from Nursery Cryme (1971)

A great, weird, story song with a thunderous climax. It’s a great example of what the band was in between Anthony Philips leaving and Steve Hackett joining, as there’s lengthy bits where Tony Banks is filling in the lead guitar slot with a Hohner pianet run through a cranked up fuzz box.

“Watcher of the Skies” from Foxtrot (1972)

Two words – Mellotron intro. Yes, the tricky rhythm that takes over for that (courtesy of Phil Collins) is great, too, but there’s nothing quite like that huge, ominous opening – possible because Banks accidentally got the Mellotron to playback two tapes at once.

“Can-Utility and the Coastliners” from Foxtrot (1972)

All that’s great about classic Genesis in an easily digestible package. Mythical lyrics? Check (the story of King Canute and the waves). Multiple solos? Check (including Mellotron, not normally a solo instrument). Symphonic grandeur? You bet. If I need to play one song to someone to show them what Genesis was like in its prog heyday, this would be it.

“Firth of Fifth” from Selling England By the Pound (1973)

The song that launched a thousand prog bands. This is the template for symphonic prog going forward – classically inspired piano intro, more mythical lyrics, widdly synth solo followed by soaring guitar solo. And a flute solo! Never better than the original.

“In the Cage” from The Lamb Lies Down On Broadway (1974)

It’s hard to take one track from The Lamb . . . because they work so well together, moving from one song to another. This is the best choice to pull out and let stand on its own, I think. Another great solo from Banks. Gabriel’s vocals are particularly good, too.

“Los Endos” from A Trick of the Tail (1976)

Must have been a lot of pressure to get this right, since calling it “The End” means it’s your concert closer for years to come. Of course, they did. I particularly like the call backs from earlier in the album (from “Dance on a Volcano”) and from before (the “there’s an angel standing in the sun . . .” subdued lyrics from “Supper’s Ready”).

“Blood on the Rooftops” from Wind & Wuthering (1976)

I didn’t really get into this track until I heard Steve Hackett playing it in recent years, but it’s really grown on me. Hackett’s nylon-string guitar work sits well with Banks’ Mellotron sweeps and Collins’ vocals/lyrics have a deep melancholy to them that really stands out. Fits the grey album cover perfectly.

“Cinema Show” from Seconds Out (1977)

The studio version of this track is great, but this live version (with Bill Bruford on drums) is epic. It’s one of those prog mini-epics that hit my sweet spot (see also, “Starless” by King Crimson and “Squarer for Maud” by National Health, among others), with the delicate vocal first section giving way to a fabulous (and notably three piece) instrumental section.

“Me & Sarah Jane” from Abacab (1981)

Another weird story song, this time about a guy who makes up a girlfriend (and then mourns her departure). Proof that the band could still do interesting musical things in a shorter, more outwardly pop kind of vein.

“Domino” from Invisible Touch (1986)

While the band climbed the pop charts they kept making lengthy, weird deep cuts that really came off well live. This works as kind of a later-day “Cinema Show,” with the song-based first section and driving second section. “We’re all the next in line,” as they say.

Honorable mention

“Behind the Lines > Duchess > Guide Vocal” from Duke (1980)

The Prog poll listed each track separately, which means I couldn’t vote for this hunk that leads off Duke. The band originally toyed with the idea of a lengthy Duke suite, but wound up breaking things up over the album (they did it all together live, though). I love how these three tunes work together, so I’ll add them to my list.

Am I right? Am I wrong? Does it matter? It’s all great!

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Weekly Read: Head On

One of the cool things about writing speculative fiction is building a world out of a neat “what if?” idea and playing around in it. John Scalzi did that with Lock In. Set in a world where a chunk of the population has succumb to Haden’s Syndrome – a disease that leaves them “locked in” their body, unable to move but with functional brains – Lock In used a fairly standard buddy cop storyline to play out the ramifications. The story was secondary to learning how the main character, FBI agent (and intentionally ungendered) Chris Shane, and their fellow Hadens interacted with each other and the rest of the world. I couldn’t even tell you what the central mystery was and still really liked it.

Head On is a sequel to Lock In, but it’s dubbed a “standalone followup.” Having read Lock In certainly helps understand the background of the story, but newbies should be able to jump right in, and maybe they should. With my feet firmly on the ground in the world of Head On right from the jump the story came to the fore and, sadly, it wasn’t that interesting.

The milieu for it is, though. Head On revolves around an ultraviolent sport called hilketa (SP?), in which specially crafted versions of the threeps (aka “3P0” – get it?) batter each other with the objective of ripping a particular player’s head off and using it to score a goal. It’s like rugby or gridiron football without any of the problems with head injuries, since there aren’t actual humans on the field playing the game.

Nonetheless, when one hilketa player dies during a preseason game, it swings Shane and his (non-Haden) partner into action to untangle a convoluted web of deceit and murder. Diving into that mystery allows Scalzi to explore some interesting things. The most mundane may be the impact of big money and expansion in sports, but there’s also more world-specific questions like what “performance enhancing” drugs mean for people who play a sport without their body. Most compelling is how all this is impacted by the United States government’s withdrawal of financial support for Hadens (helped, it’s more than implied, by corporations pushing the edges of the law too far). Also, there’s a cat with an interesting bauble on its collar.

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Sort of like this one, but a different color. And friendlier. And without a galaxy ’round its neck. But otherwise . . .

But I find these background things, or sideways highlights of the Hadens world, much more interesting than the actual detective story. Shane and their partner are your typical fictional cops – always pushing boundaries, but always getting the bad person, so it’s OK. This time, particularly, that none of the several lawyers in the book are even decent people, much less competent. I was particularly disappointed that Scalzi reuses the stereotype of the public defender as an out of their depth idiot, rather than a dedicated, smart, hard working advocate stuck in a system that criminal underfunds them. To his credit, the actual solution to the mystery of the hilketa player’s death is sadly plausible for 21st Century America.

Oddly, part of what I think kept me from fully engaging with Head On is that it’s so short. The version I listened to (in keeping with the ungendered main character, there are separate audiobook versions read by Will Wheaton and Amber Benson – I listened to Wheaton’s) was barely seven-and-a-half hours long. The book moves at a brisk pace – the trademark Scalzi smart assess are present in all their glory (a good thing!) – and doesn’t really make room for anything that doesn’t drive the plot along. The decision to “lock in” the point of view on Chris, I think, limits things a bit too much. I think if I’d known more about the other people in this world I’d have cared more about the mystery in which they were wrapped up.

If that sounds negative, I don’t really mean it to be. Head On is a quick, interesting, fun read, but I don’t think it does much to improve on its predecessor. My hope is that in a future book Scalzi breaks from the crime story mold and tells some other stories about Hadens. He could bring Shane along for the ride, although it would probably help if they were knocked down a few pegs (in addition to being an FBI agent Shane is the son of a fabulously wealthy ex-NBA superstar – he’s got power and money, in other words). Regardless, I’ll probably check that one out, too.

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A New Layer of Beta Readers

Here’s a dirty little secret – almost no writers sit down at the keyboard (or with pen in hand, if you’re a retro kind of person), open the channels to the muse, and let flow a stream of writing that becomes the final product. Between blank page and finished product there are a lot of stages, some of which include input from other people. Generally we call those people beta readers. They read a work in progress and provide feedback. What the writer does with that feedback varies from person to person and suggestion to suggestion.

While most beta readers are just that – readers – sometimes you might need a beta with a particular background to provide feedback on a story. Writing a sci-fi story set largely in a genetics lab? You might want to have someone who’s worked in one read through it, just to make sure the little detail ring true. Writing a fantasy story that involves a lot of swordplay? Might want to have someone who knows about such things give it a read to make sure characters aren’t treating broadswords like fencing foils (or vice versa).

So it’s not a surprise that, as writers start to concern themselves more with diversity in their work, that a new crop of betas is emerging – sensitivity readers:

These advising angels—part fact-checkers, part cultural ambassadors—are new additions to the book publishing ecosystem. Either hired by individual authors or by publishing houses, sensitivity readers are members of a minority group tasked specifically with examining manuscripts for hurtful, inaccurate, or inappropriate depictions of that group.

 

On the site Writing in the Margins, which launched in 2012, the author Justina Ireland articulates the goal of this new fleet of experts: to point out the “internalized bias and negatively charged language” that can arise when writers create ‘outside of [their] experiences.’

While critics may bemoan such a development as just another example of political correctness run amok, the Slate article points out that it’s really down to the oldest of Western motivations – the profit motive. Younger readers, in particular, desire more diversity in their fiction, so this is a way to provide a product they want to read.

Besides, the ultimate issue with any beta reader’s feedback isn’t the feedback itself, it’s what the author does with it. For example, one author in the article talks about how she changed some bits involving a black college student because the feedback from beta readers was that students at historically black colleges wouldn’t speak the way she had the character speaking. It’s not a matter of offense, it’s a matter of trying to portray something unfamiliar as accurately as possible.

Having said that, the very subjectivity of the undertaking makes it kind of hit or miss. That’s obvious from a distinction the author of the Slate story makes:

Some sensitivity readers draw distinctions between offensive descriptions and offensive descriptions that appear to enjoy the blessing of the author. If Lolita had been written from Dolores’ point of view, Ireland said, “it might be useful to have an advocate of children’s rights, a childhood sexual assault survivor, or a psychologist read the manuscript and give critique”; but since it was told from the perspective of a pedophile—not regarded as a marginalized group—that wasn’t necessary. Still, it’s a messy project for one reader to suss out authorial intent. While sensitivity remains a positive value in most literature, and perhaps one of the greatest priorities for young adult literature, enforcing it at the expense of other merits, including invention, humor, or shock, might come at a cost. Cultural sensitivities fluctuate over time. What will the readers of the future make of ours?

Buried in that interesting observation is the whopper that pedophiles are “not regarded as a marginalized group.” In an already marginalized bunch (criminals), pedophiles are at the bottom of the heap. Consider the ongoing registration requirements for people convicted of such offenses, the closest thing the 21st Century has to a scarlet letter. That all may be for the good (a discussion for a different time), but to say they’re not regarded as marginalized is so erroneous that it questions the entire endeavor.

Which is a shame, because I think the development of sensitivity readers is, in general, a good thing. At the very least, it’s a tool for writers who want to do their utmost to tell a story that doesn’t offend anyone. More likely, it lets writers who aren’t part of a particular socio-economic, ethic, or racial group bring more diversity to their work by providing valuable feedback about characters they might otherwise not be familiar with. Like anything else, a sensitivity beta reader is a tool for a writer to use. Whether it’s a tool wisely used is, in the end, up to the writer.

Over 70 Authors! 99-Cent Books! You Can’t Miss This!

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To kick off the new year, I’ve joined with over 70 other writers of speculative fiction – fantasy, science fiction, horror, etc. – to spread the word about our 99-cent books.

For me that means The Water Road, of course, so if you haven’t checked it out yet this is the time. Be sure to look over the other offerings, too, because there’s bound to be something in there for just about everyone. The promo runs through January 14. See all the participating books here.

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99-Cent Weekend!

In continuing honor of World Book Day (that was yesterday), the Kindle version of The Last Ereph and Other Stories will be on sale all weekend at Amazon!  Get yours here while supplies last!*

* OK, so, technically supplies are unlimited – it’s an eBook, after all – but that sounds so much more urgent, doesn’t it?