From: (The Lighthouse Keeper)
Subject: Re: 10 best/10 worst prog albums
Organization: NETCOM On-line Communication Services (408 261-4700 guest)
X-Newsreader: TIN [version 1.2 PL1]
References: <19950701181651ESTUAFE@MVS.OAC.UCLA.EDU>
Date: Thu, 6 Jul 1995 07:17:29 GMT
Lines: 79

: In article ,
: (The Lighthouse Keeper) writes:

: In the US, SEBTP was their first album to chart, a big step up for the
: band, and they sold out a record number of nights at The Roxy. 

Three nights, I was there the third night. The Roxy aint exactly a stadium,
but that was an extremely hot show. I had been a fan for about a year and
a half at that point, but that show drove me over the edge into the area
of fanatic. I can remember going out and proselytizing about Genesis after
seeing that show, none of my friends believed me when I told 'em how cool
the show was. A few of us knew the albums, but we had no idea about Gabriel's
theatric stuff. But most people would just go "huh? you saw Janis?" ;-)
Most poeople didn't know who they were. At that point the people waiting in
line had heard the live album, Selling England wasn't really out yet in 
the states. Me and my buddy had snagged import copies a week before and
played them to death.

SEbtP probably didn't chart until they came back during the summer, they
were playing a lot around NYC and WNEW was playing the shit out of it,
but beyond that localized area, I doubt it had much impact. How high did
it get on the charts anyway, and what week did it peak ?

: wouldn't slight the UK position either--the album was still considered
: a big success.  And Yes, ELP, Mike Oldfield, The Moody Blues, Queen
: (if they count), Jethro Tull, and Pink Floyd dominated the US top 10 in
: the early-mid 70's, frequently at the number one position.  Prog was a
: big deal back then; along with singer-songwriters and metal acts, it
: was *the* commercial genre.
Well, besides DSotM (and I don't want to get into *that* again) the others
received a respectable amount of airplay, but they always seemed to be
second string to your Jim Croce and Carly Simon types. What airplay they
didn't get, they made up for in record sales - word got around fast among
fans of the british rock. Bowie, T-Rex and Mott The Hoople were monsters
then, too.

: >: >the pop guidelines, but face it - the guy was broke, starving, and he
: >: >needed a hit. His aim was to make something that would sell.
: >
: >: This is also twisting things a bit.  Sledgehammer and Big Time *are*
: >: totally commercial, but I doubt PG did them because he was "broke and
: >: starving"!  His previous two albums had made the top 25 in the US, and
: >: I believe they did quite well in the UK.
: >
: >But not well enough to get him out of the financial hole he put himself
: >into with WOMAD. My understanding (from an interview maybe?) is that the
: >whole WOMAD mess just about did him in financially.
: But wasn't that back in '82?  By the time So was recorded three years
: later, I thought that had been taken care of (the Genesis reunion
: concert, etc).  Of course, we'll never know for sure what his intentions
: were behind SH and BT, but I just think that they were a result of the

It was around there. The Live album and the Genesis reunion basically only
got him out of the debt. That was around '83. He went a couple years with
nothing (unless you wanna call "Birdy" something), he was pretty down and
out. His wife even took the kids and split. That probably was the impetus
for the 're-think' that produced "So" (does it stand for Sell-Out?).
Interestingly enough, as soon as he was ridin' high on the charts again,
she came back. I could make some more comments here, but I don't want to
get flamed by every female that reads this group... ;-)

: Genesis was broke and starving in 1971, but they didn't feel any need
: to leave Prog (of course, agreeing with your point here might help my
: earlier point--they didn't leave Prog because back then, that was where
: the money was!).
They were idealistic kids then. I don't think Nursery Cryme (71) sold all
that well - it may have eventually sold well, but that was over the long
haul, certainly not at the time.

| Peter             |  ...and though the past has its share of injustice  |
|   |  kind was the spirit in many a way                  |
| Expose'Newsletter |  but its protectors and friends have been sleeping  |
| Exposure Radio    |  now it's a monster and will not obey.              |

From!!!!!!!!!!!sgiblab!wetware!!news.NeXT.COM!usenet Mon Jul 10 03:15:28 EDT 1995
Article: 2864 of
From: Mark_Dadgar@NeXT.COM (Mark Dadgar)
Subject: Re: Progressive wedding songs? Please help! :)
Date: 6 Jul 1995 23:04:33 GMT
Organization: NeXT Computer, Inc.
Lines: 33
Distribution: world
Message-ID: <3thq61$>
References: <3tcdg6$>
Reply-To: Mark_Dadgar@NeXT.COM

In article <3tcdg6$> (William  
Stone) writes:
> In <3tbv59$> (Splooosh)
> writes: 
> >
> >Hi, I'm wondering if anyone can help me in my quest for progressive
> >wedding songs, as I'm planning my wedding and need ideas. Nothing too
> out
> >there, just some classically influenced tunes or something that have
> hints
> >of progressive stuff in them. I don't want to get to weird or the
> wedding
> >will flop! :) Thanks for the help-
> >
>   Love Song by Twelfth Night. I used it for a bridal dance.

Some very very good friends of mine used a specially-edited version of  
Marillion's "Lavender" as their bridal processional.  The opening  
instrumental bars were looped 12 times to allow the bridal party time to walk  
down the aisle.  Then when the piece crescendoes into the chorus, the rear  
doors of the chapel opened and the bride was standing there.  

It was a great effect.

- Mark
Mark Dadgar         	 |    "If English was good enough for Jesus
Network/Systems Admin.	 |     Christ, then it's good enough for me."
NeXT Computer, Inc.      |       - Arkansas congressman to Joint
Mark_Dadgar@NeXT.COM	 |         National Committee on Language
	       Here I am, NOT speaking for NeXT.