Member:
AdmKirk
(Profile)
(All Album Reviews by AdmKirk)
Date:
11/13/2002
Format:
CD (Album)
Around the same time Van Halen lost singer Sammy Hagar, Genesis also announced the departure of drummer/vocalist Phil Collins. At the time, Tony Banks jokingly said he was keeping an eye on the Van Halen situation to see how they faired. Unfortunately, neither band exactly flourished, commercially, at least. While Van Halen decided to bring in Gary Cherone from the band Extreme to make an album I thought to be a surprisingly good Van Halen record, Genesis brought in Ray Wilson. Ray who? Was the reaction for many people. The second question was "Who's the drummer?".
Wilson brought a voice that was somewhere between Collins and original vocalist Peter Gabriel. Not as distinctive as either, mind you, but still a very strong singer. On drums, duty was split between Nir Zidkyahu and Spock's Beard drummer Nick D'Virgillo. Musically, the band retains some of their 80's sound, but continuing a trend that started with the preceding album We Can't Dance, returns to it's prog side with more conviction on several tracks. As well as maintaining a band feel that also regained prominence on the We Can't Dance album.
The album opens with the title track, which, oddly enough sounds like Rutherford might have lifted it from Eddie Van Halen. Rather dark and heavy, the tune features a great solo from Rutherford. The second track is the single, "Congo". It's merely OK. Not terrible, not great. The bridge is nice and it's not my least favorite track. That award would go to the troublesome "Small Talk", a midtempo tune that never really goes anywhere interesting.
"Congo" was not successful, "Shipwrecked", a single in Europe and may have also been released in America, was also not the biggest hit of Genesis' career. However, it was a great song. By no means is the song to be considered from their prog side, this is nothing but a pop tune. But I can't help it, I like it....alot. At the time this album was released, I was separated from my wife and the album's theme of alienation, which reached it's pinnacle on this track, was something I understood very well. Therefore, perhaps, my emotional attachment to the album may blind me to it's shortcomings. Hell, I still like it.
There are 4 tracks that are over 7 minutes in length. I'm not sure when the last time that happened on a Genesis studio record, but was glad to see they had developed some things beyond the 4 minute mark. "Alien Afternoon" is the first lengthy piece and Wilson's vocal is outstanding. The highlight of the album is the 9 minute "The Dividing Line". A great track in classic Genesis fashion that roars with Banks' nimble keyboard lines. Zidkyahu's drum work is on the money, echoing some of Collins' best moments.
"Uncertain Weather" reminds me of some of the Matthew Brady photos from the U.S. Civil War of the 1860's. Sounds like a hit single from the Ken Burns soundtrack. My perceptions are probably colored by my recent fascination with that film and the Gettysburg film as well. The song could be about a soldier from any war from The War of the Roses to World War II.
The album closes with two more longer tracks. "There must be Some Other Way" which features more of Banks' classic chords. While it never reaches the heights of "The Dividing Line" it's still a worthy effort. The last cut is "One Man's Fool" and features some nice work from Rutherford on bass and guitar along with a long up-tempo section near the end of it's nearly nine minutes for a bit of stretching out.
Also, don't miss out on the bonus cuts from the European singles. There were 8 or 9 bonus tracks contained on those singles, with some being quite good like the two instrumentals. "Phret" and "7/8".
Although this album isn't Nursery Cryme or Wind and Wuthering, it's a fine album with some strong work from Rutherford, Banks and Wilson, and Nick Davis does a nice job co-producing the album too. And, by the way, it's interesting to note that the album Van Halen made with Gary Cherone, Van Halen III, was a flop, Cherone left and the band is in limbo. By the same token, ...Calling All Stations... was even more of a flop in the U.S., although I believe it was more appreciated in Europe, with some live dates, Wilson left the band and now, it would seem, that Genesis has hung it up.
Funny, though, I really liked Van Halen III and ...Calling All Stations...
Bill
Member:
Constable Hogweed
(Profile)
(All Album Reviews by Constable Hogweed)
Date:
6/13/2003
Format:
CD (Album)
It was Ray Wilson’s misfortune to be in the wrong era at the wrong bloody time. In my view Calling All Stations is the best Genesis album since Duke. Yes the balladic moments of the later Collins era are still there in songs such as "If that’s what you need" but the substance of Rays voice echoed songs like "The Lamia" rather than "In too deep". This is a darker and moodier Genesis album. The title track is driven along by an almost heavy metal riff by Mike Rutherford and "Congo" although not being the most inspired song on the album does show a rock edge that Genesis were missing for many years. “Shipwrecked” is pleasant enough but lacks a real hook. "Alien Afternoon" however is a different kettle of Genesis fish and one much to my liking. A quirky beginning gives way to a more spaced out section with Ray's vocals being phased, bringing to mind (oddly enough) "In The Beginning" from the Genesis debut album. Genesis were getting psychedelic at this point in the albums proceedings...taking chances again.... being the Genesis that they were originally...Damned unique.
Fast forward to "The Dividing Line" and again we hear the band in full flow of the proggy days with Wilson sounding Gabrielesque. Other noteworthy tracks are "There must be some other way" a great song with Tony’s trademark keyboards yet at the same time Mike’s influence can be heard in a Mike and the Mechanics groove (if the late great Paul Young was singing this it would be a great Mechanics track). Finally onto “One Man’s Fool”, which takes a time to warm up, but when it does Genesis really smoke on this one, culminating in a great ending riff by Mike Rutherford which brings to mind the ending riff of "Sheep" by the Floyd. If this is to be the last Genesis studio album they should be proud of it. Like I said at the beginning (particularly for Ray) wrong era at the wrong time...absolutely heartbreaking. Calling All Stations should be in any self respecting prog fan's collection.
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