ITT:

When already great albums go to the next-level

I'll start:
Pic related; The Cinema Show: 4:00 in.

every second of Foxtrot

As far as I'm concerned Selling England By the Pound is the most English rock album of all time.

It's so wistful and delicate, and charming.

foxtrot, selling england by the pound, the lamb lies down on broadway

fuck, why did peter leave

>the most English rock album of all time.
Did you even listen to The Fall

It's no surprise that Lennon went on record as loving it. It's like the best parts of Sgt. Pepper's and MMT spliced with the cynicism of Lennon's solo works, and executed at a musical level that made King Crimson sound like The Ramones.

I like to think that Peter Gabriel [III] is the closest that we ever got to what a Gabriel-fronted Genesis would have sounded like in the 80's.

How are you gonna pick the penultimate track as the "next tier" moment? Like, come on. It's 4:36 in Firth of Fifth at the very latest.

The Fall are most Northern English

Disagree. OP here.

Firth of Fifth and Dance are great tracks, but they also could be slipped into Foxtrot and not at all feel out of place, and so they're more of what fans were likely expecting from the band.

The back half of Selling is where the album truly shines, and it's where the band's sound grew by leaps and bounds. The finale of Epping Forest with the synth arpeggios and the time signature change into the half-tempo refrain of the opening is pretty fantastic, and is damn near a next-level moment, but there's a reason why they made Cinema Show the penultimate track. It starts out sounding weird and a little King Crimson-y, but the break at 4:00 into something that wouldn't sound out of place in a CSNY song before jumping into more great Hackett work, a chorus refrain, and then one of the longest and hardest keyboard solos of all time, one that would make Wright or Wakeman jealous, only to come full circle to an acoustic+Mellotron Dance refrain and fadeout is such a musical roller coaster that it makes Supper's Ready or Close To The Edge sound like an AOR track.

Furthermore, it was a fantastic preview of the complex new sounds like Carpet Crawlers and Counting Out Time, or the driving intensity of The Cage, that they were clearly working towards and would release on Lamb.

And I can't really agree that Dancing with the Moonlit Knight and Firth of Fifth sound like Foxtrot on the simple basis thanks to the vast divide in production quality. It's really the biggest thing that keeps me coming to SEBTP more than anything Foxtrot and ESPECIALLY Nursery Cryme. And if there's one thing I'll give Cinema Show huge props over FoF is the simultaneous use of both ARP Odyssey and Mellotron.

>executed at a musical level that made King Crimson sound like The Ramones.

When will people realize Nursery Cryme/Foxtrot are their best albums

>having to hold down a good Genesis album by bringing in the Beatles
why?
>executed at a musical level that made King Crimson sound like The Ramones.
ok so you are just baiting?

You seem to be knowledgeable about Genesis. What is your opinion on Collins era, especially first two albums, A Trick of the Tail and Wind & Wuthering?

They're good for what they are, but they also sound like there's something missing. What I do love about them is the beginnings of the "big" sounds that defined Genesis in the 80's starting to show themselves. ...In That Quiet Earth springs to mind, and it reminds me a ton of Second Home By The Sea or Domino.

I'd argue that the peak of Collins-fronted Genesis is probably Duke and Abacab. They're still proggy as hell, but the single-oriented songs are still fantastic as pieces of pop music. To me, they're on the level of the Talking Heads in terms of the blend of art and pop that you hear on them. No Reply At All perfectly summarizes this. Parts of it wouldn't sound out of place on Fear of Music or Speaking in Tongues, and yet the vocal bridge could have come off of Invisible Touch or the Peter Gabriel solo albums.

He was working himself to death and had just become a dad. Plus the other members didn't like how he was getting all the attention from the press.

The first time you hear the Mellotron AND the Arp (it was a Pro Soloist, btw) simultaneously on Cinema Show is another musical orgasm moment, for sure.

>the most English rock album of all time
>what are Parklife by Blur and Arthur by The Kinks

>Implying Fripp isn't the greatest musician of all time

one problem with that

the fall are wank

When Nude starts

Agreed.

The obvious one with Radiohead is on pic related, though.

2:25 on Karma Police will forever be one of the greatest "the exact, pinpoint spot when a band went next-level" moments of all time. It may even be THE greatest.

The harmonies during the final minute of Surf's Up
Alternatively the high pitched organ in Good Vibrations at about 2:30

>Good Vibrations
For me it's 3:13 to the end. It's so perfect and out of this world you're mad the song ends and not go like this for a while. SMiLE sessions version fixed this but single leaves you hanging ,