Skip to main content

Invisible Touch

A few weeks ago, while I watched a few Genesis videos circa the Phil Collins era, I started thinking about when I became a purist about a band's presentation. In watching videos like "Invisible Touch" and "In Too Deep," I can remember being young and not giving a rat's ass about how Collins never sang and drummed at the same time in the videos. And I didn't care that the band didn't have a full-time bassist. It was Genesis, man. They play good songs. That's all!

All of this purist stuff would come later. Mainly, in my post-pubescent repelling away from all things phony. (Keep in mind, this repelling continues to this day, just in more complicated ways beyond music.)

It would be years before I understood about the hazy world of legal stuff and how a band wishes to never "replace" a founding member, whether it was Creed or the Manic Street Preachers. I have reasons to care, but I can understand reasons to not care about this stuff. Can't I just like a band when they write a song I like and not give a flip about anything else?

When it comes to bands I've never really enjoyed (like Creed), it was fun to throw invisible darts at a band who's on the cover of Rolling Stone without a bassist. Even though they had a bassist who replaced their original (and remained with the band until the original lineup reunited a few years ago), not photographing the guy made the band look like even bigger tools.

Purity is not something that remains in youth. More often than not, like the Creed example, it's another complaint about a band you could endlessly complain about. I guess when it comes to bands I don't really complain about, like Genesis, it's OK.

Comments

Popular posts from this blog

The Complete Idiot's Guide to Catherine Wheel

Originally posted: Tuesday, August 29th, 2006 Despite managing to release five proper albums, Catherine Wheel was one of those bands that always seemed to slip past the mainstream rock crowd. Yes, they got some nice airplay in their day, but people seem to have forgotten about them. You may hear “Black Metallic” or “Waydown” on a “classic alternative” show on Sirius or XM or maybe even on terrestrial radio, but that’s about it. For me, they were one of most consistent rock bands of the ’90s, meandering through shoegazer, hard rock, space rock and pop rock, all while eluding mainstream pigeonholing. Led by the smooth, warm pipes of vocalist/guitarist Rob Dickinson (cousin of Iron Maiden’s Bruce Dickinson), Catherine Wheel featured Brian Futter on lead guitar, Dave Hawes on bass and Neil Sims on drums. They weren’t a pretty-boy guitar band, but they weren’t a scuzzy bunch of ragamuffins either. Though the band hailed from England, Catherine Wheel found itself more welcome on American air

Best of 2021

  Last year, my attention span was not wide enough to listen to a lot of LPs from start to finish. Too much went on in 2020 to focus on 10-15 albums, so I went with only a couple to spotlight. Well, 2021 was a little better, as I have a list of top four records, and a lot of individual tracks.  (I made a lengthy Spotify playlist ) So, without further ado, here’s my list of favorites of the year: Albums Deafheaven, Infinite Granite (listen) Hands down, my favorite album of the year. I was not sure where Deafheaven would go after another record that brought My Bloody Valentine and death metal fans together, but they beautifully rebooted their sound on Infinite Granite. The divisive goblin vocals are vastly pared-down here, as are the blast beats. Sounding more inspired by Slowdive, the band has discovered a new sonic palette that I hope they explore more of in the future. It’s a welcome revelation. I still love their older material, but this has renewed my love of what these guys do.  J