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Galfimbul
Genesis - All Good Things... (Palace Theater Providence, December 8th, 1974)
Жанр: Symphonic Prog Год издания: 1974 Аудиокодек: FLAC (*.flac) Тип рипа: tracks Битрейт аудио: lossless Продолжительность: 50:30 + 78:52 Источник (релизер): jrsquonk (Genesis - The Movement) Наличие сканов в содержимом раздачи: да Треклист: Disc 1: 01. Introduction (1:15) 02. The Lamb Lies Down On Broadway (4:59) 03. Fly On A Windshield (2:31) 04. Broadway Melody Of 1974 (2:10) 05. Cuckoo Cuckoon (2:14) 06. In The Cage (8:01) 07. The Grand Parade Of Lifeless Packaging (3:05) 08. The Story Of Rael - Part I (2:45) 09. Back In N.Y.C. (5:53) 10. Hairless Heart (2:24) 11. Counting Out Time (3:46) 12. Carpet Crawlers (5:38) 13. Chamber Of 32 Doors (5:49)
Disc 2: 01. The Story Of Rael - Part II (3:08) 02. Lilywhite Lilith (2:53) 03. The Waiting Room (5:48) 04. Anyway (3:24) 05. Here Comes The Supernatural Anaesthetist (2:27) 06. Interlude (1:16) 07. The Lamia (7:04) 08. Silent Sorrow In Empty Boats (3:28) 09. The Colony Of Slippermen (8:34) 10. Ravine (1:42) 11. The Light Dies Down On Broadway (3:31) 12. Riding The Scree (4:26) 13. In The Rapids (2:06) 14. It (4:53) 15. The Story Of Henry And Cynthia (2:33) 16. The Musical Box (13:12) 17. Watcher Of The Skies (8:17)
It was 1975 and the final concert of Genesis’ celebrated tour of ‘The Lamb Lies Down On Broadway’was due to be performed in Toulouse, France, on May 24th. The band were preparing themselves forPeter Gabriel's last performance with them when, on the afternoon of May 22nd, the unexpected newscame that the Toulouse concert had been cancelled due to poor ticket sales (unthinkable now!). Theshow they were about to play, in Besançon, would in fact be the last of the tour. That evening,Peter Gabriel played ‘The Last Post’ on his oboe, before the rest of the band joined him onstageand they performed the whole of ‘The Lamb’ together for the very last time. No-one in the audienceknew of Gabriel’s impending departure or of the band’s uncertain future at that point, but this was asuitably dignified and discrete personal farewell from a man who had played such a vital and unforgettablepart in the story of Genesis.
We’ve all had to say goodbye to people, places and events that we’ve loved, no matter how hard it wasto do so. It's an inevitable part of life. Things change and we must adapt to the changes. We will never forgetwhat happened before and these people, places and events will remain in our hearts and minds forever asmemories to be savoured and cherished, but as George Harrison once famously wrote, “All Things Must Pass”.
Sadly, this includes the Progressive Rock Remaster Project. These notes are PRRP’s very own ‘last post’ aswe regretfully announce that our project has now come to an end. At the turn of the 21st century, the internet presented music fans with a whole new way of trading and collecting rare recordings of their favourite artists.Efficient and affordable sound-correcting software for home computers now provided the means to repair andenhance even the most battered of old tapes. The era of the remasters had begun. The Hogweed remasteringproject was the first to apply this new technology to old audience-recorded Genesis tapes and the results werestunning. Weeding and vining became the system for distributing these gems, free trading being the most important issue in all of this. For the price of the postage, fans all over the world could now enjoy lovingly restored recordings without having to resort to paying astronomical prices to scurrilous dealers who exploited the fans’ dedication. The success of the Hogweed series had a snowball effect and before long other enthusiasts would create their ownremastering projects. Within a very short time, BURP, SAB, Coaster Factory and, of course, PRRP had appeared,later to be joined by TM, Digital Brothers, Eeklair and many others.
Of all these remastering groups, PRRP was the one with a difference as it did not deal solely with Genesis orGenesis-related music. PRRP had elected to offer remasters of other progressive bands and solo artists as well,widening the progressive spectrum. This group began as a threesome: Mike, who provided the website and themeans of distribution for these releases, Chris, who took care of all the audio engineering, and myself, Richard,the man behind all the artworks. Our names would not appear anywhere on the releases as we felt unimportant compared to the music of these ageless bands. From a humble beginning, PRRP soon began to draw more andmore fans and became a worldwide (but still humble) success in trading and collecting circles. After a couple ofyears, our friend Mike decided to leave the project as he could no longer dedicate the necessary time and energy to it. But the ball was rolling, and Chris and I were keen to carry on. With the help of our good friend Jay, theweeding and vining aspect of the project was in good hands and later on, we were joined by Robbie who revivedand revamped the PRRP website for everyone’s enjoyment.
The PRRP project has continued for nearly ten years now. During this incredible run, technology has evolved atthe speed of light. Weeding and vining have been replaced by direct downloads for both music and artworks. Theaudio software has improved so much that I’m sure some engineers wish they could withdraw those early remasters and start again. The same could be said of many of the artworks I’ve created over the years. I would gladly throw some of those away now and start over with all the new techniques I have learned to master over the years.Although we could do that, we won’t. Where would it ever end? PRRP releases are what they are and it is perhaps best that they remain that way, time pieces to mark the many steps of the incredible journey begun in March 2003.
So what you are holding now is the final PRRP release and we have decided to go out as we came in, with awonderful Genesis recording. Why are we closing down the project? There are two main reasons for wanting out at this time. For the last couple of years, it has become more difficult to find good source material that wouldbenefit from our work. What was once an open sea of uncirculated recordings has, in recent times, shrunk to atrickle and there is a feeling that every important remaster has now been tackled, either by PRRP or one of theother projects. And the pull of domestic life has played a major role in reaching this decision. Most fans are unawareof the tremendous amount of time and energy needed to craft each of these releases, time and energy that we cannotdevote to family, friends or other interests. Something had to give at some point and Chris and I both agree that it’sthe project which we have to let go. As Sandy Koufax said when he explained why he was retiring from baseball atsuch a young age, “I don’t regret a single moment of these last ten years, but I think that I would regret one yearthat was ‘too many’!”
In closing, we would like to offer our deepest thanks to Jay and Robbie for the invaluable help they have given us over the last few years. Also, a huge thank you to our friend Peter in England. We cannot thank him enoughfor all the help he has given us in reviewing and editing the liner notes. Last but not least, we want to thank allPRRP fans out there for sticking with us for such a long time (the high numbers of downloads for each of thesereleases speak for themselves!). It's been a pleasure and a privilege doing this for you. Chris will continue to remaster live recordings (see the RMCH page at the PRRP website) and you will still see some RH artworks popping up here and there, but for now let us raise our glass to what we believe was a job well done...to PRRP!
RH
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