Customer Reviews

Calling All Stations

5 star:		(47)
4 star:		(55)
3 star:		(34)
2 star:		(17)
1 star:		(25)

 

 

If the departure of Peter Gabriel was a real blow for the band back in 1975 then the departure of Phil Collins should spell their imminent demise. Commercially Genesis will almost certainly never recover but musically they have gone and produced arguably their best and most consistent album since 'Duke'.

It is fairly certain that messers Banks and Rutherford are in a financial position not to have to worry about sales and so instead they concentrate on the traditional strengths of Genesis: high quality prog rock. This will not please fans of 'Invisible Touch' or the dull 'We Can't Dance' but long term fans will find plenty to enjoy. 'Congo' is an terrific single and deserved greater radio play while 'One Man's fool' is one of the best things the band have ever done. 'The Dividing Line' and 'There Must Be Some Other Way' also have a power and ambience that was completely lacking in recent albums.

The multi-talented Collins requires two replacements and both handle things admirably. Ray Wilson has a pleasing, soulful voice and the unpronouncable Nir Zidkyahu is a fine drummer and sometimes sounds uncannily like Collins, particularly on 'One Man's Fool'.

There are possibly one or two tracks too many on the album - something that could be said for many Genesis albums from the seventies onwards - and those who were fans of Genesis purely for Phil Collins should steer clear. Everyone else can purchase without hesitation.

With the departure of Phil Collins, many would have thought that the death of Genesis was near. Not quite, not yet. Not only did Tony Banks and Mike Rutherford hire a dynamic replacement in Ray Wilson, they also produced what I would consider their greatest album ever. Although this album is very underrated because of the lack of superstars like Collins or even Peter Gabriel, it has everything on it that Genesis fans both old and new appreciate from the band. Wilson's voice bears a close resemblance to Gabriel's at times but overall has his own unique vocal style. The change in lead vocalists was exactly the shot in the arm that Genesis needed at the time. Ray Wilson gave the band a new lease on life with this album. The only sad thing is the fact that Genesis called it quits after this album was released. It's a shame because their next album probably would have been even better than this one. Whether they intended it or not, Genesis went out with a bang on "Calling All Stations", their greatest album both musically and lyrically. Thank Goodness that Genesis left us on high note.

I was Genesis fan back in 1969 when I first listened to the Trespass album. The albums of the 70's were perhaps the finest the band ever produced. They were, in fact one of the best stage performers of their time as well. For me, their magic died with Duke and all that followed. IMHO, their creative genius faded quickly with subsequent releases. Hackett's departure, I felt, was the beginning of the end. There were glimmers of the old group here and there, but the 80's and 90's material were not the Genesis of old. Calling All Stations seems to carry on the tradition without the benefit of creativity. Ray Wilson was the only refreshing piece of CAS but he couldn't save this. CAS is not a horrible production but the sound and composition is a rehash combination of Mike and the Mechanics stuff and Invisble Touch. Nothing new or progressive; just more a pop and commercial feel.

I'm no musical authority by any means, but I do know what I like. I don't particularly like CAS. I miss the Genesis of old and this album makes me miss them even more. Not the fitting finale one would like to see from one the greatest prog bands in history

Several years after the "We Can't Dance" tour wrapped up, Phil Collins announced that he would no longer be a member of Genesis instead just concentrating on his solo career. The two remaining Genesis members vowed to carry on, and recruited former Stiltskin vocalist Ray Wilson to fill the open vocal slot. The result of this pairing was "Calling All Stations" released in 1997. Since Wilson was not a drummer the band called in Nir Zidkyahu for about 60% of the tracks and Spock's Beard drummer Nick D'Virgillio for the rest. Fans of the band were divided into two camps, those who hoped that the new lineup would return the band to their progressive rock roots, and those that hoped for continued commercial pop that had been the darling of radio in the 80's and early 90's. What the band produced was an album that did not really satisfy either group. "Calling All Stations" is the ultimate "safe" album. Not too proggy to throw off the pop fans and not too pop to throw off the prog fans. In the end much of the material came off as simply bland with the album sinking off the charts rather quickly. A short European tour followed the albums release (A U.S. tour was cancelled) and the band called it a day. All that being said, there are about 4 tracks on this disc that are really good. "Alien Afternoon", "The Dividing Line", "Uncertain Weather" and "One Man's Fool" show that the band still has some life left and are very enjoyable listens. Ray Wilson is a fine vocalist and Banks and Rutherford show that they can still crank it out on these four tracks. The rest of the album I just find lackluster, for the most part. They are decent enough pop songs, but nothing better than a thousand other bands put out on a regular basis. The exception might be the single "Congo" which is definitely different from the average Genesis fare and is at least somewhat unique. This album can be purchased used online for around $3. For that price it is worth picking up for the songs mentioned above. The sad thing about this album is that I think it could have been much better had the band taken a few more chances. I give it 3 stars.

That's right -- he isn't. Rather, Mike Rutherford and Tony Banks are the backbones of the band. Who made most of the music throughout the band's history? The guitarists (Mike Rutherford and Steve Hackett) as well as the keyboardist (Tony Banks).

And while Phil Collins came to be the star of Genesis and the rest just a backing band for him, his abandoning Genesis was a major blow as well as a catalyst for some change.

In "Calling All Stations," Rutherford and Banks reverted to more rock and less pop music, including more instrumentals and arranging their songs to a much darker atmosphere. Ray Wilson is equally able to support this dark atmosphere with his dark, haunting voice. And the drums have actually not become an orphan child of the band. Nir Zidkyahu is able to create better, more complex drum rhythms than Phil Collins produced toward the end of his band career.

Thus, we have songs like "Calling All Stations," "There Must Be Some Other Way," "The Dividing Line," and "One Man's Fool," which are dark, more instrumental songs that in no way have to hide behind the -- definitely -- best creative period of Genesis, that of "The Lamb Lies Down On Broadway" to "Wind And Wuthering."

And so, people should stop complaining about Genesis. The band has changed many times. "Trespass" was different from "From Genesis To Revelation's" slow, much more acoustic songs, "Selling England By The Pound" introduced the atmosphere in terms of musical density and arrangements that "The Lamb Lies Down On Broadway" perfected, "A Trick Of The Tail" and "Wind And Wuthering" are mostly acoustic masterpieces relying on lyrics for their acclaim, and "Duke" and "Abacab" summoned the band's pop era which lasted until Phil Collins left.

So, what do we like most? Everybody has a different taste, but I personally love Genesis' prog rock era up until "Wind And Wuthering." "Calling All Stations" is more something for lovers of this era and provides a revival of instrumentals, haunting lyrics, and a rather depressive tone.

Now the only aspects of Genesis' early era we have to get back are mystic and rather depressing lyrics, such as "Fountain of Salmacis" and "Get 'Em Out By Friday" and an almost psychedelic instrumentation such as the Brian Eno-infused synth sound of "The Lamb." Then I'd be completely satisfied. Banks and Rutherford, as all-time members of the band, will probably be able to recreate that feeling.

Being a fan since 1970 I have been crushed with the departures of Peter Gabriel and Steve Hackett from Genesis. Although Phil Collins is a fantastic drummer and a great vocalist in his own right, his voice was simply too pretty for Genesis. When I heard Phil Collins left the band and the new "Calling All Stations" was released I immediately ran out and bought the CD. All the reviews I've heard up untill then was that this album was a return to the Darker side of Genesis which we have not seen or heard since the departure of Steve Hackett. I ran home, popped in my CD and sat back in my armchair waiting to be to be taken on a long overdue ride from the band. Unfortunately this was not the case.

The title song Calling All Stations sounded like nothing more than a desperate attempt at a remake of Squonk from the Trick of the Tail album. Congo is a top 40 tune that belongs on Invisible Touch. Shipwrecked sounds eerily like ELO, right down to the vocals. The only 2 songs that have any Genesis merit are "Alien Afternoon and One Mans Fool". These 2 songs are as close to original Genesis that I've heard in many a year. If you need a reason to buy this CD, these 2 songs may just be it.

Sad to say I miss Phil Collins more than I wanted to admit. Not for his vocals but for his uncanny drumming that is a signature of the Genesis sound. Mike Rutherford clearly is not a lead guitarist and would justify his talents more by sticking to his main talent which is playing the bass. Ray Wilson does a credible job on vocals but really needs to work on his originality. The only saving grace on this album is the incredible keyboard works of Tony Banks that only he knows how to play.

All in all if you're a fan of the older Genesis sound this album really isn't for you. If you liked the Genesis sound with Phil collins as the lead man this may be just what you're looking for if you're willing to overlook the fact that Phil is no longer with them. I for one am still desperately hoping for a return of the original band before I dish out any more money on promises.

First of all, let me say that I don't have any real problem with the new vocalist, Ray Wilson. His voice is somewhat generic, but still quite pleasant and effective...and while I've usually loved Phil Collins' voice, by the time of WCD he started sounding a bit too nasal. So Ray is a nice replacement.

That being said, this album has some of the worst songwriting Mike and Tony have ever committed to record. I can't believe how many people honestly think this album is a return to their 70s sound and moving away from their "80s pop" sound -- this album sounds straight out of the 80s to me. Yeah, it's "darker and heavier" than the last few albums...so what. Writing songs in a minor key with a gravelly-voiced singer doesn't bring you back to the Gabriel era.

Tony's playing throughout the album makes me wonder if he's got a bad case of arthritis. All he's doing on most of the songs is playing suspended whole-note synth pad chords, or else he's playing lead synth lines that a 15-year-old could come up with. The lyrics are among the worst in Genesis history -- completely cliched, overstated, and full of generic "filler" lines (e.g., "To all of those who think that they know / All I can say yes all I can say")

The supposedly "progressive" songs on the album are nothing but bad cut-and-paste jobs -- Alien Afternoon (possibly the silliest pseudo-prog song since Mr. Roboto) and One Man's Fool are simply two-part mini-songs with a transition in the middle, and There Must Be Some Other Way is just another three-verse pop song with a lame keyboard solo in the middle. Only the title track and The Dividing Line show some signs of creativity, but not much.

"So," some people might think, "at least that's better than all the boring Phil Collins ballads and stupid pop songs we've had to endure on the last few albums." Guess again -- Shipwrecked and If That's What You Need are just as boring as anything Phil's ever written -- if not worse -- and while Congo may be "darker" than some of Phil's pop songs, the melody is nowhere near as strong. The only true pop highlight on the album is the pretty acoustic guitar ballad, Not About Us.

What's even sadder is that, after this release, Genesis put out three singles which contained leftovers not included on the albums. Many of these songs -- Anything Now, Banjo Man, Sign Your Life Away, Run Out of Time -- are FAR better than anything on the album itself. Why Genesis didn't want the general public to hear some actually decent material, I can't imagine.

I can sympathize with those who were sick of Phil Collins' overexposure during the 80s and early 90s, and how many people regarded Genesis as his "backing band." But without him, Tony and Mike have given us a half-baked pseudo-artistic charade of an album in hopes of fooling us into thinking they've returned to their glory days. Is losing Phil really worth all that?

With the departure of Phil Collins, although he is back touring with the band now, Genesis needed to hire a new vocalist and a new drummer. They chose wisely in Ray Wilson and Nir Zidkyahu because the sound is extremely what you might expect of Genesis had they continued into the 80's without going all ridiculously pop on us. What is great on this album is that there are no tracks even remotely similar to Invisible Touch, Jesus He Knows Me, or That's All, perhaps the most commercial and the most flavorless musical pieces the band has ever written. The tracks here are rather unique for a Genesis release, although if you like it, I encourage you to go listen to Tony Bank's Strictly Inc, released two years earlier in 1995. There are A LOT of similarities between these two albums which leaves me to think that Bank's did more of the writing on this one than Mike Rutherford. Regardless, both are solid works in the history of the band and members thereof. Also, check out the last CD from the Genesis 1983-1998 box set; the last 3 tracks - Anything Now, Sign Your Life Away, Run Out of Time - are extras that were not released on Calling All Stations. These are as good, if not better, than some of the tracks on the actual album! It is so unfortunate that Wilson was not retained, but the age gap between him and the other two probably had a lot to do with it. Understandable. At least they had the heart to put out one more album that was surprisingly good and refreshing. I hope you like it, and with copies around selling for 93 cents, I am sure you will find it to be worth well beyond what you paid.

The feel of this album is sort of hard to describe. It's like they wanted to continue the sort of proggish direction they were starting to go on We Can't Dance, but they didn't want to lose all their pop fans. Well, they didn't do well in the latter aspect, but this CD is probably their most consistent since Abacab, and the drumming is somewhat reminiscent of that style. Whereas We Can't Dance was a combination of electronic and acoustic, this is mostly acoustic, with that harsh early 80's sound Phil adapted on Duke and especially Abacab. Song by song perhaps?

1. Calling All Stations - 10/10 - YES! This is just great. The guitar part is something Genesis has never tried to do before, the synth atmospheres are cold and desolate... All comes together perfectly to make a hard-hitting rock piece.

2. Congo - 8.5/10 - Fun pop piece for the pop fans. Not bad obnoxious pop, though. That comes later on the album ;-)

3. Alien Afternoon - 10/10 - Great song with an intricate keyboard melody, interesting guitar part, and a strange atmosphere. Really unique from other Genesis songs.

4. Shipwrecked - 3/10 - Sounds like Dido. No thank you. Many like it, but it's not for me.

5. Not About Us - 8/10 - Made for radio? Maybe... But I actually feel like this one has a little sincerity. There's just something different about it.

6. If That's What You Need - 3/10 - No thank you. It sounds too plastic, and not very sincere... Like it was made for radio or something.... *cough cough*

7. Dividing Line - 10/10 - Rocker. This one pounds your head in with sweet drums with some kind of hard rock guitar + 80's keyboards. An intriguing listen.

8. Uncertain Weather - 9/10 - Really depressing, but not it doesn't hit as hard emotionally as Calling All Stations. I like it, though...

9. Small Talk - 0/10 - DO NOT WANT!!!! BAD SONG!

10. There Must Be Some Other Way - 10/10 - Great vocal section, and a great instrumental section that reminds me of Second Home By The Sea. I like the lyrics too.

11. One Man's Fool - 8/10 - Believe it or not, I'm not too crazy about this one. It's a good song, but it's a bit too long for its own good (crazy coming from a progger, huh?).

OVERALL: If you can take the 3 bad songs (If That's What You Need, Shipwrecked, Small Talk) and throw them away, you've got quite a bit of good material. I think they were on the road to recovery... Too bad they couldn't keep trying.

Synergy is defined as the state where the whole is greater than the sum of its parts. It is a concept that seems to be true for every Genesis album. Each member brings their vision and contribution to the songwriting arranging and recording of an album, and usually the production as well. The results are an astounding catalog.

The problem with Calling All Stations is that there are so few parts left. From the original 5 (or 6 depending how you count) we're left with Tony Banks and Mike Rutherford and the results are what you'd expect if Tony Banks sat in with Mike & The Mechanics.

(Yes, there's this guy Ray Wilson who does the singing. He's a great singer and he does a good job. However he doesn't share songwriting credit and is listed in places that make it seem like he's not even in the band. Ego on Mike & Tony's part or an acurate picture of his contribution? I'll take the latter).

I admit, it is definitely unfair for me to judge this as a Genesis album instead of on its own. The problem is, I can't judge it any other way. I've been a fan since 1979 and was dying to hear this when it came out. I've given it a lot of listens and the album has its merits, but it even compares poorly with Mike & Tony's solo stuff (I'm thinking particularly of Smallcreep's Day or Banks' soundtrack work).

If it wasn't a Genesis album, I wouldn't be so hard on it; but if it wasn't a Genesis album, I wouldn't have bought it!

That's not to say Calling All Stations is bad. It's a good album and it's interesting. Mike & Tony are good songwriters. But it's easily a low for the band and if you're expecting a new Abacab, your hopes will be dashed. Every track feels like it's missing something.

For Genesis to work, you need more than just Tony and Mike. Add any one of the creative past bandmembers (Phil Collins, Peter Gabriel, Steve Hackett) and you'll probably hit the creative critical mass that will push Genesis back into greatness.