do you like the "dark side" of the discography?

 

So what? ... Since when are "critics" the "RULE" as to what is good or bad? Further more, the critics are never remembered in history ... except maybe Salieri,. but he came over to this side for a while!

 

Let's see ... we can add Ravel, Debussy, Stravinsky, Mahler, Tchaikovsky (but a rich woman liked him!) ... you want more? ... where "fans" and "classicos" and "idiots" and "morons" (want more?) decided they did not like the music and thought it was bad ... ooohhhh by the way, guess who is remembered in the history of music?

 

So, tell me, you gonna suck it up to the critics? They really knnnnnnooooo music, I bet!  Including me! ... you have to learn and live by yourself, not anyone else's ideas or thoughts!

 

G'night! Sleep tight! Dream and enjoy the music! And forget the critic!

 

(Now you know why I do not consider myself a "critic" ... because I am a person with feelings, not a critic!

 

Trespass is rarely thought of in these circles as a low point in Genesis' career.  Quite the contrary, it is generally well-liked. 

 

Hmmm.  I love Abacab, like Calling All Stations and the Final Cut.  Post-Tormato Yes was definitely hit or miss, but there were some great ones (Drama, 90125, Talk, Keys To Ascension) and some real duds (Open Your Eyes). Do like 80's Rush a lot, except for Hold Your Fire (it's too soft rock for me).  And post-Fish Marillion has done some amazing stuff.   

I've never considered Genesis sellouts just for making pop albums anyway.  They always had a bit of pop music in their approach and once they lost Gabriel and Hackett, they ran out of options.  On the other hand, other bands like Renaissance did admit to believing they needed to emulate the commercial success of a hit single or album (in this case Northern Lights) and that's what I call selling out.  And I don't condemn that choice either because it's not for me to, but that would mean that the bands were not true to themselves which tends to reflect on their work (and could be legitimately classified as the dark side of their discography).  In KC's case, it's more about the name King Crimson than anything else.  It doesn't even matter if anybody other than Fripp continues in the lineup and whether the work bears any resemblance to what they did before.  I could understand that he would resent having to work more in the collaborative set up of a band than pursue a solo career but I am not sure he was under pressure to make pop music at any point of time.