Counting Out Time

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Disk One
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The Lamb Lies Down on BroadwayThe_Lamb_Lies_Down_on_Broadway.html
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In the CageIn_the_Cage.html
The Grand ParadeGrand_Parade.html
Back in NYCBack_in_NYC.html
Hairless HeartHairless_Heart.html
Counting Out Time
Chamber of 32 DoorsChamber_of_32_Doors.html
Carpet CrawlersCarpet_Crawlers.html

Counting Out Time, what a fun track!  Genesis even released this as a 45 RPM single back in 1975.  This is the first song that I have posted since 2011, it is now June 2014. I spent a few years re-tooling, honing my skills and hunting down more gear needed for the project.  There are still some tweaks I will do with this track, but I feel that it is close enough and demonstrates quite a few cool musical techniques used by GENESIS. During the tracking sessions, this song was referred to as “The Sex Song”.

I guess the first surprise about this song is that Steve made extensive use of the infamous Coral Electric Sitar (as used in I Know What I Like).  The sitar plays some of the fuzz guitar parts as well as acts like the BANJO for his rhythm parts. Of course, Steve employs the SYNTHI HI FLI as well.

We all pretty much know he used the Hi Fil for the SOLO in COT but he also used it for the single note bend part during the heavy fuzz sections (‘found a girl I wanted to date’).  He used the “backward guitar sound” effect on the SYNTHI HI FLI (employed on the latter, Trick of the Tail song, “Ripples”).  Steve also used the ‘57 Les Paul Goldtop for all of the Synthi parts.  Another discovery that you might want to explore is that one of the FUZZ guitars during this section is actually the RMI Electra Piano being process through the FENDER BLENDER fuzz box, a technique borrowed from the early Genesis LP’s. One more little tricky guitar part was a fuzz guitar going through the LESLIE (you can hear this in the build up, right before the guitar solo). The banjo part had me stumped for years.  I thought that Steve used the Les Paul and muted it but without asking Steve directly, I don’t think I could have decoded that the part was played on the Sitar.

The banjo guitar part was interesting to recreate.  Obviously, Steve muted the strings of the electric sitar but I found with the strumming patterns, using a palm mute technique was next to impossible for consistent results. So, with a bit of experimentation, I finally stumbled upon taking a piece of foam and jamming it between the strings and the body of the guitar (finding the right thickness of foam became another exploration).

The percussion tracks were also a ton of fun to perform.
  Obvious are the monkey skulls (Chinese Red temple blocks as seen on some of the photos from The Lamb tour as in the photo on the right) during the guitar solo but Phil also employed another vintage vaudeville percussion instrument called a “ratchet”, which you spin around and get it to squawk.  A bit tricky getting the timing correct also took awhile to narrow down exactly what instrument was playing this part.  I originally thought it to be a vibraslap, then an old fashion washboard but finally saw the ratchet on a photo of Phil’s live drum kit used on The Lamb tour. (A fellow Genesis fan/musician, Winston Wolf pointed this out for me and I want to formally thank him, so “Thank You”, Mr. Wolf).


Tony’s RMI part was also fun and tricky to figure out and perform. Again, processed with the MXR PHASE 100 phaser.  There is a section where Tony plays a part very similar to Cream’s BADGE sound and uses a fuzzed up RMI as well going through the Leslie (Erogenous Zones I Love You).  Amazingly enough, the acoustic piano part wasn’t played by Tony.  Could this be the only song that has two keyboard players for GENESIS?  Peter actually played the acoustic piano part that you can hear during the “Found a girl I wanted to date” section. Finally, I believe the segue at the beginning is one of the places that Tony used the ELKA for the string sounds (blended with TRON strings).

However, Mike’s Bass part is probably my favorite track to perform.  I call this his “McCartney-esque” bass technique.  He previously used this style on “Time Table” from Foxtrot and “I Know What I Like” from Selling England as well, wherein he plays a very melodic bass line where he really integrates the bass as part ot the song’s melody.  The Micro-Frets baritone guitar was utilized and makes the slides between notes almost sound like a fretless bass but without the drift of the notes that you get from a fretless.  Very fun to play and sounds pretty cool.

Below you will find a little real time WEB mixer with the stems from the project available for you to mix, entertain yourself or to simply explore what all the parts are doing in this song.  If the page loads slowly, it is because of the audio needed for the stems to load into the mixer.