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H'20: #1 - Duke

March 28, 1980

The Rankings

Average Ranking: 71.7

The Art

OK. This cover.

Man, this cover. I just don’t know about this cover, you guys. I can’t suss out how I actually feel about it. Let me explain.
First, the good: the colors work terrifically. The stark white background was previously used for The Lamb Lies Down on Broadway, but there it was offset by colorless photographs filling much of that open white space. Here it’s just a window within the white. A window with shutters of pink and gray, opening to reveal a nighttime sky of blue, highlighted by a yellow moon. And all of it being viewed by a man in green, while the playful font of the album and band names run a yellow-to-green gradient. The various colors might seem like they should clash, but they don’t. Instead they pop against that white background, making this cover look even more vivid than that of its follow-up, Abacab: an album cover essentially defined by colors themselves. It’s a great effect and it creates a kind of allure about the album.
It helps as well that the primary color one reads when glancing at this cover is that green, both from the man at the window and in the text. Duke is a very “green” kind of album, full of jealous splits and the pains of loss, yet also very vibrant and alive. It’s a solid marriage of color to feel.
And yet. And yet. I just struggle a lot with the style of it all, you know? This artwork wasn’t commissioned, but came from a French children’s book by Lionel Koechlin called L’alphabet d’Albert, from which the “Albert” character also takes his name. As any parent knows, children’s illustrations are very hit-or-miss kinds of things. The genre is flush with unique takes on the human form, art that seeks to stand out and be different while still retaining the ability to connect with children and allow them to relate to the books’ subjects. Sometimes these are great successes, but just as often you’ll look at one of these and think, “Nope, don’t care for that one bit.”
L’alphabet d’Albert, and therefore Duke by extension, is one of those latter ones for me. The giant body with the grotesquely shrunken head and extremities? I can’t get behind that. It’s downright unsettling, far from the “fun and whimsical” it’s supposed to be. I mean, look at this “Duchess” single cover art. Look at that tiny head with Bart Simpson-esque hair spikes. Those tiny hands and tiny feet. Some people may love it, but for me that’s borderline nightmare fuel. I can’t do it.
So that’s the art of Duke in a nutshell for me. Outstanding use of color, fantastic core conceptual design, “must look away at all costs” primary focal point. I have no idea where that all averages out to place my opinion of the thing.
Tony: With Duke we just thought, “Well, we want something different,” so we looked in a different area for a designer. And he actually came down with various suggestions of possibilities, and one thing he came down with was this ABC book by this French guy, which had this character on it. And we looked through; we really liked this style. “This is great!” We looked through the book and we got to Q, and had what is actually the album cover. It had a question mark above it [for Q]! It was just a simple alphabet book, you know. We took the question mark out and used it. 1
Mike: If you can find something you like, and see it… Commissioning an album cover’s always hard, because you think: produce it, having shot it and spent money and gone somewhere with a photograph, then come back and see it and you don’t like it. You always feel a little bit obliged to sort of work with it. Whereas this you can see it and knew his style, what he did. And it’s a great cover, actually… We’ve always been very keen, I think Genesis, on quite simple images. Graphic ones, rather than a mishmash of lots of ideas. I think Duke kind of embodies that. It’s a really simple, strong, quirky style image. 1
Phil: It was just nice. I mean, we’re calling the album Duke, and there was this guy. This fat guy! It was just...he wasn’t Duke, but he could be! You know. It was a nice, strong piece of artwork. 1

The Review

How good is Duke? Consider for a moment that I own CD copies of ten different Genesis albums so I can listen to them in rotation in my car, and Duke is not one of those ten, yet it still sits here as my number one Genesis studio album. There are two things we can take away from this little factoid: first, that I really need to pick up a copy of Duke on compact disc, and second, that it’s so strongly embedded in my consciousness that I don’t really need to.
Oddly enough, I think the album’s strength comes from what it doesn’t do. As I talked about seemingly ad nauseam in the core Hindsight posts, the initial conception of the album was to dedicate an entire side to an epic piece under the working title “Duke”. Not wanting the inevitable comparisons to “Supper’s Ready”, Genesis abandoned that plan and instead split “Duke” into its six component songs: “Behind the Lines”, “Duchess”, “Guide Vocal”, “Turn It On Again”, “Duke’s Travels”, and “Duke’s End”. Then to maintain some of the cohesion they had when the piece was all one big thing, they stuck the first three of those pieces at the beginning of the album and the last two at the end. “Turn It On Again” would then land squarely in the middle, sitting at track 7 out of the album’s 12.
What this does is create a really strong skeletal structure for the album. It’s going to end in a manner consistent with the way it starts, and it’s got a built-in “reminder” at the halfway point. As long as the “filler” tracks don’t veer too wildly off course, things should work out. I want to caution that here I’m not using “filler” in the derogatory, “this song is just there to pad time but isn’t very good” sense; more in the matter-of-fact “this is the stuff between the pieces that comprise the core of the album” sense.
And so we look at these “filler” pieces and what do we find? First there’s “Man of Our Times”, bombastic on a level with the fanfare of “Behind the Lines” but with an almost mantra-like quality to it. It fits in perfectly with the atmosphere of the “Duke Suite” even though it’s not part of it. Then “Misunderstanding” almost foreshadows “Turn It On Again” by being a well-crafted, radio-friendly, upbeat tune. It’s not like what came before, but it still fits like a well-worn glove into the overall texture. That’s followed by “Heathaze”, a plunge back into the deep synth that defined both the previous album and “Behind the Lines”/“Man of Our Times” on this one.
After “Turn It On Again”, “Alone Tonight” works as a kind of bridge between “Misunderstanding” and “Please Don’t Ask”: it’s got that pop ballad kind of feel, enough that the record company wanted to release it as a single until the band overruled them. Then “Cul-de-sac” is arguably the most regal-sounding piece on the album, more deserving of the name “Duke” than perhaps even the “Duke Suite” itself. And then there’s the aforementioned “Please Don’t Ask”, raw and vulnerable; not poppy enough to be a single, but still very accessible. And then it’s back to the “Duke Suite” for the final stretches.
So really, Duke to me consists of the “Duke Suite” and its six pieces, three pieces in “Man of Our Times”, “Heathaze”, and “Cul-de-sac” that blend seamlessly into the suite’s atmosphere if not its melodies and motifs, and then a separate three-song string of more immediate tunes, one and all about heartbreak and loneliness: “Misunderstanding”, “Alone Tonight”, and “Please Don’t Ask”. Like the component strands of a rope, these three groups of songs interweave over the course of the album, all reinforcing one another to create an end product that is incredibly strong.
I’ve called out other albums in the catalog as being nearly perfect give or take a song here or there, but while I’m naturally fonder of some songs on Duke more than others, I’m not really ever tempted to skip anything when I play it. Every song works, top to bottom. I know there are those who prefer the album’s B-sides “Open Door” or “Evidence of Autumn”, but for me this album is about as flawless as can be, and I don’t think I’d change a thing.
In a Word: Majestic
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submitted by LordChozo to Genesis

Talk to me anyway you please? Nah... have fun loosing the entire staff along with the juiciest of juicy contracts.

This is a super throw back but it still brings a smile to my face. Also, my writing sucks so please excuse the grammatical errors.
I was a rink rat growing up. The only day I wasn’t in the skating rink were the adult and gay nights (calm down, it was the 90’s and that’s literally what it was called). Friday night, Saturday morning and night along with Sunday morning and night I was there. Hell, I didn’t even leave between the morning and night sessions. I even went Tuesday nights as well! I was serious too. I dove deep into speed skating and not trying to toot my own horn but I was pretty good and well known.
Anyway, I’d been going to this specific skating rink for years and knew EVERYONE. One day, It was right before I started 7th grade, the owner came up too me and asked me to go out onto the rink floor and tell some kids to slow down. I did and came back and he asked me how would I like to make $7.50 and hour to which I responded “do I also get in for free?” He laughed and said of course. BOOM! First job and I wanted to be there anyway so it was the biggest win-win of all time for me. To say I loved it was an understatement and I did everything besides work the snack bar. DJ, skate counters, floor guard, janitor, hype man... you name it and I did it. It was some of the greatest times of my life. So much fun and the owner was super awesome. Also, we were paid under the table so getting an envelope full of cash every week just felt like a bonus for having fun. To me it wasn’t a job, it was pure fun. It also helped that all my friends were regulars as well.
A few years go by and the owner sold to another guy who we will call Tim. Tim could be an absolute nightmare to work for. He changed the entire dynamic of the place and everyone felt it. Now, this skating rink was POPULAR and extremely old. Lots or people all over the city knew of it. My mom and aunt skated there when they were kids if that tells you anything.
Someway or another the new owner set up and juicy deal that had the rink started making a shitload of money! On Saturday night from 7-11 it was skating per usual but from 11-2ish/3ish is was a club. A local hip hop station came in there with local label Swishahouse and turnt the place upside down for those few hours. Every week and the place was POPPIN. There must have been over 2k people in there on average and at $20 per person it adds up quick plus the snack bar would NEVER stop turning out food and drink. We were making stupid money. Bonus! We also found some good stuff when cleaning up as well. Money, knives, weed, jewelry... It was awesome.
So Tim has it made but sometimes he would fly off the handle for little things. All of us weren’t sure what his deal was but he would explode out of nowhere and start talking all kinds of nonsense. I’d started to have enough because we all had worked there for many years WITHOUT ISSUE. One night he went too far..
I don’t like being called outside of my name. It’s a respect thing. My own mother didn’t do it and he for sure wasn’t. For context I was in 10th grade now. One night he was in some kinda mood and for whatever reason was taking it out on everyone. I don’t remember the exact situation but he started freaking out on me at about 11:30PM. Now, Slim Thug and Paul Wall were in the building that night so the place was extra packed. Waaaay more that usual (I’m sure we were braking all kinds of fire marshal rules lol). He went ballistic and called me every name in the book while I just stood there with rage building up in me. I’d had enough. For years this place ran flawlessly and everyone loved us so he really didn’t have a good reason to treat us in the manner he did. My plan was formed. I immediately gather everyone else that was working and we all decided that enough was enough. It was time for a lesson.
I assembled the entire crew and well all quit on the spot. ALL OF US. That meant nobody to serve food, clean, help the swishahouse people, or just carry out general things that needed to be done when 2-3k people were in the building. He was stunned, his tone changed and he became very sweet. We weren’t having it. As an additional fuck you I called the other two people that were off and they showed up to quit as well. Tim had already reached out so he assumed they were showing up to work. Nope. We left him with zero workers on the absolute busiest of busy nights and boy did it implode. He couldn’t find anyone to work so the place went to absolute shit that night. The on duty officer told him he needed to figure something out or he was going to close it down without workers. Well... he didn’t. It closed down that night and apparently without staff it got nasty. People started having sex, smoking, trashing the place and all kinds of stuff. Shortly after the radio station and label took their business elsewhere and not long afterward the place closed down. He lost his entire investment. This was very bitter sweet for me because I loved the place but he ran it into the ground. The building is still standing and I would LOVE to bring it back to its former glory but my pockets are deep enough yet. Maybe one day.
TLDR: New skating rink owners treated employees horrible so we all quit at the same exact time to leave him stranded. He lost a big contract with a local radio station and popular record label which cost him big money. Rink closed down shortly after.
Clarification Edit:
So, allow me to clarify some concerns.
First off, this was a skating rink so no alcohol. I’ve never seen a skating rink serve alcohol lol.
The club night was ONLY SATURDAYS. This never happened in any other day. Ever.
Yes, it was insanity packed. When I say there were a lot of people its an understatement. Also, the parking lot in front of the building was crawling with people and so was the one to the right of the building which had a supermarket. A ton of people parked there so the party overflowed. The people were allowed to walk in and out with the wrist bands. I know the amount of people was excessive because the building had 4 A/C system but only two worked so we would go outside through the night to cool off because the heat was overwhelming. Hence the reason customers could come and go.
Yes, the crew quit. 3 of us lived on the same BLOCK and were childhood friends. The others went way back and when I say this owner ran the place down, he ran the place down so it wasn’t a hard sell. It was no longer a fun place to work and eventually that bled over into the customers not wanting to come back. There is another person in the comment who worked with me and he can back it up.
Yes, I was hired when I was 13-14ish. Yes, I was getting paid under the table. Yes, I was in middle school when I started and worked there till either the summer after 9th grade or during 10th grade. It was more that 20 years ago, can’t remember exact dates for the hair splitters.
Seeing as how three of us lived on the same block getting a ride wasn’t a problem and eventually we all started driving. So yeah, old enough.
Yes, local radio station and local record label put on the shows. Underground hip hop starts, that are insanely popular here still, we’re present every Saturday which drew huge crowds.
The other redditor in here was the one I called, which was at about 12am, and he got out of bed to come and quit. We all went to Denny’s to celebrate afterwards.
submitted by JawShoeWaah to ProRevenge

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