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Hindsight is 2020: #20 - Dreaming While You Sleep

from We Can’t Dance, 1991
Listen to it here!
Space. The final frontier. These are the voyages of the rock group Genesis. Its continuing mission: to explore strange new sounds. To seek out new riffs and new instrumentations. To boldly go where no band has gone before!
Exploring space isn’t really something Genesis was known for back in the 1970s, but by 1991 the band had evolved its way of working significantly. Gone were the days of penning a song by oneself in a room. Gone were the days of competing with one another to compose the most intricate portions of a song and then throwing them all together to see who would "win." Gone were the days of trying to fill every fraction of every measure with some sonic tidal wave meant to drown the listener.
Instead, space. Room to breathe. Room to let music grow not because there’s more of it in the mix, but because the absence of excess allows the remainder to have a much greater impact. This was unthinkable in the earlier days and years of the band.
Phil: The less busy Tony has gotten over the years, the more enjoyable it has been to play with him. But we all went through that. If you listen to our earlier efforts, we’re always going hell-for-leather behind the vocalist. 1
It’s hard to overestimate the importance of maturation and restraint here, but there’s another significant factor that would’ve made this level of space much more difficult to achieve back then: the evolution of drum machines.
Phil: When Genesis were in Japan [for the last leg of the And Then There Were Three Tour] we were offered, gratis, the newest drum machines by Roland, straight off the conveyor belt...the forefront of emerging music technology. I’m told this is the sound of tomorrow...Mike and Tony took one each. But I’m a drummer. Why would I want a drum machine, a future that would consign me to the past? I said, “Thanks, but no thanks.” 2
It was 1978 before Genesis really even had drum machines to play around with, and the rhythmic heart of the band didn’t want anything to do with them. But fast forward thirteen years and four platinum albums later - to say nothing of any solo recording success - and the drum machine is the foundation of much of the band’s improvisations. They put down a pattern and improvise around it. Sometimes Phil lays down real drums to replace the pattern, and sometimes he lays them down on top of the pattern. But sometimes, he doesn’t need to bring them in at all.
Phil: It’s all based on the drum machine...The real drums didn’t sound good on the verse. They weren’t necessary, because the drum machine pattern held its own. It was one of those patterns that set up half the atmosphere of the song. Then, where the big change came in with the smooth chords at the chorus, I started playing along on drums. You then say, “Okay, that part sounds right. Now let’s get a sound for it that makes it sound good.” Of course, it all has to get past quality control. 1
So let’s get one thing clear here. This particular drum machine pattern, with its bass drum thump, light snare, and pitter patter of toms is really, really good. In fact, the working title for the song was “Rolling Toms”, strong evidence that the band thought of the drum pattern as the irreplaceable core of the piece rather than a throwaway placeholder. A lot of people might have a distaste for anything that isn’t a “real” drum sound, but Phil’s right: the atmosphere of this tune is a product of that pattern. You ditch it for real drums, you lose the whole thing. But as it is, you’ve got a backdrop with plenty of open space, and your mood is already there. It’s just a question of what to put on top of that mood.
Musically, “Dreaming While You Sleep” features two very different explorations of this space. The first, which would become the verses of the song, feature some sequenced marimba parts, which add tones but free Tony up to do something else with his hands. That something else consists of short chord runs, little wah-wah-waaaaah-wahs that flavor the melodies without infringing upon them. Mike can then add his own little lines with the guitar, which come and go, fading in and fading out, just distant accents that never get in the way. Indeed, for reasonably long stretches he might not even be playing at all.
But then there’s another section too. Big chords, big bass, big sound. This is a different approach to handling the space. If the verse sections are a matter of leaving some space wide open for the listener to hear, this chorus is an exercise in disguising that space from the listener. Nobody’s doing anything particularly complicated here. There’s still a ton of space in the arrangement, but you can’t hear it anymore because the sound itself is so big. Yet you can still feel the space as you listen. This isn’t an endless barrage of notes competing for your attention, but single sustained notes or chords that cover the shell of the thing. It’s sonically hollow, if you will, a wall of sound surrounding nothing at all.
The band liked both these improvisations on the drum pattern, both techniques at leaving something sparse in some way without sacrificing quality. They knew they wanted to keep it all, so from there it became a question of connecting and developing the components.
Tony: We had one drum machine pattern going all the way through. There were no drums added when we did it. Really, we had two very different feels going on the one rhythm. We were all improvising things. I was playing on one sort of keyboard sound, then I started playing a few chords. At that point, Phil started singing a melody line. We had this chorus bit that sounded great; it was just a question of trying to organize the improvisations that ended up being the verse and all the other parts of the song to fit with that chorus. So the whole thing was there; it was never a decision to make the dramatic transition between the two. 1
Genesis don’t tend to say a whole lot about their transitional moments within songs. Sure, they’ll acknowledge them by saying “We needed to find a way to link these two bits” or something to that effect, but the actual process of doing that is a topic seldom broached. But the transition sections in “Dreaming While You Sleep”, running from 2:30 to 2:48 and again from 5:17 to 5:36, are so expertly built up that they deserve some extra mention. And again, it’s all about space:
Tony: When I’m [covering the bass notes], I’m just playing the bottom parts. Since most bass guitar parts are put on afterwards, it’s very important that Mike doesn’t disturb the chord emphasis, because it’s so easy to change that with a bass. We have one chord in the song “Dreaming While You Sleep” where there was no bass note, so he doesn’t play one. Any bass note would give the wrong impression to the chord. This is why the bottom note of a chord is often just part of the keyboard part. 1
You can hear this specific chord as the elongated third sequential chord in each of the transitional sections. The first two chords feature bass notes from Mike that are gentle yet definitely present. The chord structure descends from the first to the second, and you might expect it to resolve on the third chord, but instead it lifts unexpectedly. If I had to describe the progression, it’s like a kind of mourning that suddenly gets tinged by a fearful hope. And Mike’s bass is nowhere to be found. As Tony indicates, that hopeful lift is the entire point of the chord, so it simply has to have a floor that’s higher than what came before. Near the end of that stretching chord, Mike does re-enter with a brief run of his own, and then the three chords repeat again. Except this time, on that third chord, Tony plays the same hopeful lift while Mike plays a note that matches the expected musical resolution of the two chords before. So to be clear, it’s the exact same chord, and the only note that’s any different is the one coming from Mike’s bass, and he’s playing the note that resolves the chords. So you’d expect this to sound somehow warm or fulfilling.
It sounds like despair.
Tony: Chords are my specialty. The thing that I understand best is the way chords fit together. You can’t just add or subtract notes. 1
So you’ve got this thing that’s undeniably groovy, sort of an electronic jazz feel, and you’ve got this thing that’s big and sweeping but still sort of empty in a way, and you’ve got this sequence of chords linking them together that sounds like the death of hope itself. What kind of lyrics do you put with that?
Mike: “Rolling Toms” is now called “Dreaming While You Sleep”. It started off, Phil used to sing “dreaming while you sleep,” and actually Tony was gonna do the lyric. ‘Cause we kinda pick out songs we want to do, and he felt to do that one, which was fine by me. But then I had an idea driving home one day about a guy who hits a girl. A hit-and-run, really. Didn’t see her in the car headlights, night in the rain, and didn’t stop. And he drives off and leaves her. But then he can’t escape the fact that he hasn’t told anybody, and he can’t live with the guilt. So he kinda goes back to the hospital where she’s lying in a coma for...ever, I guess. I mean, she’s still in the coma when the song finishes. And he kind of becomes attached to her. And his life gets linked up with hers, and he can’t escape really. I had this idea, and then I persuaded Tony that I was gonna do it. I mean, he wanted to do it. But I said, “Well I have an idea. Let me try it, and if it’s good, fine. If not, if it’s not a great idea, then you have a go.” 3
It’s probably not a big surprise that a song about running someone over and putting them in a lifelong coma came from the same lyricist who penned the one about a guy getting trampled to death in a snowman outfit; Mike can go to some really dark places at times. But there’s such a huge gulf of impact between those earlier lyrics and these. Just like with the drum machine technology, he’s had thirteen years of maturation here to explore these darker themes. And this one hits hard. I have no idea what direction Tony’s lyrics for this one might have taken, but I have to imagine when heard Mike’s he felt he shouldn’t even bother to try.
Groovy, jazzy, rolling toms? That’s driving in the nighttime rain, man. That’s feeling yourself start to drift off and then the burst of alertness that comes from nearly hitting something. If you’ve ever driven late at night when you’re tired, you’ve probably had a similar experience. I once drove onto a highway exit ramp because I was tired enough to think that a certain road sign actually meant the exact opposite of what it said. It was super late and the roads were empty, so the worst that happened was me panicking and driving back over the median to the adjacent on-ramp once I saw that “WRONG WAY” sign. But you’d better believe I stayed hyper-alert for the rest of the 25 minutes home. I was lucky to be in off in Nowheresville at an hour where most people aren’t out and about. Yet it’s easy to imagine all the things that could’ve happened had circumstances been just a little different. Things like hitting a pedestrian and causing serious harm.
Linking chords of anguish? That’s guilt, man. That’s knowing that you could’ve stopped - that you had a duty to stop - and faced the consequences of your actions. That’s knowing that you made a mistake that anybody could’ve made, that you never intended any harm on anyone, and that you’re too afraid of the consequences of doing the right thing to admit any of it. It’s the sound of despair, yes, but also of self-loathing. What kind of monster would just keep driving? Would deny the crime for years on end, leaving a family to grieve in ignorance? “Me, that’s who. I’m that monster.”
Big sweeping chorus? That’s regret, man. And hey, I’ll tell you what: now that this song is about getting away with vehicular assault, how about some real drums after all? They ditch the drum pattern for this section, despite it being the driving force in writing it in the first place, blasting heavy, accusatory snares instead. And hey, let’s get Mike off that lead guitar and back onto some heavy bass, yeah?
Mike: During the chorus of “Dreaming While You Sleep” I tried playing a bass guitar because we wanted a low, powerful sound from the bass end where the drums are a very big part of the song. 1
Phil belts his heart out about how really, he hasn’t escaped the consequences at all. They’ve just taken on a different hue. No time served, except the eternity of obsessive remorse that will never wane because you’re never going to be courageous enough to confess. Two lives ruined, not one, even though one walks free. What an emotional wreck this chorus can make me. I find myself overcome with sympathy for this figure, spending every waking moment just hoping that someone else can have a waking moment too. Your heart breaks, and then I remember that he’s the bastard who put her into this situation in the first place, and who is still dodging justice, and then I myself start to feel like a jerk for feeling bad for him in the first place. And yet, what if he had come forward? Does that make her magically not in a coma? How villainous is he, really?
The entire situation royally stinks. Everyone’s a victim. And now I’m a victim too, any time I hear this song. Which is a lot, because gosh dangit I’m a sucker for these guys tugging on my heartstrings. I think I’d be willing to go so far as to say that the chorus of this song is the most emotionally affecting bit of music for me in the Genesis canon, and I don’t even personally identify with the situation beyond being able to loosely imagine it in a “what if” kind of scenario. Then put it live where I have to watch Phil emote the whole thing out? Stop, I can’t take it. Yes, more please.
Speaking of “yes, more,” the studio track concludes with a chorus with new lyrics (“I’ll be haunted by…”), followed by an even more intense second chorus with the first lyrics again (“You lie silently there…”), followed by a third chorus that’s mostly instrumental, which then fades out. You’ll notice on that live version that the second loop through that chorus is altogether absent. But this wasn’t always the case. The We Can’t Dance Tour began with rehearsals in Houston, Texas, followed shortly thereafter by three dates in Texas, including Houston itself, before the band took a week off to evaluate and prepare for the start of the tour proper in Florida. It was during these rehearsals, then, that they came up with the ending for the song: run the semi-instrumental chorus back into the “Dreaming while you sleep” funky bit with the drums intact and then suddenly stop after the fifth utterance of that line, making it a full-rotation-plus-one through the bit. But they hadn’t actually removed anything yet.
That makes this recording significant, despite having no video and limited audio quality (and people TALKING through it, the nerve!). Here you can hear the song in its full glory, with the full three final chorus loops plus a proper ending, the way it was intended. Unfortunately, intentions and physiology often find themselves at odds:
Phil: Now that I’m playing so many shows, solo and with Genesis, and increasingly in large venues, I live in fear of losing my voice...After the opening night...we move on via Houston to Florida. I develop a sore throat...The next night in Tampa, I only manage one song...before apologizing and exiting stage left, my singing voice in tatters...I scuttle back to the dressing room and cry. It’s just too intense. I’ve let everybody down, from fans to crew to caterers to the entire team working in and around the stadium. It’s a very heavy responsibility, a very heavy moment. It’s all on me. One week in, and in my mind I’ve already scuppered Genesis’ biggest-ever tour. 2
Mike: There’s a lot of pressure when you’re playing to 70,000 people a night, and Phil felt that most of all. I could play a concert if I was ill and half dead, but if Phil caught a cold it would be a big deal because he was concerned about his voice. We would always have to worry if he caught a chill going to the plane in his robe; he’d have to wrap up, he wouldn’t be able to talk, he wouldn’t be able to go out for dinner after a show...The voice was like another person on tour - the fourth one of us - and I think that got to Phil. It stopped being as much fun. 3
Tony: The increasing size of Genesis tours brought some additional problems...There were more and more interviews and these terrible meet and greets before the show. Phil would say, “I can’t do this meet and greet, because I’ve got to look after my voice,” so we’d troop out there and of course the only person they wanted to meet was Phil...It made you feel somewhat superfluous… 4
After that episode, the second chorus was excised from “Dreaming While You Sleep”, never to be heard again. The song itself was then cut from the entire European leg of the tour, only to return triumphantly just in time for the London show linked above, before it was cut once again because it was demanding too large a toll. But if all we had was one moment in time, I’m glad we had it at all.
Let’s hear it from thzzzzzzzzzzzzzzzzzzz
Phil: Dreaming you go on stage is like the schoolboy one where you go to school...but you’ve got nothing on apart from the shirt and jacket. Nothing else. No pants, nothing. That’s a famous schoolboy nightmare, I think. Or a male nightmare, anyway. And I think that’s quite a common one. On stage it’s usually that kind of thing: you’re standing there, you’re singing, and you look down and actually you’ve got nothing on! Or...there’s no leads. The leads are plugged into the wrong things. 5
Mike: When I get out on stage...it’s a fairly standard dream I think. I hit the first chord, and there are no guitar strings. 5
Tony: [The keyboardist’s nightmare is] you’re trying to do a song with all the wrong keyboards and stuff, and the sound is just completely wrong. 5
Phil: I’m naked!
Mike: My guitar is naked!
Tony: Who mucked with my keyboard?!
Never change, Tony.
1. Keyboard Magazine, 1992
2. Phil Collins - Not Dead Yet
3. Mike Rutherford - The Living Years
4. Genesis: Chapter & Verse
5. Genesis - No Admittance
submitted by LordChozo to Genesis

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