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Hindsight is 2020: #32 - Domino

from Invisible Touch, 1986
Listen to it here!
Well everyone, we’ve had a good run talking about things like love, loss, and grand fantastical tales, but now I think it’s time to finally get political.
If you’re anything like me, you may have read that sentence and felt yourself overcome with dread. “No, no, you’ve got a good thing going here! Why would you throw it all away? Why would you risk saying something that would make me not like you?” Such is the realm of political discussion. While in modern times we like to think we have a monopoly on divisiveness, the truth is politics have always divided, tapping into that instinctive tribalism that none of us quite care to admit still drives a solid portion of our unconscious thinking. It’s us vs. them, all the time, for all of time.
But you needn’t fear, because this isn’t actually a political post or even a post about politics, per se. If anything, I like to think this series is a nice refuge from the inundation of political noise I’m sure we all experience on a near-daily basis, whether we’d like to or not, and I’ve no intention of jeopardizing that. Instead, I simply wanted to make the point that politics and music are pretty strange bedfellows.
Music is often referred to as the “universal language,” given that it can be absorbed, understood, and created by any culture on Earth (and, perhaps, beyond!). Mathematics also make this claim, and that makes sense: music is essentially just applied math and physics when you break it all down. But anyway, my point is that music is a uniting force. Politics, on the other hand, are a dividing force. That the two would mingle is inevitable, but that mingling has a strange effect.
Have you ever heard a song you really liked, and then you read (or finally heard and registered) the lyrics only to find that they were in such opposition to something you believed in that you sort of had to throw the whole thing out? I won’t give examples here, but I trust you see where I’m going with this. When you take a political stance with your music, you are potentially alienating a subset of your fans. And you might think, “This message is important, and if they’re alienated by it then I didn’t want them as fans anyway,” and that’s fair, but it is a reality that the one thing that unites your fans across all their disparate backgrounds - the music - is now dividing them once again.
The other pitfall of politically driven music is that taking a political lyrical bent almost always sacrifices the ability of your music to be timeless. In fact, the more specific your political position (“I’m against X regime in Z country and I want everyone to know it!”), the less your song will mean after that position is no longer relevant. It’ll be an interesting historical footnote, a trinket plopped into the time capsule for that moment and place, but it will struggle to reach anyone once that moment and place aren’t in the forefront of the listeners’ minds, which is to say, for the rest of human existence.
Why in the world am I spending so much time talking about the potholes to be found on the road of political music? Well, two reasons. For one, Genesis made it through the first 81% of their album discography before getting anything more than tangentially political (“Dancing with the Moonlit Knight” and “Man on the Corner” are both social commentaries but neither is precisely political) and now that I’m through a similar portion of their discography in this exercise, it felt oddly appropriate. But mainly it’s because those potholes are ones that Genesis in their two political forays on Invisible Touch - “Land of Confusion” and “Domino” - managed to deftly avoid.
Tony: Because Invisible Touch produced so many hit singles it’s slightly strange for me: my favorite track on the album, for example, is probably “Domino”, which was not a single. I thought the album showed a real confidence, and as a writer I’m very pleased with that: lots of good songs, well done. It is a simpler album, which is maybe why I particularly like “Domino” - which is more complicated, and less well-known. If “Land of Confusion” was Mike’s anti-war moment then “Domino” was mine - and I always take a lot longer to say things. 1
Me too, Tony. Me too.
Anyway, what both of these songs do really well is this: they avoid specificity. In both cases the lyrics are clearly identifiable as political messages, but also painted with such a broad brush that they could describe nearly any political situation of any era. In some ways this might boil them down to simple, low-impact statements like “violence bad,” but so much of what makes music powerful comes from the listener rather than the artist. With a relatively blank canvas like this, we can apply these concepts to our own time, and our own experiences, whenever and whatever they may be. It’s that timeless quality all over again. Now, “Land of Confusion” threw a lot of that out the window with its music video - more on that in a future post - but “Domino” was never going to show up on MTV so it didn't have that problem, either.
Tony: Well to me it’s a very important track, “Domino”. It’s more meaty perhaps than the others [on the album], in a way. The lyrics [are] mine. I was trying to get across a political kind of message...Politicians don’t sometimes think through what they’ve started off. They do something, and the fact that all these people are going to be, you know...husbands are going to be killed, and all the unexpected consequences that occur when you start something off. And people tend to think very sort of blinkered about a thing; they think, “We’ve gotta get rid of this guy, we’ve gotta do that,” and of course everything else happens. And that’s what the song was all about, really. 2
Given the time and circumstances, it's easy to assume the title of the song came from the fear of the rapid spread of communist regimes that so consumed US foreign policy during the Cold War, but even there Tony had something much broader in mind.
Tony: The idea I had in mind was not the communist Domino Effect, but those huge Japanese domino patterns: one falls over, and there’s nothing you can do to stop it. Sometimes with these politicians I don’t think they really know what it is they have set in motion, and that’s what worries me. 1
Musically, what “Domino” excels at is communicating this uncertainty and tension. The perspective of the lyrics during the “In the Glow of the Night” half of the song is actually very personal. It’s a first-person account of someone who doesn’t know whether tomorrow is coming. You feel that right from the get-go. The opening keyboard line bleeds anxiety, and is accompanied with a drum machine that punches strange rhythms at odd intervals, sounding a bit like muted gunfire: shootings happening a couple blocks away. It’s such a sparse sound, putting you into a cold room in the middle of the night, trying to make yourself small, hoping those sounds outside don’t get louder than the pounding of your heart.
And then, of course, the music kicks into gear with big, violent chord hits that are anything but melodic. You wince from their impact: “that could’ve been me.” When the bass hops in and we’re in a chorus proper, it’s something of an exhale. Those terrifying sounds outside have stopped...for now, anyway. Am I still here? Are you still here? Are my friends still here? Our home? It’s damage assessment, picking up the pieces. And then another verse, another violent outburst, and another examination of the dust on the floor in the aftermath. Your mind can’t process the enormity of what’s happening all around you, so as a defense mechanism it hones in on the details. Sheets of double glazing...foreign city sirens...nylon sheets and blankets...these descriptors don’t actually matter, except as a distraction so you don’t have to think about the bigger picture stuff that would stop your breath. This is a political song, but it’s not actually saying anything political at all. It’s just forcing you, as the listener, into a night in this person’s shoes, and once you’re there you realize, “This is horrifying.
Mike: Tony never did understand how to make words flow. His words are the reason why he’ll never write a hit single, although sometimes you have to admire his bravery: he’s the only person who could ever get away with writing a lyric about double glazing and nylon sheets and have Phil make it work. 3
Now, perhaps because nearly eleven minutes of straight nightmare is a bit much to ask of any listener, the song switches perspectives halfway through. Now called “The Last Domino”, this second half puts us back into our own shoes, albeit with a transitional section in between. You get this pulsing guitar riff, chords of swelling darkness...honestly this connecting section of music could be the soundtrack to a boss battle in Doom and I wouldn’t question it. Phil is wailing about children playing with boats in a literal river of blood, for crying out loud. It’s energetic, it’s entrancing, it’s sickening. It’s the camera panning outside of that small household so we can see what’s happening in those violent streets themselves. It’s making us witness the destruction before panning back over that same cold house. A musical motif recalling the poor soul trapped within, and then the camera zooms out to reveal the whole scene is transpiring on a television set.
Tony: The second half of the song took a much more detached viewpoint about our attitude to seeing war or bloodshed on television, the awful fascination. 1
This is us, now. We’re watching our news programs, and our violent shows and films, and though we decry it on the outside, we can’t quite look away. We’re almost reveling in what’s happening, eating it up as must-see TV. And here’s the dark truth at the heart of politics in a more-or-less democratic society: we are responsible. The politicians may be the ones making these decisions, but they’re only there because we put them there. We may claim to hate the results of those decisions, but here we are eagerly ingesting all the horrible fruits of those labors every chance we get. This is a political song, but we are ultimately the ones causing the problems. We have to look inward before we can look outward if we’re ever going to solve this.
“Do you know what you have done? Do you see what you’ve begun?” These lines are meant for us at least as much as any nameless politician. And that is how you make a political song a timeless one. Because if there’s one thing thousands of years of human history have taught us, it’s that human nature doesn’t change.
Let’s hear it from the band!
Tony: Mike just played a guitar riff and...if Mike’s fairly static on quite a simple little riff, then it gives me a chance to play any chord I like. And I like that. And I just sort of played every chord that would fit over that riff, I think; put them in a certain kind of order and you get a certain kind of result. The second half - the two halves were not the same song originally - developed more out of a jam which we called “Hawkwind” because it reminded us of an English group who used to do a lot of kind of psychedelic jams. Just keeping a sort of thing going in the bass...going all the way through it, and then just making funny noises on the top. You know, an excuse to use certain of those almost Hammer horror film chord sequences that I always liked very much. Not so much dramatic as melodramatic...I think right from the word go Genesis always quite liked putting soft bits next to loud bits because...louder bits sound louder against a soft bit. I mean, it’s a simple technique but it seems to work quite well. 4
Mike: This time, on this album, I think I got very conscious of what was going on [with] the public perception of us. Because MTV was in full swing now, we were having hit singles and videos and doing well, [and] I think the profile you get with a hit single was so huge it dwarfed everything else. So I think people forget there were long songs on this album like “Domino”. There’s always this thing about “You were a progressive band with long songs and then you ended up doing shorter songs”...we didn’t ever really stop doing the long songs. They were just dwarfed perception-wise by the power of television, really. And funnily enough, when you see us live, that balance is so different. I mean, I think when you see us live, the long songs are probably as big a part of the audience’s enjoyment as the short songs. And the balance is very much half and half. So I think in a way, songs like “Domino” get rather forgotten until we go on stage. 2
Tony: It was a nice, big, long song, gave you an opportunity to have a bit of fun both lyrically and musically. And also it’s very strong, the end section’s a very strong bit. You’ve got a strong guitar riff, and it works...Classic stage song ever since, I think. In a funny way, from a stage point of view it’s one of the best songs off the album, because it gives you more room to breathe. The longer songs tend to work better on stage, I think. 2
Phil: There was a moment with “Domino” during the [2007] New York rehearsals when we started the song and I didn’t know what to sing. I couldn’t remember anything. We put the CD on, I listened to it and I thought, “I’ll never be able to remember this,” but suddenly it came back, and this time it was much more fluent. I was even fine with the famous “double glazing” and “nylon sheets and blankets” lyrics I’d had problems with before. They’re not the kind of lyrics that I would write, but I realized, “I can find it, I can see it now, I can do it.” And that was a pleasant surprise. 1
I would be remiss if I didn’t follow the band’s lead here and say something about “Domino” as a live staple. Live songs tend to fall into one of three buckets. Bucket A is where the song just doesn’t work at all live, and the studio version is the best way to hear the track. Any song that was never played live falls into this bucket by default, but some other pieces can show up here as well. Bucket B is songs that are transformed live into something different altogether; songs like “The Waiting Room” or “Throwing It All Away” are good examples of this second category. And then you have Bucket C, full of songs that are functionally the same as their studio counterparts, but that simply come alive much more on stage.
“Domino” is not only firmly in that Bucket C category, but also stands out to me as one that somehow got better every single tour to the point where the most recent version is actually the best. And it’s not just Phil’s pre-concert audience engagement; silly fun that it is, it actually distracts a little from the core power of the song’s message. But between the lights, the energy of the musicians, the electricity of the crowd, it just thrives live and gets better with age. Here it is on the Invisible Touch Tour. Note in particular Chester’s big drum fill near the end, right before the “In silence and darkness” line. That wasn’t there on the studio version, and it’s a solid addition. Here it is on the We Can’t Dance Tour. Check out the way the lighting and screens really supercharge the performance, with flashes of turning spotlights in the violent hits and Phil basically teleporting into a space vortex.
Tony: Some of that stuff is very easy to do and looks VERY effective because people had never seen it before. In that situation I felt we could get away with some very simple ideas; the most obvious one being the "2001" effect and I thought, “Why not?” It is a very simple thing to do; it is all computer generated, and the lines come towards you and you get the effect of traveling into a thing. I had always thought that effect would look great in “Domino”...and then there was the idea of sticking Phil up in the middle of it and suddenly he was where you weren't expecting him and it worked. 5
What’s that? The Calling All Stations Tour? Still counts! Sure, the screens are gone because the whole endeavor was a little bit scaled back, and sure, Ray at times sounds a little too happy just to be there instead of properly emoting the song, but advancements in instrument technology make the music the best it had ever sounded on the piece up until this point. The bass in particular sounds great, Tony’s got creepier wailing noises, Nir does some fancy cymbal rolls, and he’s also got a fantastic electronic drum sound that transforms the fills in the middle of the piece into something really powerful. While not part of the concert experience, there’s also a cool edit here on the video that makes the song’s transition look like TV static jumping from channel to violent channel. I also rather like Ray getting out of the way at the end and allowing the music to stand on its own; it works surprisingly well.
Finally, here is the Turn It On Again Tour, where the improved instrument sound quality is retained from the CAS shows, but now Chester’s back, Phil’s back, and the screens are back and bigger than ever. This time they’re sort of shaped like an eye and that vortex in the middle of the song uses a full circular tunnel effect instead of the two-dimensional stuff, and is that Phil’s disembodied head in the middle? Crazy stuff. What’s more, this is from the Rome show, but when they came to the States later that year, it sounded even better. I’d upload the audio if I felt like it wouldn’t be a copyright violation, but remember that drum fill of Chester’s I mentioned back on the Invisible Touch Tour? Stateside it had that great electronic drum sound of Nir’s tacked on and, at least at the concert I attended, it was played absolutely perfectly. What had been a ho-hum moment on record evolved and became the highlight of the song for me. It’s that good.
So here’s to hoping the best version of this one is the next in line.
1. Genesis: Chapter & Verse
2. 2007 Box Set
3. Mike Rutherford - The Living Years
4. The Way We Walk DVD, 1992
5. The Waiting Room, 1994
submitted by LordChozo to Genesis

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