GENESIS

Two-and-a-half hours of Genesis music videos, there's not really much to complain about. I mean, I grew up on a lot of this. In fact, one of my earliest memories? and I don't just mean musical, but life memories, is seeing the video for 'I Can't Dance' on the TV we had on top of the fridge in the kitchen.

Granted, a lot of the videos are pretty naff by today's standards, and Phil Collins can always be relied upon to add an element of cheesy humour to a lot of these, but despite that, the music is pretty much perfect. Whether it's Gabriel, Collins, or hell, even Wilson-era, the material is spot-on.

It's just a shame there's no extras, because music video compilation DVD's are obsolete these days. Regardless, this definitely belongs in the collection of any Genesis fan.

Review Nº 836

"The Way We Walk, Volume Two ? The Longs" is the fifth live album of Genesis and that was released in 1993. It has been recorded during their "We Can't Dance" live tour, which occurred in the year of 1992. It was also the final full-length Genesis' release to feature Phil Collins as a member of Genesis before his amicable split from the band, in 1996.

While its road companion live album, the preceding "The Way We Walk, Volume One ? The Shorts" was totally focused on their short and most commercial recent pop hit songs, "The Way We Walk, Volume Two ? The Longs" was entirely focused on their lengthier, less commercial and most progressive songs that were performed during that period of time.

The shared title that is common on these both live releases is a clear reference to the phrase "the way I walk", which appears in the lyrics of two different songs of the band, "I Can't Dance" that appeared on "The Way We Walk, Volume One ? The Shorts" and "I Know What I Like" that appeared on "The Way We Walk, Volume Two ? The Longs".

"The Way We Walk, Volume Two ? The Longs" has six tracks. All tracks on this live compilation were been recorded at Niedersachenstation, Hanover, Germany, in 1992. "Old Medley" is a medley of several tracks performed by Genesis through the years, with some excerpts of different tracks from Gabriel and Hackett's eras. On this live tour, it replaced "In The "Cage" medley and the "Old Medley" that appeared on the DVD of the Earls Court live show. The excerpts of the "Old Medley" belong to "Dance On A Volcano" that was taken from "A Trick Of The Tail", "The Lamb Lies Down On Broadway" that was taken from "The Lamb Lies Down On Broadway", "The Musical Box" that was taken from "Nursery Cryme" and "Firth Of Fifth" and "I Know What I Like (In Your Wardrobe)" that both were taken from "Selling England By The Pound". Curiously, this last excerpt has also very short excerpts from "That's All" and "Illegal Alien" that both were taken from "Genesis", "Your Own Special Way" that was taken from "Wind And Wuthering", "Follow You Follow Me" that was taken from "And Then There Were Three?" and "Stagnation" that was taken from "Trespass". "Driving The Last Spike" was originally released on "We Can't Dance". "Domino" is divided into two parts, "Part I ? In The Glow Of The Night" and "Part II ? The Last Domino". It was originally released on "Invisible Touch". "Fading Lights" was originally released on "We Can't Dance". "Home By The Sea/Second Home By The Sea" was originally released on "Genesis". "Drum Duet" was, as its name indicates, a live drum duet between Phil Collins and Chester Thompson.

"The Way We Walk, Volume Two ? The Longs" has a breathtaking sound, and it's almost another studio production. The "sterile" mix of the material makes this a live material on which, except for the applause, next to nothing can be heard from the audience. The first track "Old Medley" is an excellent medley almost focused on some of their best progressive works. It represents an incredible and unforgettable musical moment, with about 20 minutes long, and it's for me, one of the best medleys I've ever heard. The other four lengthy songs "Home By The Sea/Second Home By The Sea", "Domino", "Driving The Last Spike" and "Fading Lights" are all excellent live versions of the best and most progressive songs from "Genesis", "Invisible Touch" and "We Can't Dance", respectively. "Home By The Sea/Second Home By The Sea" sounds fresher and denser than in its 83 studio version. "Domino" is more powerful than ever and is played cleanly. "Driving The Last Spike" is one of the strongest tracks on "We Can't Dance" and sounds suspiciously very close to the original. "Fading Lights" is much more interesting, powerful and instrumentally embellished than on the studio original. The long instrumentals on "Fading Lights" and "Home By The Sea/Second Home By The Sea" will likely delight their fans. So, their best and most progressive songs after the 70's are almost present on "The Way We Walk, Volume Two ? The Longs". It only lacks to it "Duke's Travels/Duke's End" from "Duke" and "Dodo/Lurker" from "Abacab". Finally, the last track "Drum Duet" is a nice track and represents a good musical moment by both drummers.

Conclusion: "The Way We Walk, Volume Two ? The Longs" is an excellent live compilation from Genesis, especially because it's exclusively focused on some of their lengthier, less commercial and most progressive material work, contrary to their previous brother live album "The Way We Walk, Volume One ? The Shorts". As many of you know, I'm a big Genesis' fan and that I love especially their music from Gabriel and Hackett's era. Still, you also know that I like very much of some of their later tracks, especially their lengthiest and most progressive tracks. So, "The Way We Walk, Volume Two ? The Longs" has some excellent musical moments, despite being more a live compilation album, than a true live album. Finally, a last thought about both live compilation albums. If you have both parts (The Shorts and The Longs), you have all the essential tracks that appear on the last three Genesis' albums with Phil Collins in better and livelier versions than its studio versions. With both, you can skip "Invisible Touch", "We Can't Dance" and "Genesis".

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 835

"The Way We Walk, Volume One - The Shorts" is the fourth live album of Genesis and that was released in 1992. It's a compilation of songs performed live on two different live tours and in several locations. Eight songs were from the "We Can't Dance" tour, in 1992 and the remaining three songs were from the "Invisible Touch" tour, in 1986 and 1987.

"The Way We Walk, Volume One - The Shorts" was followed in the following year by another compilation album, their road companion and fifth live album "The Way We Walk, Volume Two - The Longs". However, while "The Way We Walk, Volume One - The Shorts" was totally focused on their short and most commercial songs, "The Way We Walk, Volume Two - The Longs" was, as its name indicates, entirely focused on the lengthier, less commercial and most prog stracks.

The shared title that is common on these both live releases is a clear reference to the phrase "the way I walk", which appears in the lyrics of two different songs of the band, "I Can't Dance" that appeared on "The Way We Walk, Volume One ? The Shorts" and "I Know What I Like" that appeared on "The Way We Walk, Volume Two - The Longs".

"The Way We Walk, Volume One - The Shorts" has eleven tracks. "Land Of Confusion" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "No Son Of Mine" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Jesus He Knows Me" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Throwing It All Away" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in two different places, Knebworth Park, Stevenage, UK and Niedersachenstation, Hanover, Germany. "I Can't Dance" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Mama" was originally released on "Genesis". It was taken from the "Invisible Touch" live tour. It was recorded in the Wembley Stadium, London, UK. "Hold On My Heart" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "That's All" was originally released on "Genesis". It was taken from the "Invisible Touch" live tour. It was recorded in the Wembley Stadium, London, UK. "In Too Deep" was originally released on "Invisible Touch". It was taken from the "Invisible Touch" live tour. It was recorded in L.A. Forum, Inglewood, CA, USA. "Tonight, Tonight, Tonight" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Invisible Touch" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany.

"The Way We Walk, Volume One - The Shorts" is a collection of some of Genesis' most recognizable songs. The track list opens with the strong and energetic "Land Of Confusion". It's a song of the 80's that concern the relations between the USA and Russia. As for me, the message is still relevant and fits in with the present. "Mama" and "No Son Of Mine" also touches upon difficult topics, such as, toxic relationships, domestic violence, and the character of the tyrant father are commonplace. In the live versions both tracks sound really great. "Jesus He Knows Me" is another big hit to hit the album. Probably everyone knows this dynamic keyboard and guitar intro and can hum at least a fragment of the song. "I Can't Dance" has a great, humorous and slightly bluesy feel and "Invisible Touch" is an absolute hit for many people. In this live version, it sounds great, especially because Collins allowed himself to improvise in the end. The album also includes slightly calmer songs, such as "Throwing It All Away", "Hold On My Heart" and "In Too Deep". Some romantic music with heart warming lyrics are certainly material for a hit in contrast with the more energetic and strong songs.

Conclusion: "The Way We Walk, Volume One - The Shorts" is, in general, a good live compilation album of Genesis, despite being only focused on some of their short and most commercial material. Who usually read my reviews knows that I'm a big Genesis' fan and that I love especially, their music from Gabriel and Hackett's era. They also know that I like very much of some of their later songs, especially their lengthy and most progressive songs. However, there are some short songs that I love, especially when they're performed live. So, "The Way We Walk, Volume One - The Shorts" has some very good musical moments like "Land Of Confusion", "No Son Of Mine", "Mama" and "Tonight, Tonight, Tonight". Of course it has also some songs like "Hold On My Heart" and "In Too Deep" that should never be part of the Genesis' catalogue but only of Phil Collins' catalogue. However, I'm convinced that "The Way We Walk, Volume One - The Shorts" is, in general, a good and nice selection of songs, very well performed and pleasant enough to be heard.

Prog is my Ferrari. Jem Godfrey (Frost*)

Hackett's Out

Some people may disagree, but as a Genesis fan since Trespass, I believe the band's live sound improved after Peter Gabriel left. Yes, some fans might think this opinion is sacrilegious, but Gabriel's departure may have inspired the band to grow and ultimately deliver a richer musical experience. This growth was clear?even during a brief reunion with Gabriel in the studio during the A Trick of the Tail sessions. After that session, Gabriel himself noticed the improvement in their sound, just nine months after he had left.

In July 1977, the Genesis lineup?including lead singer and drummer Phil Collins, keyboardist Tony Banks, bassist Mike Rutherford, guitarist Steve Hackett, and touring drummer Chester Thompson?wrapped up a seven-month tour supporting Wind & Wuthering (1976). After the tour, the band began compiling a live album, selecting recordings from their 1976 and 1977 shows for their first official live release since Genesis Live (1973).

Seconds Out mainly features recordings from the band's four-night run at the Palais des Sports in Paris, from June 11?14, 1977. Collins remarked that the quality of these recordings was better than those from the year before, especially in his vocals and Banks's keyboard work. The extra time in Paris allowed the band to perfect their performances and produce high-quality recordings. One track, "The Cinema Show," was recorded at the Apollo in Glasgow on July 9, 1976, during the A Trick of the Tail tour, which featured Bill Bruford on drums. Other recordings from 1976, including "Firth of Fifth," "Los Endos," "I Know What I Like (In Your Wardrobe)," and "White Mountain," were mixed but later discarded. The band also recorded "Inside and Out" from the Spot the Pigeon EP, but they couldn't match the quality of the studio version. Notably, "I Know What I Like" includes a brief piece of the 1953 song "I Love Paris."

Seconds Out was announced to the press on October 8, 1977, but this news came with the surprise of Hackett's departure from Genesis. He had shared his decision with the band two months earlier while the album's tracks were being selected and mixed. Collins remembered seeing Hackett on the street and offering him a ride to the studio, which Hackett turned down. Collins only learned of Hackett's decision later from Banks and Rutherford. Hackett later reflected that if he had accepted that ride, Collins might have been the one person to make him reconsider.

Seconds Out shows us how Genesis improved their live sound and became one of the best progressive rock bands of the '70s. With Hackett's departure, Genesis was now preparing to face the future as a trio.

#57 Review

A year later from my previous review i decided to own the album i reviewed, but the version released 8 years after. I encourage you to read my previous review as i will attempt to not repeat myself, and i can say that even without reading my previous one, my written sentiments where similar, and somehow, this release sold very well, and similarly to my previous review, i still don't understand why.

While i haven't seen the packaging of the original, this release lists the tour dates and has artwork featuring characters, including a tree, a toy and a hand... other than that, the track listing has no mistakes other than saying "carpet crawlers 99 original version from 1974" which is not incorrect but i would've liked them adding a nod to the previous release. I still wanted the packaging to feature images of the singles and something more, so in general is very boring, specially compared to something like Archive 2.

Ok, about the music, they tried to cram everything in except From Genesis To Revelation, but also, they skipped Foxtrot, the lady with the fox head is in the artwork but there's nothing from that album. The songs have the same problems i listed on my previous review, but also, they decided to add a cut version of The Knife (no pun intended), and the audio of this release is louder, than the original releases of these track, because they are the 2007 remaster version except for Abacab that sounds like it was taken from the video.

Honestly, the intent behind this album could've been great if they added every single together with their artworks and what not, but then they added incomplete EPs and not all the singles released by Genesis are included so this release is a disorganized mess that on this day an age barely has any appeal. I truly believe that Genesis should do a proper singles compilation release and then do a full on B-sides release, that would be awesome, but as it stands, i can't recommend this album, however its an improvement from the previous one, and Genesis decided to re-release the previous one with the excuse of never being released on Vinyl, i feel like this one can be 2 stars but not my previous review that i need to update for the newest release.

It's hilarious!

Seen from a Swede's vinkel, it's just as sinful to mention a positive word about this album as it was to be Swedish Abba fan in the seventies. Although the main title of this article isn't meant to deal with the latter pop unit, this is a rare opportunity to preach for a prog audience about the Nordic phenomena. It may be of interest. They're not included on Progarch, despite the epic wingbeats of 'Eagle'. Moreover, if this Swede is placed right at the centre of Africa's horn, it makes it even more tempting. Sitting in rural restaurant, surrounded by hyena dens. Baboons cadging for everything edible just a stone throw away. A poster on the wall steals one's attention. To call it misplaced is just a mild statement. The picture is made up of thousands of Ethiopian coffee beans plus two white cups placed like a pair of eyeglaces. Interestingly, when observed from a distance the beans suddenly turns into a John Lennon face. Over the remarkable, as 'Come Together' hasn't more history around here than 'The Fate symphony' on Tetepare Island(South pacific ocean). In point of fact, a poster that isn't new. A precise decade ago, the same Swede was on identical location studying (the long lived) object on the same wall. If the intricate subject music was at stake, it was at least temporarily interupted by a local female who came in sight. Doing extra job serving customers outside university studies. Clad in seventies tight jeans garment all the way up and all the way down. Seemingly above average height, with a weight decided by a fancier to 99 pounds...Resolute, and even stern gaze spoke a language that didn't need any dictionary. A bachelor from foreign shore (in his best years) wasted no time, but scribbled his mobile number on a blank piece of paper. The rest is as they say, history...We had stopped by here at the restaurant, at random, in order to obtain some innocent plain coffee. Sometimes there seems to be a sourish meaning in our unplanned deeds. Back to the basic subject, is Abacab itself meant to be a sideproject in its own article? Even if so, that's precisely the situation for part time solo artist Phil Collins during the early eighties. No matter how succesful it turned out to be, there were an abundance of other directions available. He, Collins, like all other musicians, had by now reached the descent age of 30. Experienced and wise, but energetic enough to tackle a plethora of workload. Abacab became, in fact, just one out of many options for phenomenal stardom. Only a single year after the release of the Genesis album, the percussionist with impressive accompanying group entered the border of Sweden. In order to produce solo recording by one of the female's of Abba, namely Frida. Possibly the Genesis man didn't realize how lucky they were to escape any sort of harrassment from the left wing mob. Let's put this clear; Abba's backing musicians, back in the golden seventies, were banned from entering in certain areas of Sweden. Forbidden to enter clubs/venues, to perform when they were out playing on solo tours. In their own fatherland, yes! This is a bizarre and perhaps unique fact in music history! The main reason for this was that the Swedish progressive movement of the decade before Abacab (not Abbacab!) had a utterly strong leftwing-oriented touch. Abba were seen as the symbol of ultra commercialism and a favorite object of hate. Although they certainly found a vast following on home ground, each and every wiseacre you met detested them to death. Among the banned were leading Swedish guitar player Janne Schaffer, who is also included on Progarch. The author of this article once wandered the beaches of Eastbourne, accompanied by compatriots. Carelessly enough, Abba was mentioned as a 'quite decent' act by myself. The reaction was not long in coming; - "Are you joking" ???. Plus, a few more peccant comments. This in a territory, Great Britain, at a time, where the Swedish fourpiece did two sold-out concerts at London's Royal Albert Hall (actual demand close to 600 gigs...). In The Soviet Union, same year of -77, 'The Album' from the same Swedish quartet sold a few tens of thousands available units (real demand 40.000.000...). Every 3,5 Russkiy, and that's an understatement, hungered for the Scandinavian music disc. The so- called socialist state, but put into context in this article, a gentle breeze. Like everything Collins touched, it turned to gold. Something Going On, by Annifrid Lyngstad. This was a time of omnipresence and a hand everywhere. Everybody wanted to work with Philip Collins. One of the leading music figures in the world, or why not THE leading. From pure heavy metal offers, to full big band swing. Still there was a Genesis, albeit not a carbon copy of their vintage past. To grab the full context of Abacab, one has to approach it the from a correct angle. With an enormous succcess like Face Value, it's an inevitable thing that the upcoming Genesis album must be affected. All concerned parts were caught off guard. Both solo albums, let's call 'em the twin albums, from Banks/Rutherford went in total opposite direction. Competent (and held in high esteem by the author), but stringently conservative. Both recorded abroad (Abba Polar studio in Stockhom, just like the case with upcoming Duke). Surprisingly, in both cases overlooked by veteran producer David Hentschel. Banks/Rutherford are considered the cogs and prons of the group, and as such prefering the trampled and habituated road. Even from this perspective; the mere idea of a solo album could be at least partly to find new untried paths!?!? Here it's a safe road more often than not. Basic rock instrumentation in true spirit of later Genesis records. Ex bandmates Gabriel/Hackett are both placed as far away on the spectrum as you can possibly reach. So what about the fifth member? 'Face Value' made it differently; first recording on home ground since 'A Trick of the Tail'. Just like Abacab(the latter in the brand newly constructed The Farm). There's a band photo on the innersleve of Abacab. On the innersleve; not on the cover, or even at the back of the cover. The man in the middle, in case you havn't noticed it, is the drummer/vocalist of the band. His sidemen are remaining two members. A commonday occurance for the casual observer. But not for the affectionado! Not since Foxtrot almost a decade ago, actually the one and only Genesis studio record prior to this including band photos. For what reason are band photos left out all the long way inbetween? Floyd had by the way an almost identical development as their compeers. Because it's a solid part of the band image. How many benign, smiling snapshots with noses/mustache do you find in the old testament? It's like going to soul fair dressed in beach party attire. In the same manner, you don't watch secular faces on a Genesis album. Gabriel broke up this with a vengeance on his solo records. Deliberately so. So did Hackett, not before but after his departure. But the three-piece stuck to old formula. A British music journalist commentated upon the release of Abacab about the lack of a lyric sheet. Quite logically so, all previous albums since ancient times have included one. Didn't Banks/Rutherford do as well? Why on earth not Abacab? The journalist in question failed to study the concept of a certain 'Face Value'. There was not only photo on Face Value, but photos. There was horn section on Face Value, also horn sections. On Abacab there were as many photos as horn sections. One of each*. How cautious it may seem, still an enormous stride away! Someone uttered that Genesis were one of the few bands who were able to both have its cake and eat it. When listening to 'No Reply at All' one can't do much else than agree. Of all the big British progressive 70s bands they're one of a kind. 'Another Brick in the Wall part II' or 'Owner of a Lonely Heart' may be strong competitors, but they only represent the odd riser. Here they're flowing out. 'Reply' is one of quite a few fresh sounding pieces of the Lp. If 'from genesis to revelation' had produced something simular heaven forbid!; the length of 'Supper's Ready' would've been comprised to 4 minutes and 45 seconds! If it's possible to pick one favorite post-Gabriel single then here is a strong candidate. More non-deformable than 'Follow You, Follow Me'. More musical content than 'Invisible Touch'. Banks shines in similar way as with his prolonged seventies pieces. First came 'Fountain of Salmacis', then 'Firth of Fifth'. Here you'll find a fresh deviation. His piano arrangement is just awesome, and you can't help but wonder where he gets everything from. Bass line isn't junior to anything. There is some six-string even if it's strictly limited in audibility. At the end of the mid section. Rutherford has a talent to put the right thing at the right place. Just like John Paul Jones in Led Zeppelin, they both have bass as primary instrument. That is, it's possible to treat other secrets with subtle care. Almost to invisible level, but not an ounce less relevant. You can ask for 0,01% involvement, without threatening a co-worker. Actually it's magic. In a grandiloquent five-piece group it would hardly be feasible. A permanent keyboard wiz would've done everything to turn 'Stairway' into a 'July Morning'. No matter how big Hackett fan you are, it's difficult to pave the way for his involvment on 'Reply'. Only a string-bender reduced to a less virtuoso Segovia. Phillip Collins has no reason to compromise, he goes on, of course, like a trimmed Lamborghini(not only your dreamcar, also a Genesis record label). On both elements; drum/voice. His self-confidence is by now at the very top, an observer may say. But that's not the case, it goes beyond that. One obvious example; when asked about a recorded cover song, if it was written by himself? The straight answer was 'Yeah'. The teamplayer Collins who always has adapted to surrounding environment and given what's best for the totality. All pent up power arrive into daylight, with explosion. Herein lies the formula of Abacab. Observe, not to everybody's liking. I put 'Reply' alongside 'I Know What I Like' among finest singles, even though they belong to different eras. You've heard 'em over and over again, but still always for the first time, spiritually. Why wasn't 'Paperlate' a part of the record as well? The second track with horns from Earth, Wind and Fire. It could easily have been but would've turned a Collins influenced product into a pure Collins follow-up effort. Banks/Rutherford have despite all not lost all descancy. 'Reply' found a place onstage. Understandably, the hornsection wasn't brought along to perform one single song. A mega hit in the USA, the home of EWF. In England did first track, the title track fare better. More as a first-rate song, than a patent single. Titletrack, 'Abacab' stands out as Rutherford's most prolific guitar performance that far. The album- and single versions are fundamentally different, the first one giving the guitarist a lot more room. A generous running time almost double compared to the single (we're in pop land). The track sets the tone for the album with a stripped down and fresh live feel in the studio with bass pedals/guitar and spare keyboards. We've entered a new modish decade! It's worth to notice that the vocal delivery differs live from the studio version. Both Tony/Mike had the courage to add chorus singing onstage with lead singer. The question remains; why not also in the studio? It should for good reasons have been executed here as well. Not least for the sake of variation. On upcoming solo albums there were no sign of pudency. All bandmembers turned into frontmen indeed. The most unique feature with titletrack is still uncredited inclusion of the hornsection. With treated sounds on the instrumental part. This is really unique, not only the horns in themselves but just as much its presentation form. Diametrically transverse to what you asociate the principles of the group. Hackett would've approved of this. It's as mystified as the inclusion of Maria Bonvino on a solo album. The globetrotter me heard song (and album) for the very first time in Brighton/Hove, a local train away from its purchase place. In the same area where Napoleon did surrender. Thus, where Abba won the Eurovision Song Contest (Early April, spring -74) with 'Waterloo'. The battle proceeded to this day, with fully present tanks rooling in the streets of Brighton. Commissioned to, at all costs, to protect us from unwanted forces. Seems unrealistic, but due to other points of concern than the French commandant, namely the ongoing Irish-British antagonism. Genesis played the same night, April 6, out of Eurovision and Europe, in Toledo, Ohio. With Selling England-tour. Full five-piece band, at the pinnacle of its career with an even stronger 'Epping Forest' than in studio. They had the chance to watch glimpses of the Eurovision on tellie, at 04:30 pm from their point of view. That's what undersigned, me, did. But in concordant timezone, placed on a hotel sofa in the capital, some 50 miles away. With fresh Highbury visit. On Abacab is everything allowed, and nothing forbidden. (I can't get no) Keep it Dark, is also included. If the Ep '3×3' included cover features dedicated to both sixties legends Beatles/Stones, then this very track owns properties from the distant -65 song. Though not in the same time signature(6/4 ÷ 4/4), there's a striking similarity in the meaty and naked guitar sound. It's said that Keith Richards wrote 'Satisfaction' in his sleep. Reportedly, Genesis composed their tune in awake state! The lyrics on 'Keep it Dark' goes like the boybook adventure. Like on the majority of Abacab, it melts together with beat an' tone. It works ok, but doesn't put the songwords in its own biosphere. Just something to sing along to. There's no Jon Anderson coming to the rescue with sharpened pencil, and assuredly not own kingpin Gabriel. The 'Trick' album may textually have served as an indian summer, with one member outranking the other. In a wider perspective though, equated with David Gilmour led era of his unpeopled unit. There are only a limited amount of lyric poets, with anyone's ability to put words to a song. Waters, like others mentioned here, rejects politely any involvement from a less theocratic authorization. Roger's true defier came from Roger, more known by the name of Syd. What could've been, never was. Collins does for the first time contribute with an equal part on a Genesis album. At the expence of Banks, who in turn has stepped down both as sonical- and composing force. It's a huge change, you have to go far back in time to find a counterpart. All sounds on the album are a product(decision) by the three bandmembers. Hugh Pagdham is credited as engineer. That doesn't mean a laidback, indifferent, absent studio companion moving levers up/down(on command). But still not up to title co-producer. It's the same situation for guitarist David Rhodes on 'So' album. He could just as well been entitled co-producer. It's less about what you've accomplished, more what was contracted in advance. Rhodes got co-writing credit for 'That Voice Again' as a consolation. Writing is just as much grey area as production. The drummer of Genesis knows about this lay. He happened to share in 'Intruder' on an earlier occasion. Collins, again, explained the situation; - 'we got tired of having others producing us'. That's probably a reason, but this tiredness was sped up by the release of winner Face Value. The latter managed completion with one single producer, namely the artist himself. As a co-incidence, engineer was a Hugh Pagdham. So why the need of four co-producers here? If it wasn't for Face Value though, you would've seen an independent producer on Abacab. David Hentschel. Or other name. In any case, Hentschel's vast rule was by now reduced to a fond memory. If you're amused by the subject (which you are), how do you summorize Hentschel's time? To call it a mixed bag is not a devaluation of the same. Even though all his decisions or co-decisions weren't of correct nature. The producer had det thankless assignment to take over after defected Peter Gabriel. Where do you find the true successor for original singer? Actually there is no replacement to be found. Collins did a great job in his way, an outsider could possibly have done as well. But in a new, alternatively, carved out way. In came a synthetic enclosed sound from bare and straight studio walls. Out went the saga sonorous flute from the misty depths of primal forest. Cum other divergence . An equation that doesn't rhyme. Even if Banks progressed on his numerous synth keys. Steve wasn't able to hire brother John neither as replacement (nor as session player). If any was fitted as guest it's definately the best choise. John was there since day one ready to offer his magical instruments to the band. Both closely related, and musically brilliant. The siblings Hackett had to operate outside the realm of Genesis. The E.W.F. horns had the nerve to disrupt this strict order! Not only twice, but threefold... It's not less interesting to pose the question; who came first, the hen or the egg? Regarding the gated reverb there's no doubt about it. 'Frida drums' defined a Scandinavian local resident with music on the agenda. The thunderlike (but dehydrated) drum sound was a collaboration between Pagdham, Collins and Gabriel. It spread like wildfire. Like all great progresses it started by chance. Phil rejoined his former band pal (who was unable to hire permanent band). But that was as it turned out to everyone's benefit. Abacab is not as good as 'P.G.III'. Moreover, it's not as good as Face Value. But let's get to the point, how strong could Abacab have been(with the right executive producer)? Well, it seems like a lot..Every single track on '3x3' is to be included on the album. 'Paperlate' is a tad less exciting than 'Reply' but still able to compete. If you are a wintered fan from 1971 you'll vote for the any version of maudlin 'Submarine' as well. But it doesn't even stop there. Behind all this figured material en masse which wasn't considered appropriate for the new decade. If one consider what was left out on Duke you'll understand the principle. 'Open Door' got the thumbs down. It's like deleting 'Blood On the Rooftops' from -76. You don't find the song selection on Abacab just. Nobody does. It requires a throughout explanation. In everyday speech, to reach out to record buyers who don't have viola da gamba or contrabassoon on the listening meny. In everyday speech, a more sales friendly orientation. That's the method. It wouldn't be a true Genesis album if there wasn't at least one gigantic Banks composition of central character. The intro may fox you with its almost indolent and easy-going character. But that's just a trick, 'Me and Sarah Jane' builds up on you step by step. From the light-hearted, but you're soon engrossed by the swirling musical drama. Just as many fans are aware of, every single section of the composition is unique and not repeated or heard again. The striking quality of the song is that there are obvious traits from a past but entirely adapted to the new environment. A highly succesful combination. The only Banks composition on Abacab where the band return to its 'all titles done by all' philosophy. At least almost. Three individual tracks democratically distributed. So still done by all. It wouldn't 've happened if it wasn't for..properly..the solo album from Mr. Collins. 'Man on the Corner' serves as a well-intentioned hangover from the same. Every single song on Face Value is superior 'Corner' and, once again, the reason why it's included is for previous success half a year earlier. 47 minutes Collins verses 47 minutes Genesis. A rather peculiar situation telling you that the group no longer always is a number one priority. It was this dilemma that discouraged Steve Hackett from pursuing parallel careers. Neither fish nor fowl. Hackett himself contributed to the invalidation of 'done by all' through his almost singlehandedly shaped 'Acolyte'. You're fully excused if you crave for 'Hand in Hand' in the place of 'Corner'. Closing track on side A on F.V. The drummer on fluent piano keys. Children choir falls like a light drizzle on us. The horns are in full bloom. If you had any misgivings with this instrumentation before now you're a believer. 'Like it Or Not' finally, from Rutherford, closes the circle. A capable offering that could've been even nicer with a more well thought out distribution. First half is clearly preferable to second one. Melody based with no instrumental orgies. In case you havn't noticed it, another huge change on the record. Phil Collins vocal style. The first three albums somehow form a unity. By the time of Duke the successor of Gabriel reaches his finest hour as Genesis front man. Fantastic bootleg material like 'Ripples' and 'Moonlit Knight' are sovereign. From Royale Drury Lane where a true fan goes on pilgrimage every calendar year. Or ought to do. Then came the solo album.. The voices on Abacab are a result of the mega success; Venturesome, unrestrained, fancy-free, resounding, utterly self-assured. Collins owns the air and space around him. Both founders and constables of the band, that is Banks/Rutherford, are looking the other way. There is no other controller available. So what we're saying is that Abacab stands for regression? It's up to yourself to adjudge. If you consider the sales figures it's the opposite way. That was lucky if you cared about the future of the band. Hackett's 'Acolyte' didn't go unnoticed. It would be strange if 'Face Value' did. At least one of the members, M. Rutherford, annonced his departure from entity Genesis. The cash-flow generated from single- and Long play sales in the year of -81 made the bass player think better. Not least observable on 'Dodo/Lurker'. We're talkin vocals. Do you even know where to stop listening to Dodo and start with Lurker? Some folks even complain about that one song is missing. On studio they come after each other like other tracks, on Live album it's Dodo/Lurker together!? Once you've noticed 'Squonk' ingredients the next one is 'I know what I Like'. It's not in the league of my all time favorite Genesis tunes. Although there are suggestive parts. Just like the the wolly mammoth, the flightless dodo bird is projected to be brought back via de-extinction. With functioning DNA. Like so many others, it went extinct with man's thirst of dicovery. As there were plans to turn Abacab into a Lamb project, double-Lp, there was room for another 'The Waiting Room'. In this presentation; 'Who Dunnit?'. On the double it's a necessity. Playful, discrepant, droll..Outside this concept, more hesitant. Irrespective of what panjandrum Ahmet Ertegun said or not. Some reviewers even take this passage seriously. The symptomatic for the album is that the only omitted track from the stage is completive 'Another Record'. For unknown reasons, but you simply can't perform everything. It deserved a better fate. 'Me and Virgil' stole its position on a couple of occasions on tour. Not a bad replacement. Actually ''Another Record' is the finest closing song since 'Los Endos'. A real highlight on the album that saves your night like a bottle of Chateau l'Evangile in place of oxygenated tap water. No wonder that Abacab was a No.1 hit all the way from the top of the eiffel tower down to Saint Tropez. The song makes up for a few perpetrated clangers and turns your listening experience into a rosy farewell. In absence of (harmonica player) Stephen Hackett a stylish synth from the keyboardist is befitting. Everything about 'Another Record' seems to be weighed on scales. The production, great intro, bridge, matching lyrics, and smart vocal. The drum pattern just as much. A realistic wish if duo McCartney/Lennon had trudged about in the freshly spun decade of the eighties. It will definately do just as well here. At the time of the release of Abacab the division between band/solo was practically non-existent. It wasn't 'Genesis' anymore but 'Genesis with Phil Collins'. Phil Collins band had been even more passable, as one scribe put it. For the person-in-the-street who passes you with a dripping mustard sausage in hand; either combination would've worked. As long as you can croon along to 'In the Air Tonight'. A track that just as well could've decked a Genesis outing. The track never did; but the costume from where it came fitted well. (To Raymond Shulman)

Probally the 1° or 2° less progressive album of genesis, Calling all station was realeased with some big changes off the others Genesis's albums, when Phill Collins get out of the band, some things changed

The voice, the timbre, the compositions and some other things, but, this album is very bad if you are someone that looks for just another one like the others album that was realeased before, but, thats a great album, have a good constrution and sounds good, a little bit less complex but its a really good album, so i recomend to listen, and please dont compare, listen thinking like was a new band, and not really Genesis

I'm going with a level 3 on this one, as I know it pretty well, but not at expert level. I have considered this to be my favorite Genesis album for a few years, but after listening to Foxtrot in its entirety, it's going to be a tough title to keep. Let's see what I think after a deep dive.

Track 1 - Dancing with the Moonlit Knight

Gotta love that opening a cappella opening line: "Can you tell me where my country lies, said the unifawn to his true love's eyes." (An aside, there is now a prog band called Unifawn, wonder where they got the name? lol.) Instruments join in on the next line, and before long they coin another word, "Paperlate," which would turn up as the title of a later Genesis song. So in under 30 seconds, they have created 2 new words! The production on this album is wonderful, the guitar and keyboard parts accompanying Gabriel's vocals are rich and warm sounding. By 45 seconds or so, he has sung the album's title. The instrumentation builds a bit more as we progress. I love Hackett's guitar motif on the following verse. Some subtle mellotron can be heard about 1:50, before it kicks in big a few seconds later. The drums come in at around 2 minutes, along with bass. Then at 2:25, we are off and running in a quick tempo prog-gasm and Hackett is using pick hand tapping years before anyone had heard of Eddie Van Halen. Nice dynamic shifts around 3 minutes. Hackett is on fire in this break, as is the rest of the band backing him. Huge mellotron at 3:45 preceding the return of the vocals. I like the almost call and response between the instruments and the vocals here. We have another chorus (or at least a semblance of one) at around 4:40. By 4:55, another instrumental break begins, this one featuring Banks more prominently, although Hackett has a few features. I love the mellow tones around 5:50. At around 6:20 there is a quieter instrumental, almost, clock-like, section that swells and recedes until the song ends at around 8 minutes in length. Great prog!

Track 2 - I Know What I Like (In Your Wardrobe)

There are some sounds that fade in and initially sound a bit ominous, but then Gabriel taps a talking drum a few times and begins talking about it being "1:00 and time for lunch?" Then we get some British whimsy. Rutherford has some nice bass lines. This seems to be the first time that Genesis aimed for a hit single, and got one, at least in the UK. The song has a slightly Beatlesque feel to it. Banks plays a nice Mellotron countermelody behind the choruses. Gabriel's spoken word bits return to take us to the outro of the song, which features Gabriel playing short phrases on the flute, along with some various percussion sounds. Fun track.

Track 3 - Firth of Fifth

Now it's time for one of, if not my most favorite Genesis songs. Banks' piano intro is absolutely brilliant. At 1:06, the band and vocals take over suddenly, but brilliantly. The majestic chord progression suits the song perfectly. Then at 2:05 there is a quieter section. Nice crescendo at 2:50, bringing us to a short verse, followed by an instrumental break. Banks' piano lays the foundation for a Gabriel flute solo. At 4:10, Banks' piano takes center stage, and then the band kicks in with changing odd meters at around 4:30 for some prog-nirvana, as Banks switches to a synth solo. The tempo briefly slows at around 5:40, then Hackett takes a guitar solo with sustained notes, similar to the style and tone Steve Howe uses in parts of Yes' Yours is No Disgrace. At around 8:15, they drop the dynamic level down in order to build back up in a crescendo for the return of Gabriel's vocals at around 8:30. They come back in a half-time feel. Collins plays several tasty drum fills here. The song ends with Banks on the piano as it fades out.

Track 4 - More Fool Me

The second of 2 Phil Collins lead vocal songs in the Gabriel era (the other being For Absent Friends on Nursery Cryme). This song is a short tender ballad accompanied by a 12-string electric guitar. It shouldn't have been a surprise when Collins took over as lead singer a few years later. An acoustic guitar takes over as the music gets louder in the chorus. There are harmony vocals by Gabriel, I assume. This closes-out side 1 of the original LP release.

Track 5 - The Battle of Epping Forest

Side 2 begins with the album's longest track at over 11 minutes. This song is based on a newspaper article that Gabriel had read years earlier, about rival gangs from London's east end that would fight over territory in Epping Forest. After being unsuccessful in his attempt to research more information about the story, he created his own characters and storyline. The song slowly fades in with a marching beat, not unlike the marching band section of Jethro Tull's thick as a brick from the previous year, with Gabriel providing flute parts and Collins and Rutherford keeping the marching beat underneath. The marching band fades out, apparently having passed by at shortly over a minute into the song, then the prog-rock band takes over in an odd meter. They reach a catchy chorus at about 2:18, along with some whimsical instrumental fills. At 3:14, Banks takes over with a brief synth solo, then the vocals return. The meters are frequently shifting as the song proceeds. Banks is featured on organ around 4:10, as another verse takes over. Gabriel uses character voices for parts of this segment. At 5:15, the rhythm completely changes, then changes again by 5:30. The character voices are quite enjoyably silly. Gabriel has some fantastic word play in this song. I love the frequently changing meters. We come back to the earlier chorus around 7:50. Around 8:50 Banks takes back over on another brief synth solo. At 9:37 the synth takes back over with a different melody, and the band gradually joins back in. At around 10:40, the story is resolved with a coin-toss. Gabriel later commented that, although it tied up the story nicely, it was a bit of an anti-climax. Hackett is featured on the closing section of the song with a guitar solo.

Track 6 - After the Ordeal

Apparently, the inclusion of this short instrumental from Hackett & Rutherford caused a bit of a row in the band. Eventually it was included in a compromise which also had to do with the length of the Cinema Show (the next track). Hackett plays a melody somewhat similar to Mason Williams "Classical Gas." while accompanied by acoustic guitar & piano. Hackett says this was his first use of a nylon string guitar, although I thought he had used one on Horizons from Foxtrot. At around 2:15, he switches to an electric guitar solo. I think it's a nice instrumental that kind of foreshadows Hackett's solo material he would begin to do after Gabriel's departure from the band. I love the harmonized guitar lines as the track reaches completion.

Track 7 - The Cinema Show

Another of my favorite Genesis songs. I love the instrumentation that opens the song along with Gabriel's wistful vocal style. The drums and rest of the band enter at around 2 minutes and the song becomes more rhythmic. The layered sounds at around 2:50 are beautiful. Gabriel plays some flute over the top (his flute playing is often under- appreciated in this era of Genesis, in my opinion.) Vocals return just after 4 minutes, in a manner somewhat similar to the wordless vocal section of Yes' South Side of the Sky. At 4:35, the rhythm section returns and Gabriel sings "Take a little trip back?with Father Tyresius?" while Hackett provides tasty guitar fills along the way. Banks plays a mellow synth solo starting around 5:25. Then the tempo begins to build and starting around 5:55, a 7-8 meter is established, and Banks plays an epic synth solo. At 7:30, a beautiful mellotron choir appears in the sound picture. This synth solo alone proves that Banks is in league with other prog synth maestros of the era such as Rick Wakeman and Keith Emerson. Collins drumming during this section is absolutely fantastic. The song mellows out to a close

Track 8 - Aisle of Plenty

This one transitions from The Cinema Show and is essentially a reprise of Dancing with the Moonlit Knight to bookend the album. The reference to Tesco is a British Supermarket Chain. There are some layered-overlapping nonsense words sung as the album comes to a close.

OVERALL IMPRESSIONS!

Wow, Genesis had two back-to-back perfect albums. I can only give this one a 5 out of 5 stars as well as I wouldn't change a thing about it. This is Genesis at the peak of their proggy powers. Although I would argue that they NEVER completely stopped being prog, even from ?And then there were Three onward there were always prog tracks mixed with the more commercial ones. Well, this closes out the Genesis albums on the countdown, of which there were 6, all in the top 50, with three of them in the top 10. An impressive showing, indeed. [referring to Prog Magazine's Top 100 Prog Albums of All Time list.]

OK, so none of my levels fully apply, so I'm going to say 1.5. I've never heard the whole album, but I know most of it quite well. I know Watcher of the Skies, Can-Utility & the Coastliners, and Supper's Ready very well. I think I've heard Get 'Em Out by Friday, but I'm not certain. So that leaves Time Table and Horizons as unknowns to me. The three that I know well, I REALLY love. So let me hear it in its entirety finally.

Track 1 - Watcher of the Skies

I consider this to be 100% quintessential classic Genesis. A great album opener! Gotta love the mellotron at the beginning. A brief aside?It has been noted that they bought this mellotron from King Crimson, so a historic instrument, indeed. At around 1:50 the rest of the band starts playing a staccato rhythm that eventually takes over the mellotron. At 2:19, Gabriel joins in on vocals over the rhythm. The second verse is a bit quieter than the first. An instrumental section follows, then another louder verse in harmony with Phil. Then another solo verse. I love the different dynamic levels. Rutherford is killing it on the bass! Every verse is slightly different from the last. There is a nice instrumental break around 6:25. Phil plays some great drum fills. And then the big finish. Great song!

Track 2 - Time Table

This one begins with a piano part from Tony. It is much more laid back than the opener. The vocals and the rhythm section are more relaxed here, at least for the first minute, as things pick up a bit, before easing back down. So far, I think it's a good song, but not a great one. It's got a moderate tempo. The flute that joins in to the verse at around 2:50 is a nice touch. It has a bit of the flavor of a modern classical art song. Pretty good.

Track 3 - Get 'Em Out by Friday

I like the intro on this one, then the changes of rhythm. I love the rhythm at the start of the vocals. This is cool prog. Lots of interesting changes. I love the quirkiness of this one. At around 4 minutes, Steve Hackett takes a guitar solo, followed by an organ feature. The dynamic levels drop severely at 4:45. I think Phil sings some lead lines around 6:30. Nice big sound on the finish. I need to listen to this one more often as it's a great one!

Track 4 - Can Utility and the Coastliners

I know this one quite well. Another bit of classic Genesis. I love the 12-string guitar at the beginning and Gabriel's vocal range is on display here. The instrumentalists are so good at weaving melody lines in and out of each other. I love the syncopated rhythm that begins around 1:50. Mellotron returns in this instrumental break. It feels like it's in an odd meter, but I think it's actually in 4. Gabriel returns with vocals and the dynamic level begins to build. I love the organ part at around 4:10. Another vocal part happens around 5 minutes. The ending seems like it was on the verge of losing control, but it never did! Brillant song!

Track 5 - Horizons

OK, I have heard Hackett play this, of all things, on a documentary about the short-lived band he had with Steve Howe in the mid 80's, GTR. I saw them on the tour that they did, and Howe & Hackett opened the show by taking turns playing solo acoustic pieces, so I bet I heard it live but didn't know enough about Hackett to know what I was hearing at the time. When I heard him play it, I thought he was playing Bach.

Track 6 - Supper's Ready

Here comes the BIG DADDY of all Genesis songs. At 23 minutes long it is the longest song Genesis ever recorded. And what a song it is. It's an epic suite in seven sections, as follows:

a. "Lover's Leap" (Banks, Gabriel, Hackett)

b. "The Guaranteed Eternal Sanctuary Man" (Banks, Gabriel)

c. "Ikhnaton and Itsacon and Their Band of Merry Men" (Rutherford, Gabriel)

d. "How Dare I Be So Beautiful?" (Banks, Gabriel)

e. "Willow Farm" (Gabriel)

f. "Apocalypse in 9/8 (Co-Starring the Delicious Talents of Gabble Ratchet)" (Banks, Rutherford, Gabriel, Collins, Hackett)

g. "As Sure as Eggs Is Eggs (Aching Men's Feet)" (Banks, Gabriel)

For a full description of what's happening, see the Wikipedia page about the song.

Gabriel starts singing right from the get-go along with arpeggiated clean guitars. I love the melody he spins. The second verse has harmonies in falsetto. Things begin to transition to a new part at around 2 minutes. I like Banks' understated keyboard solo in this section. Vocals return at around 3:50. Things begin to crescendo around 4:15 and the rhythm changes. The rhythm abruptly stops at 5:28. There are sustained notes on keyboards, and faint sounds of children playing. Then Gabriel plays the melody on his flute. Then there are some more rhythmic vocal lines leading to a much more energetic part at around 6:33 on the words "Waiting for Battle!" Hackett takes a solo around 7:30. At just after 8 minutes we find Mr. Hackett playing right-hand tapping lines a full 6 years before Eddie Van Halen got all the credit for it, and Hackett has it in harmonies, no less! I love how Banks then plays the lines on an organ in the next section as the vocals return. Then the dynamic level drops to almost nothing at around 9:35. Gabriel comes in very quietly at around 9:50. I love the line about Narcissus being turned into a flower, echoed by a spoken "a flower?" at 11:00. Then the Rhythm returns as a sort of swing/dance part. There is a reference to the Musical Box from the previous album Nursery Cryme. Great wordplay from Gabriel with humorous bits from Phil Collins thrown in. A whistle blows at just before 12:30, and then we get a quicker tempo, driven by eighth note rhythms on the piano. Gabriel and Collins trade vocals in fun ways here. But at 13 minutes, the swing beat returns. Things go quiet again at around 13:40. A melody begins to emerge at around 14:30 or so with very quiet flute parts. We have a crescendo into a new rhythmic part at around 15:35. This is the beginning of the section known as Apocalypse in 9-8. Banks plays fantastic organ lines over Collins' complex drum parts, while Rutherford keeps it grounded on the bass. Killer drum fill at 18:30-ish. Vocals return at 18:50 with "666 is no longer alone!" Great rhythm under mellotron lines at around 19:40. I love the tubular bells at 20:00 as the final section begins with lyrics that harken back to the beginning of the song. Hackett plays a nice lead countermelody over the vocals. Gabriel's voice is ragged by the end of the song, in the best way, as though he did the whole song in one take. Hackett has great harmonized guitar lines, and there is even a British siren effect as the song reaches conclusion. This is a Genesis masterpiece.

OVERALL IMPRESSIONS:

A phenomenal album! The only song that didn't quite live up to the others is Time Table, and it isn't bad. Watcher of the Skies and Supper's ready are incredible bookends for the album. This album definitely deserves its top 10 ranking in the poll. I'll give it 5 out of 5 stars!

I am around a 1.5 on this classic, I know a number of the songs pretty well, especially. The title track, In a Cage, Counting Out Time, Back in NYC and the Carpet Crawlers, and moderately familiar with Lilywhite Lilith, and The Colony of Slippermen. I have never actually listened to the whole thing, until now. It's about time, don't you think? Please don't make me turn in my Prog Fan card!

So, of course, this is a rock opera, and the plot summary can be found here: The Lamb Lies Down on Broadway - Wikipedia

Track 1 - The Lamb Lies Down on Broadway

This is the one I know the best. For years it was the only Gabriel era Genesis track I knew, as it was the only one I ever heard on the radio in the Tampa area in the 80s. I have always loved the piano parts in the song. It always reminds me of a carnival. Then when the vocals begin, Peter & Phil blend so well together! I love the groove from the rhythm section when the first verse begins. There is a nice mellow bridge in the middle of the song. I like how Gabriel and Collins trade off on vocals coming out of the bridge. The ending section references The Drifters' song "On Broadway." Awesome opener.

Track 2 - Fly on a Windshield

This one begins with slowly fading in keyboards courtesy of Tony Banks. Gabriel joins in on vocals, it's a quiet song so far. There are some interesting dissonances in the keyboards. Then the band kicks in HARD at around 1:20. The tempo is slow and plodding. Hackett takes a guitar solo near the ending portion of the song. It leads directly into:

Track 3 - Broadway Melody of 1974

The beat is at the same tempo, but the guitar & bass hit accents to back the vocals, while Banks plays sustained keyboard parts. I think this song may have influenced Marillion on "He Knows You Know" nearly a decade later. At 1:33 the beat stops and the music becomes mellow, Hackett plays jazzy chords on the guitar to lead into:

Track 4 - Cuckoo Cocoon

Hackett plays a phasey arpeggiated pattern and the vocals join in. I like the rhythm of the choruses. Flute and keys join in shortly before the end of this very short track.

Track 5 - In the Cage

This is my favorite track of the ones I already knew before now. This is great prog that begins with a bluesy shuffle and the line "I've got sunshine in my stomach, like I just rocked my baby to sleep." The blues gives way to a great Banks keyboard part after about one minute. The excitement builds as the song progresses. I like the odd meter instrumental break that begins at around 3 minutes into the song., then the heavier part that follows a minute or so later. The next shift is at around 5:20, and then we are back into another verse. The song fades out at around 7:20, then another part fades in.

Track 6 - The Grand Parade of Lifeless Packaging

This one has a slightly vaudevillian beat to it. It's an odd little ditty. Collins gradually joins in with a marching snare part. The song builds in intensity as we go along. Until it ends with sustained sounds that close-out side one of the original LP version of the album.

Track 7 - Back in N.Y.C.

This one fades in with a hint of the blues shuffle from "In the Cage," before shifting to a Banks' keyboard pattern in an odd meter and Gabriel's vocals. This one always feels kinda dark & creepy to me. It's a good proggy groove though. There's a shift at around 2:50 into a bridge. The original groove returns just before 4 minutes in. The alternate groover returns about a minute later to close out the track.

Track 8 - Hairless Heart

This one begins with classical guitar and keyboards. After about 40 seconds, a mellotron comes in and the rhythm section joins in. The original melody returns then develops a bit. This is apparently an instrumental interlude of just over 2 minutes in length that leads to:

Track 9 - Counting Out Time

One I'm familiar with. This one has a bouncy Beatlesque beat. It's a catchy tune. There are occasional heavier guitar chords. I like the harmony vocals at around 2:20, just before the silly faux-instrumental break.

Track 10 - The Carpet Crawlers

Here's another one I know. But to be honest, I've never loved it. It's a very slow and plodding song. It's very quiet. I know this is sacrilege to many Genesis fans, but I've never gotten into it. It's OK, just never grabbed me. The harmony section at the end is probably the best part of it.

Track 11 - The Chamber of 32 Doors

This one begins with a mellotron and guitar-led sound that seems like a template for the next 2 Genesis albums, following Gabriel's departure. The tempo picks up after the intro for the first verse, then it slows to a half-time feel. The timing completely changes around 1:45. It quiets back down around 2:50. I like the frequent timing and feel changes in this one. It's more interesting than the previous track to me. This one closes-out side 2 and record #1.

Track 12 - Lilywhite Lilith

This one jumps right in with the full band & vocals right away. The verse has a catchy tune, followed by a short chorus then a brief Hackett solo, before going into another verse/chorus cycle. I like the guitar parts in this one; it's a bit of a rocker.

Track 13 - The Waiting Room

This one begins with sound effects, chimes, etc. that last until around 3:10. A shuffling rhythm begins to take over with synth sounds. But the sound effects continue. Phil gas some good drum grooves. The beat changes close to the end of the track.

Track 14 - Anyway

This one begins with an arpeggiated piano riff. Vocals join in. Nice accent around 1:30, the piano gets faster, and the rest of the band plays heavy hitting notes. By around 2 minutes Hackett has a nice, harmonized lead break. Another verse follows and string-like sounds on the mellotron take over to lead us into:

Track 15 - Here Comes the Supernatural Anaesthetist

A syncopated rhythm from Hackett & Rutherford starts this one off, joined by vocals, then Phil comes in on drums. Banks and Hackett are each featured instrumentally following the opening vocal section. Huge mellotron swell takes over just before 2 minutes and Hackett plays cadenza-like lead lines over them. Things quiet down following that. Some quiet sounds lead us into:

Track 16 - The Lamia

A rhythmic piano part and vocals start this one off. Synth notes join in during the interlude between verses. The rhythm section kicks in for the next verse. The music is slowly building up. Things quiet back down again around 2:15. Another verse follows. I know this is another highly regarded song from this album. It's pretty good, but not at the level of some of my favorite Genesis tunes. Hackett takes a solo starting around 5:45. Phil's drumming is unmistakable as the song fades out.

Track 17 -

Silent Sorrow in Empty Boats

This one fades in slowly, with some nice keyboard and especially mellotron sounds. That seems to be essentially what this track is as it closes-out side 3 of the album.

Track 18 - The Colony of Slippermen

This one is a suite in 3 sections:

a. "The Arrival"

b. "A Visit to the Doktor"

c. "The Raven"

It begins with somewhat "Oriental" percussion and string sounds and other effects. That was "The Arrival". A great quintessential Genesis-style organ part & rhythm section takes over for part b. Gabriel sings in "character" for parts of the verse. Loving the Banks keyboard solo in the Raven section. The subject of the song involves Rael getting castrated and a Raven taking the removed parts away. Pretty bizarre. But, for me, musically, this is one of the most quintessentially Genesis songs on the album along with In the Cage.

Track 19 - Ravine

Apparently, this instrumental section represents Rael's "member" being dropped by the Raven into a ravine and being washed away.

Track 20 - The Light Dies Down on Broadway

This one echoes the opening song with a bit of a different feel?less dazzling. Reflecting all that Rael has been through. I like the harmony vocals backing the lead vocals throughout much of the song. There are some unusual "wobbly" sounds as the song fades out.

Track 21 - Riding the Scree

This has some nice, syncopated rhythms and Banks keyboard parts. Vocals start about half-way through the track.

Track 22 - In the Rapids

This one is also a very quiet track as it begins. Very introspective. At just before the 1-minute mark, the rhythm section joins in.

Track 23 - It

This starts with a synth sounding a bit like an air-raid siren, followed by a quick rhythm and keyboard feature. The vocals join in. Love Phil & Mike's groove on this one. It's a pretty good closing track.

OVERALL IMPRESSIONS:

I know that many Genesis fans consider this album to be their Pinnacle, but, honestly, I'm a bit underwhelmed by it as a whole. There's nothing I "hate" in it, but it just doesn't live up to the level of the three preceding albums or the next several that follow. It has some highlights in mainly the songs I already knew, the title track & In the Cage are still my favorites, and Counting Out Time is delightfully quirky, somewhat like I Know What I Like (In Your Wardrobe), from the previous album Selling England by the Pound. Maybe I need to give it some more listens, as I know that the songs are here to serve the story, but most of it didn't excite me very much. I am going with a 4 out of 5 stars. Please feel free to dissent in the comments if you are a big Lamb fan.