GENESIS

"Wind and wuthering" was yet again one in the streak of fantastic Genesis album. It was also the last truly progressive one. What superlatives can it hold? I consider it being most romantic and elegant Genesis album. Banks (composing, arrangements and playing) and Collins (drums, vocals) are in the exceptional shape. Unfortunately, Hackett isn't represented as much as he should, with the exception of "Blood on the rooftops", "Unquiet Slumbers for the Sleepers..." and "...In That Quiet Earth" though he is still an important contributor to the Genesis sound. Banks uses synths, digital piano and Mellotron architect a rich and one of a kind symphonic sound magnified by his choice of wonderful chord sequences. Collins has gained more colour and subtlety in his voice but wasn't yet at his peak. I like Rutherford use of a powerful bass pedal that augments Banks' approach.

The album starts with two exceptional fantasy tracks. Both are very well developed and bring additional graduation sections at the end. If you listen to this on YouTube, you'll see many listeners praising these epics. Banks mellow solo interludes cross the classical territory and create a natural flow. "One of the vine" is an example of tender singing, guitar and on the other hand, powerful ARP/synth instrumental section supported by disco-like drumming. The tension peak at 8:20 is yet another stunning clever part. Collins' range here is phenomenal. After stepping up to spectacular heights of the two first tracks, things get simplified on "Your own special way", it is closer to pop than prog. The song could have been shorter but Collin's voice treatment and Banks' digital piano solo in the middle are the highlights. "Wot gorilla" is perhaps the only jazz-tinged number that could have easily come out of "Trick of the tail" sessions. It's first two minutes are strong, then it loses the steam a bit. Nice collaboration between Banks and Hackett. "All in a mouse's night" takes us into a magical world of Mellotron, synths and dynamic changes. From 3:55 onward, the band pulls out a stunning symphonic moment with synth layers and dueling with guitar. "Blood on the rooftops" is an introspective melancholic number, not too progressive but well arranged and Hackett distinguished playing propel it to one of the most beautiful Genesis tracks. "In that quiet earth" reminds me a bit of "Los Endos" with its upbeat instrumentation but thankfully, it doesn't reference other pieces from the album. While former Genesis albums may have been more experimental and progressive, the magic of the "Trick of the tail", "Wind and wuthering" and "ATTWT" is at full display. Wind and wuthering has almost no flaws which would change from the next album on. I feel that the loss of Hackett did more to the band than Gabriel's departure. 4.5 stars

Selling... is considered (and it is) an iconic album in prog rock. Hundreds of people have grown with it and swear by it, but personally I got to know Genesis later in my life through this album. Although I love it, I wouldn't rate it among my ever-favourites because the songs it contains are separated in my mind in two categories: the first one includes the masterpieces (Dancing With the Moonlight Knight, Firth of Fifth, and the final triad which I think of as one song) and the second which includes the remaining three (I Know What I Like, More Fool Me, The Battle of Epping Forest) that haven't clicked, each for its own reasons. In that sense, it isn't perfect to my ears, but then again the masterpieces are so luminous that they may outshine any flaws. The instrumental sections of Firth of Fifth and The Cinema Show alone could claim it.

Standard unofficial documentary, featuring a bunch of music people, none of whom I can actually remember right now, talking about Genesis. Like any of these types of DVD's, it's merely okay. This one has the benefit of including actual footage of the band, in performance and interviews, but ultimately, this is still a typical "independent critical review" type DVD. There's a bit focusing on what keys the songs are in (as if anyone asked for this!), and there's a good deal of attention given to Steve Hackett's solo stuff. But ultimately, this DVD is probably the sort of thing you'd watch one, then keep hold of as it belongs in your OCD-riddled collection.

A classic GENESIS Craftwork. Probably a masterpiece if you like symphonic prog. But as a listener from other sub-genres... It sounds boring. Just like what I've been said about Foxtrot, the album does have cozy moments that I'm glad to appreciate...But most of the time it just sounds tasteless. And there's problem with the lyrics. Sometimes it's so weird that I can't understand what they're trying to tell. The whole rhythm of the album was in slow pace that I couldn't help myself yawn when listening to it. Some songs where just "made to be long" and full of unnecessary information. I mean, 40 minutes is better, 30 minuets is totally fine! Anyway, it's just my own opinion. I'm not a Genesis fan... So I'd rather listen to Selling England.

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.

Rated 2 star because I subjectively think the album is overrated. I've never had a particular affection for Symphonic Prog, so I never appreciated the WHOLE album. I think it's too cumbersome. Yes, I do think "Supper's Ready" is LEGENDARY. But the five songs on the A side of the album were boring to the point of exploding for me. The melody of "Watcher of the Skies" isn't likable, and the lot of repetition and the vocalism perform make it one of my most hated songs. "Time Table" and "Get 'em Out by Friday" were just as boring, and I never understood them. It wasn't until "Can-Utility" that I felt a little bit of a relief, though the last two songs on the A-side are enjoyable,but they're still far from tasty. Supper's ready, one of my favorite prog song for sure. Generally，the album is considered as a good one, but I think it's much too overrated.I'll give a 2.5~3 For it's lovely B side but hateful A.