GENESIS

I'll admit this album is highly influential on the prog scene, but for me it's way too dour and drab. The only life for me is Stagnation and to some extent Visions of Angels. To me this is extreme talent in its infancy as Gabriel has yet to develop the authority he'd display on future releases.

This release definitely has struck a chord within the prog world however and its staying power is undeniable. It's two stars for me but four for the rest of the world so three stars it is. A mild curiosity for me as Genesis hasn't been at the top of my stack in almost forever. I listened them out and then I naturally found I liked Caravan, King Crimson, Jade Warrior, Gentle Giant, Gong, etc. and a host of other bands better

**The beginning of the end of prog Genesis**

I have always considered that the best era of Genesis, the progressive era, is the Hackett time.

So watching this live footage I can clearly see how early in the band's history Hackett began to withdraw from his bandmates. Either that, or his bandmates or producers began to exclude him.

If you compare earlier footage, from the Gabriel era, with this performance, it is perfectly clear that, now that their former frontman had left, the other guys are obviously having a lot more fun. But that doesn't seem to be the case with Steve Hackett.

Just watch from the very beginning the thing Collins does with the hats: at first he's seen wearing several hats which as the first song progresses he starts to put on his bandmates' heads. Now watch closely what happens a few seconds later: Steve has taken his hat off, while the rest of them don't seem to mind.

Take "Cinema Show" as another example. Who is playing this song from the classic era? Only the Collins/Rutherford/Banks trio. And I am certain that Steve played guitar in the studio version. So why was he left aside here? Was it a sign of things to come? Perhaps.

Something else: I have never seen any live footage with Gabriel in which Mike Rutherford shares a mic with anyone. Certainly not with Peter. But this time he and Phil looks like they're having fun the Lennon/McCartney way.

Are all these things bad? No. Do they diminish the quality of the concert? No. They just show the direction that the band seemed destined to take eventually.

So I rate this concert with 4 stars. The performance itself is flawless; the fact that Bill Bruford is filmed here along with Genesis in what seems to be the only document of his stint with the band; the confidence that Collins exudes in his new position; and the excellent choices the band made for their setlist. The only negative thing, which demerits a star is the inclusion of those images of the sea, the lights on the ending credits and all those other things. If the producer would have stuck to showing the performers, the release would have been perfect.

Is It a guitar or a keyboard?

Up until this point genesis were a really great prog rock band with already incredible albums such as Nursey Cryme & Foxtrot. But when they released ''Selling England By The Pound'' none of those albums were even close to the utter brilliance that is displayed here. One of the reasons on why this album is so great is how the album is presented. ''Dancing With The Moonlit Knight'', ''Firth Of Fifth, ''The Battle Of Epping Forest'' & ''The Cinema Show'' are like the main attractions in the album and the songs after them are like a pause between the other s gongs. It's gives the album a lot of dynamic and space. They're much more subtle and quiet in their approach.

Another reason why i enjoy this record so much is the damn instrumentation on this. Everyone here is at their peak. Tony Banks gorgeous and ethereal keyboard work gives the songs here so much beauty. Hackett's sometimes attacking riffs and solos but other times mellow guitar melodies creates a lot of dynamic in the music. Peter Gabriel's singing on this is also great, the occasional oboe and flute playing by him give the songs a lot of substance and shows that he dosen't have to overuse so it becomes overwhelming. And lets not forget the rhtym section here, Mike Rutherford and Phil Collins.

This record has probably their greatest songs, i'm just scratching the surface really on this one.

When Peter Gabriel left Genesis, a lot of the weirdness went with him.It was probably that weirdness which was preventing them from being a more commercially viable group. When the 4 remaining members reconvened in 1976 with Collins taking over as vocalist, instead of having to produce yet another soundtrack for Gabriel's increasingly bizarre lyrics, they now had the opportunity to concentrate on producing music that they wanted.

It is no surprise therefore, that the resulting album reflected their personal tastes and as a result is probably the most diverse album they ever produced.Most tellingly is the fact that for the first time, you did not have to be a Genesis fan to appreciate this album or even be a Progressive Rock fan either. In fact I know quite a few people who are not even into Rock music at all but still love it.So why is this? Ultimately it comes down to way that the album as a whole is at once accessible and involving.

The opening track, "Dance On A Volcano" opens with a series of loud stabbing chords set against a slightly menacing twelve string pattern before settling in to one of those great anthemic instrumental choruses that Genesis were so good at producing. It is really quite stunning.The verses are no less dramatic underlined by an urgent riff.

The next track "Entangled" is a complete contrast, being a gentle acoustic song with some extremely pleasant harmony vocal support from Tony Banks and Mike Rutherford.It is closer in spirit to Folk Rock than Progressive Rock and reminds me a little of Crosby Stills and Nash.Steve Hackett is largely responsible for this beautiful song.

The next track "Squonk" is clearly inspired by Led Zeppelin's "Kashmir" with its crunching and very loud twelve string riff.It has a slow rather plodding rhythm but is still very melodic and has another punchy instrumental chorus.This loud and powerful track made an excellent opening track at subsequent concerts.

"Mad Man Moon",the closing track on side one is pure Banks- a very romantic piano based song with an extended keyboard instrumental and some very atmospheric soloing by Hackett in the background.

"Robbery Assault And Battery" makes an excellent side two opener.Musically and lyrically it is fairly slight compared to the tracks on side one but it does have a suitably muscular riff underlying a catchy chorus as well as a particularly inventive instrumental break.In fact starting at the 2.30 minute mark and lasting barely one and a half minutes, it is remarkable how many musical ideas Banks comes up with including a sudden mood shift with the mellotron creating a dramatic affect that reminds me of a chase seen in a 70's Cop show. This song perfectly showcases how musical inventiveness can be contained within an otherwise straightforward pop song.

The following track "Ripples" is far and away the most achingly beautiful song Genesis ever produced in their entire career. The song about growing old and losing your looks has a an almost unbearably melancholic chorus.

The title track is one of those Genesis tracks that I suspect divides fans. It is pure pop with another catchy chorus but like "Robbery Assault And Battery" has an extended middle eight section reminiscent of groups like 10CC and Wings who also specialized in sophisticated pop. Personally I have a particular fondness for this uplifting Beatlesque song inspired by the book "The Inheritors" by William Golding.

The closing instrumental track "Los Endos" is an absolute classic and is probably the most well known track on the album being played at virtually every concert they performed right into the nineties. In the same way "Squonk" was inspired by Led Zeppelin, this track is clearly inspired by Santana's "Promise Of A Fisherman" with its Latin style percussion and soaring guitar themes.It also neatly incorporates themes from the previous track, mainly "Squonk" and "Dance On A Volcano".Even though there is no improvising as such, it still has a great jazz-fusion feel.

As far as the production values go, the recording is very crisp and polished but I prefer the more "live" sounding Wind and Wuthering" which was recorded only a few months after "Trick Of The Tail". In particular, Steve Hackett's guitar seems curiously muted on the heavier tracks .His playing is as inventive as always but sometimes I wish he could have produced that great fat Gibson sound that he produced on Wind and Wutheringl. Listening to the powerhouse performances on the live album "Seconds Out" of tracks like "Dance on A Volcano" and "Los Endos" it is hard to believe it is the same band playing.Overall though, this album is very nearly my favorite Genesis album second only to "Selling England By The Pound"

A solid 5 Stars *****

A last evening with old friends

Sometimes, one has to say farewell to someone or something we love very much.

In the case of Genesis, they thankfully did seize the chance for a proper goodbye. Considering that they haven't been a prolific creative force in many years -- they are more an entertainment enterprise like Pink Floyd and Rolling Stones of later years -- Genesis actually took the time and made the effort to create something much better than I expected, for sure. They planned out this goodbye release as a truly thoughtful hug to their fans, and it turned into something worth owning. And this is coming from someone who generally does not approve of old farts milking a band name -- I'm with Grace Slick on that issue.

Naturally, being the three-piece line-up, the set list was bound to focus on the Collins era primarily. You just have to set aside your desire for some grand 70s reunion and be realistic. These are old men retiring the live Genesis band, and it is going to be something different than what prog fans want, but in this case that isn't necessarily bad. This concert and especially this documentary gave me three very enjoyable nights of viewing in my home theater. They allowed the fans to share in their personal goodbyes to each other. We are given more in the way of intimate access with this release than most DVDs by legacy acts.

The nearly two-hour documentary starts from the beginning of rehearsals and gives us a "fly on the wall" view to everything. There are lots of fun surprises, but I'll share just a couple. On the first day Phil arrives, the guys share their "good to see you again" hugs before settling in to listen to some songs. Mike, who likes to joke a lot, asks Tony if it's time to break for lunch before they'd even done an ounce of work. Personalities open up here, which is what makes this package worth it. As the glorious sounds of "Cinema Show" wash over the practice space, we watch the guys faces while listening to Peter sing, and you can see them react to the magic with warmth and melancholy on their faces. You can see them marveling at how good the music still sounds and how long ago it was. It is very interesting and authentically emotional. After they decide to try playing the intro, Mike asks his assistant if he has a 12-string acoustic tuned and ready to go. The assistant affirms that he does. Mike pauses and then says, "Good, give it to Daryl" and they all burst into laughter again.

Stuermer explains how he and Thompson are able to drop right back into the groove because as working musicians, they are practicing every day. For the other guys, it is much harder to pick up where they left off many years ago. They allow us to see them working through that frustration. Sometimes, it's fun and humorous. Other times there are flashes of irritation that bubble up. The same is true for the production team. We expect that a band of this level would have teams of top level pros whipping their sound and stage show into expected form with the wave of a wand. The truth is that it was much more chaotic than you'd think as people tried to learn the songs and technology as the time before the first show was rapidly running out. It appeared that some of the light show timing aspects were barely finalized before the first show curtains went up. I also really enjoyed watching the some of the preparation that Phil and Chester went through as they worked up their playful co-solo.

Another priceless moment shows the three guys about to take the stage to a packed stadium in Europe (Finland, if I recall correctly) as the fans shout with thunderous volume, "Gen -- ee -- sees, Gen -- ee -- sees!!" The guys are in their small huddle below the stage, listening to this chant with amazement and nervous smiles, just about to climb the stairs to the stage. The give each other a final hug for good luck, ready to face a stadium of faces for the first time in 15 years. Suddenly, Phil and Mike decide they need a quick pee before taking the stage, and the look on Tony's face was priceless. Lots of little bits like this really made it fun for me. They then cut to Mike exiting the backstage men's room as he remarks, "All ten drops." Nothing like a little aging rock star prostate humor.

Did I mention there are also two full discs of concert music? I really loved every second of it. People can whine all they like about the two missing gentlemen, but despite the advancing years of the guys, I just loved every second of the show regardless of era. From the exciting introduction to "Afterglow" to Stuermer's massive solo on "Firth" to "Ripples" to "Los Endos," there were nicely performed gems throughout the evening. They struggle a few times, primarily Phil trying to hit certain notes. It would not be unlike watching Gilmour try to take the Floyd on the road again at this late juncture. Sure, he could do it, but it wouldn't be quite the same as the 70s, especially with Roger's croak of a voice. I actually like Phil's performance here and I like his matured voice. His clowning-around persona is toned down quite a bit. He is more serious and determined, no doubt a result of the great challenge, and I find the vocal performances just as pleasing and somehow more heartfelt. And Daryl and Chester are as kickass as ever. The time away hasn't phased them at all.

And then there is Rome! On the final night of the European leg, hundreds of thousands of Italians, all who realize that they were witnessing these friends for the very last time, made for extra passion and emotion. Everyone knows this is it, the last tour. It's a fitting venue choice because the Italians were very accepting and passionate about Genesis in the lean years. Cameras wisely captured people singing along to "Carpet Crawlers" during the final encore, and it really did get me choked up. Frankly, I realized that these people were special to me. Genesis have always been "around" in my youth and now they were saying goodbye. That is something that proved worth taking part in. Seeing people young enough to be the grandchildren of the band crying as they sang along to Carpet Crawlers proved again how special music can be. (Actually, I think that part was Finland, too.) The whole event truly had a lot of love, and I feel sorry for people who can't enjoy this because A) it isn't prog enough, or B) Steve Hackett isn't there.

The Circo Massimo gig is the one featured in full, on a beautiful night that really set off the huge screen and stage ambiance. The stage itself just looked amazing in the Rome night. The official crowd estimate for that night was 500,000, making it the biggest gig Genesis ever did.

Phil recalled, "They say there were 500,000 at the concert, but to honest, if you were in Rome that night, you were there... you had no choice. I've got a friend who works in The Vatican - which is a mile or so away across the river - and he told me that it was pretty loud even over there and that everyone opened their windows to let the music in."

Not often is a big stadium show from a legacy act, 40 years past their prime, going to affect me the way this one did. It would seem that, for me, they simply cared enough about the final product to succeed here. This is not treated as a throwaway or a product obligation, but as something that should matter. It feels to me like they wanted this document to be something people would want to return to, and I would definitely watch it again with great joy.

"It was a great opportunity. I think it's nice to get out there and, sort of knowing it is probably the last time, have a little bit of fun with that closure. Each night was kind of an emotional experience because you were playing a place you had played many times over the years and tonight you were saying thanks to everybody for the last 30 years of coming to see us. It's kind of nice way to say goodbye, really." -Collins

I might take this moment to also recommend both Collins and Rutherford's recent bios. Phil's book documents the absolute freefall of his health in the years following this DVD, while Mike's book was a fascinating look at both family and life in Genesis going all the way back to the very start. Both books are also chock full of entertaining, humorous, and heartfelt stories, with relatively little pretentiousness.

So, if you are able, set aside your cynicism and your expectations for a few evenings to take in this last call with old friends. I'm so glad that I did. I loved it.

Addio miei vecchi amici.

Review Nº 170

'Rock Theater (Collection)' is a compilation of Genesis and was released in 1975. It was released about one year after the departure of Peter Gabriel from the group. Gabriel left the group due to pursue a solo musical career. So, with his departure he left the band orphan without their charismatic front man and without one of the main songwriters of the band, too. One of the most interesting things on this compilation is that it has only tracks that belong to their best and most progressive musical period, the Gabriel's musical era. So, this compilation represents also the end of a musical era for Genesis. In this era Genesis made six studio albums 'From Gennesis To Revelation' in 1969, 'Trespass' in 1970, 'Nursery Cryme' in 1971, 'Foxtrot' in 1972, 'Selling England By The Pound' in 1973 and 'The Lamb Lies Down On Broadway' in 1974. With him, Genesis had also released a live album, 'Genesis Live' in 1973.

So, in 1975 it's perfectly normal that the band has released a compilation album because they had enough stuff to do so. By the other hand, it's perfectly normal that after the departure of Gabriel the band wasn't already ready to release a new studio album. The release of this compilation maybe was the only possible answer of the band and of their record label to maintain perfectly alive the flame of the group. So, perhaps it was this, the main reason for its release.

'Rock Theater (Collection)' has six tracks. The first track 'I Know What I Like (In Your Wardrobe)' is a song originally released on their fifth studio album 'Selling England By The Pound'. This was the first charting single of the band. It's a very funny song with some characteristics of a pop song. This is a shorter less serious song which is based on the album's cover and with lyrics fairly cryptic. It's a good shorter song which fits on their fifth studio album, well enough. The second track 'Harold The Barrel' is a song originally released on their third studio album 'Nursery Cryme'. This is a song with interesting lyrics, is somewhat funny, is very rhythmic and provides a joyful moment on the album. It reveals a Genesis that is able to combine black humour and pathos. It has a nice tune, sounding slightly like a medieval British folk song. This is a cool song that has a nice piano part and that flows well on 'Nursery Cryme'. The third track 'Harlequin' is also a song originally released on their third studio album 'Nursery Cryme'. This is a song that harmonizes the voices of Gabriel and Collins, providing a very beautiful short folksy piece with nice vocal harmonies. It's a beautiful song, at least pretty, in Genesis' vibe. It's a soft ballad featuring some good vocal melody and balances the frame on 'Nursery Cryme' with some notes of tranquillity, but with nothing more of interest. The fourth track 'Watcher Of The Skies' is a song originally released on their fourth studio album 'Foxtrot'. It's one of the most popular and beloved songs by their fans, and one of the most played live by the band. Even Hackett, plays often this song on his live shows. This is a great opener for 'Foxtrot' which gives a sense of majesty and power, to the beginning of the album. It's a brilliant track, starting off with simple, yet harmonious keyboards. This is a must for all mellotron lovers like me. The fifth track 'The Fountain Of Salmacis' is another song originally released on their third studio album 'Nursery Cryme'. This is the greatest gem on 'Nursery Cryme'. It's one of the songs most played live by the band, or by their members when they are performing as solo artists. The theme is around a story, based in the Greek mythology. Musically, it's a song with great energy, which collapses into an avalanche of emotions. It features everything that was great and unique, in that Genesis' era. It taps the same vein that has provided the setting for their subsequent masterworks. The sixth and last track 'Supper's Ready' is also a song originally released on their fourth studio album 'Foxtrot'. It's divided into seven parts: 'Lover's Leap', 'The Guaranteed Eternal Sanctuary Man', 'Ikhnaton And Itsacon And Their Band Of Merry Men', 'How Dare I Be So Beautiful?', 'Willow Farm', 'Apocalypse In 9/8 (co-Starring The Delicious Talents Of Gabble Ratchet)' and 'As Sure As Eggs Is Eggs (Aching Men's Feet)'. It's the lengthiest track on the album, is probably the most known and beloved song by all their fans, and is also their most progressive track too. This is a great track, full of amazing musicianship and lyrics, and is one of the most representative tracks of the progressive rock music. It stands as a true testament of how unique and creative Genesis was during the early 70's.

Conclusion: The track list chosen is good but can be considered a bit controversial. It can be quested the decision of leave out some of their best studio albums. It's hard to understand the non-inclusion of any song of 'Trespass' and 'The Lamb Lies Down On Broadway'. Both albums have quality enough to have songs included. For instance, they could be replaced 'Harold The Barrel' and 'Harlequin' by 'Visions Of Angels' from 'Trespass' and 'The Carpet Crawlers' from 'The Lamb Lies Down On Broadway'. We can also question the list of tracks chosen. 'Firth Of Fifth', 'The Cinema Show', 'The Musical Box' or 'The Return )Of The Giant Hogweed' would be better options despite being perhaps too much long for a compilation. This is a good compilation of Genesis, in Gabriel's era, but it could be better.

Prog is my Ferrari. Jem Godfrey (Frost*)

#18 Review

It is time, i'll review the latest concert that Genesis did, can't believe that it has been more than 10 years, i was alive then but still not a fan of the band because i wasn't aware of them, i was aware of bands like Iron Maiden and Depeche Mode, at the time i was learning about Phil Collins and i wasn't that much into his music (still not), it's amazing that now i think that he has been one of the biggest musicians ever, not because of his solo work, but because of everything else.

In a spawn of 10 years everything can happen, they have been talking a lot lately, mainly Steve Hackett and Tony Banks, in late 2016 was Phil Collins and Mike Rutherford who talked a lot about the band, i have even seen Anthony Philips talking about the memories with them. Back in 2006, the band was talking about a reunion with the original "5" line-up, Peter Gabriel was busy at the time and Steve Hackett couldn't see the point of him in there without PG so the reunited line-up was the same since 1978 to 1992 for live performances.

As for the song selection, i really like what they chose here: - 3 from Selling England by the Pound (+ The Cinema Show [from the Cage Medley], Firth of Fifth + I Know what I Like) - 2 from The Lamb Lies Down on Broadway (In the Cage+ [from the Cage Medley], Carpet Crawlers) - 2 from A Trick of the Tail (Ripples, Los Endos) - 1 from Wind and Wuthering (+ Afterglow [from the Cage Medley]) - 1 from And then there where three... (Follow You Follow Me) - 3 from Duke (Duke's Intro + Turn it on Again, + Duke's Travels [from the Cage Medley]) - 2 from Genesis (or Shapes, or Mama) (Home by the Sea + Second Home by the Sea, Mama) - 4 from Invisible Touch (Land of Confusion, Throwing it all Away, Domino, Tonight, Tonight + Invisible Touch) - 3 from We Can't Dance (No Son of Mine, Hold it on my Heart, I Can't Dance)

Almost every song is "prog", there's no Abacab (wich makes it really good), but there is a lack of songs from Foxtrot or Nursery Crime (it's almost impossible that they would've included something from Trespass, even more impossible from Calling All Stations and From Genesis to Revelation), they could've done it without the song "I Can't Dance", probably the only song that i completely dislike on this concert, it would be too much to ask for them to dump the song "Invisible Touch" since that's their most known song. At the end of the concert, the credits play "Fading Lights" from the album We Can't Dance (a really good swang song), i love that song but it wasn't performed by them in the concert, just a little shoutouts to that song.

"Low"lights (Actually not that bad) - Tony Banks not using Melotron samples, not that big of a deal actually, but it could've made the concert better. - Songs at a lower key because of Phil's singing, it's hard to listen at first but then it's not that big of a deal. - Darril Struermer solo on Firth of Fifth, he was good on everything else, and even amazing on "In the Cage", why can't he play the solo like it was meant to be? He doesn't need to show his talent. - Duke's Travels part where they reduced the piano part to pre-recorded slow piano, if it was going to be pre-recorded, why not make it as close to the original? - I Can't Dance was a really pointless song on this concert.

Highlights : - THAT INTRO, now that's a way to start a concert, the hype, the energy, amazing. - The public chosen for this was perfect, when they shouted "Tony! Tony!" that was really emotional for me for some reason. - The quality of the lights as they always do, but this time the added verticality did a really good job. - The screens on this concert were amazing, probably the best. - That poster that appears in one frame that says "Genesis, Please come to Chile", they have never come to where i live, and i missed Steve Hackett's Genesis Revisited concert that was held like 2 week ago, i also missed Womad from PG and Phil Collins played here 6 days ago, i just wish that i'm not too late in order to show them my gratitude for all this aweosome music, glad they're all alive. - IN THE BLOODY CAGE MEDLEY with Duke's Travels added almost in the end, for a different variation. Aweosome reaction from the public. - The performance was overall of top quality, there was even a moment where Phil drop his drum stick, and then took another one without losing a single note, this was on The Cinema Show part from the Cage Medley. - Follow You Follow Me played on drums and singed by Phil Collins, while the screen was drawing many parts from the past. - I Know what I Like with many pictures from Genesis past, and Phil doing the tambourine dance. - Ripples made me cry. - That portal in Domino that had Phil Collins head on it, he was singing live in a dark room with a camera, that wasn't necessary, he could've used a video while he rests a little, and also, he did that domino thing with the public. - Conversations with 2 Stools and the entire Los Endos part because they added some drum and guitar notes, the reaction of the public is also priceless. - That fire spectale at the end of Invisible Touch. - Carpet Crawlers and all of the prog songs used, including the credits, thanks for everything, the concert was almost 2 hours and 40 minutes, amazing.

The quality on the packaging is really well done, probably the best done Genesis product that's not a compilation or box-set, this is a really good release.

This is probably my less complete review since i won't be talking about DVD 3, i saw some of it, but i'm reviewing the concert here, and i think that this concert was a fine last "gift" from them to us. Back in 2012 i discovered this band and fell in love with it, i don't want something from 5 years earlier to be the final thing they ever did together, but it was really well done so if this is it, it could be the best way of the band to say goodbye, and i have to respect that.

This concert has some minor things that i disliked, but they're really minor, the concert is an excellent addition to any prog rock music collection, but for me as a Genesis fan is clearly a "5" (I decided to change at the last minute my score from 4 to "5", it's my review after all).

This is my last Genesis review, i'll update older reviews, starting with the first one "Abacab", the rating won't change and it'd be just an expansion with the B-Sides of the album, and that for every album i reviewed after that, but there'll also be new reviews from a pretty close person to Genesis, in fact, there'll be "5" new reviews for that person, i wonder who will he be?

As a huge Genesis fan of the Hackett era, this boxset finally made me understand the reason why the band turned from a prog-god of the 70's to a mainstream pop monster of the 80's.

And the reason is simple: Genesis was born pop, and had to die pop. Their progressive era was just a "brief" respite in order to accomodate to the tendency of the moment. Proof of this is not only their debut album, but CD4 of this compilation. As most reviewers have focused on CD's 1-3, I will call the readers' attention to this fourth disc, a compilation of demos and other rarities of the band's early days.

All of these compositions are raw demos that actually show the band's real direction from the very beginning. While some claim that Jonathan King was responsible for the poppy direction the band had in its debut, these songs are proof that pop was Genesis genre from their very start. The songs, most of them devoid of percussion (surely the band had not consolidated firmly by then), have the typical pop sound of the late sixties. Honestly, I find the tracks boring and dull, the band being still on its earliest stages of development and a long way yet to compose strong and commercially attractive hits. I cannot point even a single one, because all of them are pretty forgettable, and not just because of being pop, but because of being poor and uninspired pop.

Anyway, the band would temporarily leave the pop genre by the time Hackett joined the band, and would go back to its "roots" by the time he left. All of their members and alumni would follow suit in their solo works, with only a few exceptions. And this collection shows their true inclination.

Still the material found in the first three discs is worthy enough to earn it four stars!

#17 Review

Finally here, i left the longest, most interesting and probably the best album as my last review for Genesis... well, not quite, there's still one more thing that goes far away into the future.

The Little Prince... i'm glad that this album wasn't about that, instead PGs twisted mind took over and made one of the most theatrical albums ever, he alone made the entire lyrics (except for Light Dies Down) while the rest of the team were making lots of tunes, interestingly a song called "Lilywhite Lylith" was concieved back in 1969 by Anthony Phillips and "Anyway" was also made during that time.

Many credit Peter Gabriel as the only one that made the band great, without a doubt he made the best lyrics, made interesting characters, but what else is to it? The musical part was mostly done by everyone else, and the band changed style progressively in each album, i think that the band got mellow with each release and this album shows it if you compare it with the previous ones. I have always been more about the music than the lyrics, i'm a big fan of only instrumental songs, i listen to jazz and classic music, and i play the piano, i really like Tony Banks even in his worst work i can see what he is trying to do, but if there's something i disagree with him a lot it's about what he thinks about this album, he doesn't like the story, while i really like it, i grew up in the 90s and somehow this story feels right at home as one of the bests. Tony Banks and Mike Rutherford's opinions aside about this album, the band has been trying to bring it back on many occasions, for instance, they tried to make a movie... twice! One when the album was just released and the other in 1994... WHEN I WAS BORN! For the 20 year anniversary of the album that is, and no one wanted to make the movie, also they tried to do a complete tour for this album, Steve Hackett said that recently... WHAT HAPPENED?! And in 1999 they released the awful "Carpet Crawlers 99'" with a video and a missing verse because for some reason Ray Wilson's lines weren't included or recorded i don't remember, everything was recorded separately and badly mixed as well.

This album marks other more important hits, like for example, the ACCIDENT that the band had in one of the tours, it was horrible and that made the band fire the tour crew and almost made them split up completely, it was a disaster worse than the accident on the Abacab tour (That one that PG and Hackett fans always like to bring out). And obviously, this is the last album with PG, were Genesis lost character, PG wanted to follow his own career, the band wasn't his if the members couldn't get along with him, who would want to hang out with a Slippermen that sings bad because his rubber mouth eats the microphone anyways? And even more concerning for PG was his family and a new job that he got offered at that time, working for a movie as a writter, that's when he wanted to sneak up The Lamb, but it didn't happen, the closes thing to The Lamb tho, is the movie "El Topo" from 1970 directed by Alejandro Jodorowsky.

To finish this off, there's a complete story made for this double LP made by PG, + an extended stack of pictures. On the web there's also the complete story of the failed concert by one of the managers that was hit on the head by Tony Banks because Tony wanted to kill him.

This review already has the biggest description i have done, but also it'll be the longest by the cheer amount of songs, and i'll review each.

CD1

1.- The Lamb Lies Down on Broadway 10/10 Perfect start, when i first heard it i thought that i was too repetitive, but now i think that is mesmerizing, i love it and it's a really fun tune to play and sing. It really feels like the start of a theatrical spectacle, it fits the artwork of the box, makes me go back 20 years before i was born and it's just magical.

2.- Fly on a Windshield 10/10 The previous song continues on this one, and this is when the plot starts going after the character is introduced. Our protagonist Rael is transported to another version of the previous described place, showing dead people and mythical creatures. The music accompanies the events perfectly, the tension increases and this song has one of my favourites compositions from the band, where it feels like everyone has the spotlight.

3.- Broadway Melody of 1974 10/10 Continuing with the idea of the previous song, a really short tune to describe what the protagonist can see and then a really beautyful piece of music that makes me feel like the protagonist is being transported somewhere else.

4.- Cuckoo Cocoon 10/10 Also starting from the previous song, our protagonist is followed by pretty instruments and falls into some kind of soft spot where he feels better than at home. Props to Tony Banks.

5.- In the Cage 10/10 IN THE BLOODY CAGE, our protagonist is sleeping deep and awakens in a state of cholera, traped inside a cage alongside many people outside in different cages, and outside its his brother Jhon Hack-, Jhon Rael or something, so it's like Rael Bros. or something. I can't describe how incredible this song is, it has been used so many times in concerts and i never get tired, the feel of emergency in this song and specially that incredible Tony Banks solo that i'm still learning, it's surreal, interestingly enough, that part is almost played by only the 3 persons that held the band for many years to come, another reason for what they played it so much on concerts, trying to transform pop fans into prog fans, and for what i know, they succeeded with a lot of them, this, Supper's Ready and The Cinema Show have changed people from prog to pop. The ending to this song it's too beautiful not to mention it, i always imagine Rael getting outside the cave and finding a boat to cruise over into the next destination, instead of imagining a train on the distance for some reason.

6.- The Grand Parade of Lifeless Packaging 9/10 I really like the progression done in this song, but it feels like a joke compared to the previous segment, it's a little repetitive but it still follows the story well and demostrates perfectly how weird this world is. Also, this song was heavely altered during production and the band was happy with all changes done in distortion and volume of the song, because it goes and shows in a better way the intentions of this song.

7.- Back in N.Y.C. 8/10 At first i completely disliked this song just for the sound of it, but it got stuck in my head once and i really like it, it's a repetitive as well, the lyrics and the performance of Peter Gabriel is really good here and describes Rael as how he really is. About the odd time signature, i have always liked them, since i was little, before knowing what an odd-time signature was, for example, i really liked that song from the movie "The Truman Show" called "Anthem".

8.- Hairless Heart 10/10 A nice instrumental song that really sets the atmosphere, reminds me of Trespass, it continues from the previous song as well.

9.- Counting Out Time 9/10 Continuing from the last song, we touched the dark side of Rael, who he really was in NYC, but now we see the more sexual side, and this song always cracks me up laughing at some points, like when the distorted guitar appears... or i should say "Mr. Guitar", this makes me think that Rael had some mental problems as well, but minor. The bad thing is that this song is a little repetitive.

10.- Carpet Crawlers 10/10 Another Genesis stapple, really emotional, probably the only song that the 3 vocalists of the band have played in concert. It's also a repetitive song, but mesmerizing, everyone does an effort in this song and it's really well done.

11.- The Chamber of 32 Doors 8/10 Rael sees everything and tries to escape, and instead he learns more about people. I really like the atmosphere and lyrics, but again, this song is really repetitive, it feels even more so repetitive than NYC.

CD2

1.- Lilywhite Lylith 9/10 Starting the second disc with a bang, an epic song that takes Rael near an angel that abandons him eventually, a little repetitive it is, and this song continues to the next.

2.- The Waiting Room 10/10 A jam at the studio that was "remade" many times in order to represent purgatory in the most accurate way, devil jam. I don't know what else to say here, that's what it is, not even an experimentation or trying to portray what lyrics are saying, just going there to the absolute.

3.- Anyway 9/10 "I'm the mad, mad, mad scientist", aweosome piano piece by Tony Banks, anyway, this song is not that interesting in order to repeat certain pieces, it's not that long tho, but i'll still rest a point...

4.- Here Comes the Supernatural Anaesthetist 10/10 I really like the rythm of this song, Rael finally got what he deserved and we got a really nice song where everybody does it's best, props to Hackett tho... and this is not the end of Rael. Listen this song until the end, the ending part it's really great.

5.- The Lamia 10/10 Rael it's still alive but enters a cave that has 3 lamias inside. The music goes alongside the lyrics perfectly, while i congratulated Peter Gabriel for the lyrics, in this song we can also see how well Tony Banks and Steve Hackett work together, and this happens a lot in many Genesis songs, no wonder why people want them to make music together again.

6.- Silent Sorrow in Empty Boats 10/10 As i said in the begining, i really like soundtracks, and this song shows how aweosome would be a soundtrack made by Genesis, it's simple, yet i can feel what's happening without any lyrics.

7.- The Colony of Slippermen: Arrival / A Visit to the Doktor / Raven 10/10 And after our protagonist traveled through a river of souls, he came under the seawers, and found another mythical race, though this time, this one is less known... enter the Slippermen, a really gross race, stuff from nightmares, they aren't bad "people" tho. This song recreates this with full detail, would you like to hear that? Maybe not, but the song it's a work of art and the lyrics are really well conected, so it doesn't matter if it's gross or frightening, whatever, you're not transforming into Slippermen, don't worry. This song also features what some we call "A Tony Banks Moment" when there's an incredible piano solo, the first time i read about that was in a comment on Youtube.

8.- Ravine 10/10 Another soundtrack like song, done with Keyboards and Accoustic Guitar, a mighty combination, my problem with this song is that i don't understand it's name, the music tells me that Rael is vanishing and getting transported to the next song, but the title is just... ravine?

9.- The Light Dies Down on Broadway 10/10 The only song not writen by Peter Gabriel, but it fits the story perfectly anyways, it feels like a different version from the first song, and i really dig that, giving you a new sense and sitution in the same place, we're back, it's nostalgic, but everything has changed a lot, like when you go to where your local "Blockbuster" was, and now there is just an empty building completely destroyed and filled with rats.

10.- Riding the Scree 10/10 A little part from this song was used in concerts in the solo part of the song "The Cinema Show", and it fits perfectly, but this song also holds a beef on its own, almost completely instrumental, the drumming is really great on this song, as well as Tony Banks. The lyrics near the end add even more atmosphere.

11.- In the Rapids 10/10 A really mellow song to symbolize loneliness, this is like the bad ending of the story, some people believe that it would've been better if the story ended like this, then the song shifts it's tone like half-way and goes into the next song, with the "happy" ending.

12.- It 9/10 And this is the end of this epic journey, this song gets a little repetitive, but it gets the work done, i specially recommend the version of this song in "3 Sides Live", because they mixed this song with "Watcher of the Skies" and it sounds really good.

In total, CD1 gets a 95/100 and CD2 gets a 97/100, giving a total of 96/100, this album obviously deserves 5 Stars, by it's cheer effort alone deserves it, i love albums like these, but there's a problem, this is the only album that it's really like this, Genesis in general is an unique band.

As i said earlier, this is not my final review on Genesis, in that review i'll talk a little more about the band. After that, i plan to do an extended cut of all the reviews i already made and i also plan to continue reviewing other groups, or people, specially the "5" members of the group (Anthony Phillips instead of Phil Collins since he is not on this site).

#16 Review

2nd Best Album of all time in the site, does it really stand out? This album could've easily been one of the most valued albums of all times if it wheren't for Rolling Stones magazine who gave this album a 0/10 because it offended them for some reason, don't trust them, even tho they issued their apologies later, it was already too late and then they gave "abacab" a 10/10... WHAT!?!?!

Anyhow, after "Land of Confusion" and "The Musical Box", this albums has the songs that made me stay with Genesis forever, i already like "The Musical Box" a lot, and it's still one of my favorites tracks, but "Firth of Fifth" and "The Cinema Show" blew my mind back in 2012, i entered college in 2013 and everyday i went on the train i listened to those songs over and over in repeat, they were and are still absolutely fantastic.

As always i review by song:

1.- Dancing with the Moonlit Knight 10/10 What a way to start an album, with the most epic voice solo ever done, so much that the world moved in 2016 when Peter Gabriel sang it again live after more than 30 years. This song is a complete experience, an staple of what Genesis is, from the amazing instrumental/solo part, to the delivery of the singing, to all the layers that are traveled here while the story is being unfolded, really hard to top... and then they finish the song with one of the pretiest performances done on instruments, recreating life.

2.- I Know What I Like (In Your Wardrobe) 10/10 Is this the first pop Genesis song? Probably, is the one that has been used a lot by the band and very apreciated by people from all eras, that doesn't make it a bad song at all, it's really happy and well executed, it's not like the first song at all but it still deserves a 10/10 for being so well done, entertaining and timeless. "You can tell me by the way i walk!" "The only thing about me is the way that i walk!" What is with Genesis and walking?

3.- Firth of Fifth 10/10 Issued many times as the perfect prog song, and it's easy to see why, technical achievements, master play from everyone on the band, this is the song that probably united and used the band to it's maximum capabilities, so then you know that it's perfection, there's not another way to describe it, they toped the first song somehow! I play the piano and i'm still not good at this song, but i keep trying and it's really fun to play everytime, it contains one of the best solos of all time, but the whole song is a classical masterpiece.

4.- More Fool Me 8/10 A really mellow song, completely done by voice and guitar, it doesn't show much technicality on guitar, the voices are good and all but i'm not a big fan of this one, too simple.

5.- The Battle of Epping Forest 10/10 I have seen people recommending this song as one of the most epic ones ever made, atleast when people ask for those, and i don't think that this is the one, but the answers still guide well those who ask because of this album. As for the song itself, the direction taken here is still fantastic, the introduction it's magical, the song then gets a little standard but it quickly becomes interesting by the amount of changes done, in voices, piano and sound in general, it even has an odd-time signature singing. It sets different ambiences while telling the adventure, sometimes telling it like a nursery rhyme, and others like a drama, showing what Peter Gabriel theatrical experience can do, even do that was already shown with Supper's Ready one album earlier. This song reminds me to some songs on Foxtrot and "Robbery, Assault and Battery" from "A Trick of the Tail".

6.- After the Ordeal 10/10 An instrumental song that i love a lot, i have always been more about the instruments than lyrics, this song explains exactly what it tries to say without any lyrics, that shouldn't be a surprise, but sadly it is nowadays. I like how Tony Banks does the major part on the first half and then Steve Hackett does it in the next, they could've made a nice side group, it could still happen tho.

7.- The Cinema Show 10/10 5 years ago i never expected to review this song on a site, but i knew since then i would listen to this song my whole life, this is it, when it all completely started, this when i realized that music could be made this magical, making you feel different settings by cheer sound alone, and that was really astounding for me, i already love OSTs, but those are made specifically for different situations, while this one goes from peace, living life, enjoying life and finally the climax, in the most simple way to put it. This piano solo IS the best ever done, and in live renditions they mixed it with "Riding the Scree", in other live renditions it has a different set of drums (1978, dijon), all welcome additions, how can you perfect perfection?

8.- Aisle of Plenty 10/10 "Who Dunnit?" is not the biggest sh*tpost made by Genesis, this song deserves the 10/10 because it's a continuation of The Cinema Show, it's the first song made about a super-market ticket and... i don't know, after all this adventure with this album, the last song brings you back to earth happy anyways.

The complete score for this album is a 98/100, wich obviously translates to 5 stars, completely well deserved and i hope to see it someday on number 1! See you in the next review... the craziest one, see you in 1974.