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Retrieved September 11, Retrieved September 17, February Retrieved September 18, Archived from the original on CBC News. The National Post. USA Today. New York. A must have for Genesis fans. For the rest of the prog community, it deserves a nice four star rating. And i'm sure that's why this song was included. Mellotron is not as plentiful but it's on this one too. And Hackett is showing us how well he can play. Everything is so delicate and gentle for the first 4 minutes.
Pulsating keys as well as some beautiful guitar melodies from Hackett follow. What makes this interesting is hearing Hackett play Phillip's guitar parts. I've never heard Hackett play this aggressively before! And check out Gabriel's flute melodies in a beautiful pastoral section a couple of minutes earlier.
I am just so impressed with this album. I had always heard how good this band was "live" when Gabriel was at the helm, well now I can vouch for that myself. This is a must have in every prog fans collection. Anyway, it is still a very interesting and convincing document of an era.
In fact I think it is the opposite: they distract the listener from the subtleties and richness of the music. When I hear this CD and compare itto the live bootleg video recorded a little latter Live in Shepperton, , that is very clear. No wonder the other members of Genesis were sometimes pissed with all the exposure Gabriel was getting from fans and press with his little personal show. So in the end this CD proves the band could live very well without the visuals aid although I must say they helped a lot to bring the concept one step further and gave a tremendous boost to the music in terms of all around perfomance.
As it is 4 stars is more fitting. Not really a classic, but an excellent addtion to any prog music collection. First, the mix which, somewhere along the line, went terribly wrong. Banks and Collins are often buried and at times it is hard to tell if Steve Hackett is even on stage, the whole thing sounding a bit like it was recorded from the third row of the audience.
There also seems to be a slight intonation problem which, because of the band's complex and sometimes delicate music, is distracting. Zeppelin could get away with occasional mis-tunings, Genesis not so much. Zep also made up for their inexcusably sloppy demeanor with passion and bold improvisation. Here, Rutherford, Hackett, Banks, Gabriel and Collins simply recreate the album versions practically note-for-note which is not what rock is all about, even prog rock.
Further, the mood of the performance lacks enthusiasm and life. Considering Gabriel left only one year later, this is perhaps not surprising. The set has its moments as in 'Hogweed' and 'Musical Box', both solid compositions. But there is something missing here, something important, and judging by their other live material - such as Three Sides Live , a much more dynamic and better-sounding affair - one assumes they could and did do better. A regrettable three stars. Overall rating: 4 stars.
How to explain? This is my valuation of ART, not exact science. Songs are great - varying from excellent to astonishing. What's wrong in the overall picture. Obviously, not much, since four stars is still quite high rating, but something is missing here. Guess what's missing? Let's take a look at the total time. You're right, you've guessed it.
It's way too short. But this is live album, and it ends almost abruptly. An extra minus is lack of communication with the audience; we have "an unaccompained bass pedal solo" and that's about it. Great live recordings must provide an illusion that listener is there, and this one is not the best in that it's far from the worst though. Sound quality is everything but perfect - why so many bad recordings from the seventies have accented frequency mid-range? It's not hissy, barrel-y, or muffled, it's just awfully dry.
Another thing that could be addressed is the performance itself; personally I think it's fine, although I'm missing a minute or two of extended improvisation or jamming within the symphonic rock context! Some people prefer live performances to be exactly the same as studio recordings, some want literally decomposed songs, some people love spontaneous jammings - so this is not the major issue.
Actually, none of aforementioned issues is a crucial one, but when we sum all that, it turns out this recording is not a five star material. But it's surely excellent addition to your basket of joy, and surely will reward a listener with miryads of enjoyable moments.
But because these are the first 5 they will always have a special place in my heart. But the production is the worst enemy here as it is below standard. I have always regarded Genesis mostly as a studion band. If Arthur Brown was of a litigious bent, and not the splendidly self-effacing man we know and love, I am sure the legal profession would be rubbing their collective hands in anticipatory relish were Messrs Gabriel and Cooper sitting in the dock awaiting cross examination.
I'll wager also that Peter and Alice spend more on their lunch than would be deemed sufficient as an out of court settlement by any magistrate.
There is so much of Arthur's work unacknowledged in Gabriel's that the latter's uncontested mantle as creator of 'theatrical rock' would only be permissible in a truly, deeply crazy world. But enough of this bristling indignation and onto the heart of the matter. I prefer the live versions of most of these songs as their studio equivalents suffered from a murky production that obscures much of the detail. Watcher of the Skies' - Superb anticipatory intro by Banks lush Mellotron which retreats to uncloak that famous distress signal of drunken morse code that permeates this song.
Hackett's mastery of the volume swell technique creates a scrumptious 'sobbing' guitar sound that is employed in mesmerizing fashion during the quieter section towards the end. Yep, guess who they rented it from? Gabriel summons forth yet another voice for the 'faceless corporation announcer' during the song's dramatic and very emotional conclusion.
As brilliantly as all this is done, there is something faintly nauseating about both a singer and his audience's presumption that what is presented constitutes some sort of 'high art. Only Genesis, that most quintessentially 'English' of progressive rock bands could write a song this blithely preposterous.
If there is any greenfly at all on this magnificent bloom, it takes the form once again of Peter Gabriel's insatiable need to convince all and sundry just what 'incredibly weird' and 'smart' might look like. Suffice to say, this is what a horror story written by Lewis Carroll might resemble.
The climactic 'Why don't you touch me? Tip: Best to avoid playing croquet on a stripey lawn with any females who have a nurse in close attendance. The music wisely eschews most of those cliched martial conceits so beloved of Prog and instead romps through a spritely and infectious organ groove underpinned by that lovely dirty clanking bass sound that Rutherford lent his signature.
You really can't argue with the song selection for this Genesis live album as it contains five virtual no-brainers culled from the band's most fertile period. That said, 'Peter the Costume Changeling' still manages to irritate sufficiently throughout this truncated live concert 'snapshot' to grant his troupe sight of another empty and unilluminating star. This album rarely left my 8 track player in my car back in the 70's and I know every nuance of this great slice of Genesis history.
The songs have all been reviewed in their respective studio releases so there is nothing new to add there. One thing to say is how Genesis performed in concert in that they did little to change any of their parts except some guitar solos. I believe they were trying to keep the overall structure of the studio as best as possible.
What does come across is how powerful this band was live. Phil Collins and Steve Hackett show how much difference they made to this lineup. Just listen to the last 2 minute of Watcher or if you need further convincing listen to The knife. It is like the studio version on steroids. I wish this album could have contained other things that they did on this tour but I understand the business decision not too. Still a great listen 4 stars. StarStarStarStar StarStar This live album albeit made up of songs from gives you perhaps an indication of just what a superb act classic Genesis were even without the loony costumes.
Comprising three of their absolute best songs and a couple of not-at-all-bad ones which really come to life in this context, it's a fun trip all the way.
Just about every song is improved on in some ways, either by improvisations or better tones or new takes on old ideas. Perhaps the only real weakness is that sometimes Gabriel seems a bit drowned in the mix, and every now and then the weight of the bass seems to drown out Hackett's understated solos. Watcher Of The Skies is particularly improved.
That mellotron introduction I never liked becomes truly quite eerie and haunting, the bass is seething with new energy, and Gabriel, even if he doesn't quite pull off the sort of minstrel-of-the-future storyteller thing he seems to want to do as well as he could, does add new ideas and also isn't somewhat drawn back by the speed of his vocal as in the studio version. A final word for Collins and Hackett, both are great on this one.
The highlight of the piece is certainly that rather nice bit where Banks pulls off the quiet organ counterpoint thing, but certainly all the core strengths of the song are really emphasised here. Great stuff. Get 'Em Out By Friday follows on with a quick, punchy Collins intro, and a real performance confirming my view of it as the high point of the Genesis rhythm section. Live, as in studio, the percussion and bass is simply superb. Gabriel's vocals are also a big step up, with all the theatricality, character and weirdness merited by the song within his basically really good voice.
Banks and Hackett are both on top form, as well, with a particularly classy choppy organ performance and some classy guitar, squeezing out sounds I've never really heard before. As always, the high point for me is the mid-section. Absolutely brilliant performance. The Return Of The Giant Hogweed gets some sort of infusion from being played live, it seems, and this performance simply flattens the Nursery Cryme version, with a particular improvement in Hackett and Rutherford's kicking little rhythm parts and riff.
Hackett even provides a rather scraily solo. Banks' tone seems to work simply so much better here, and Gabriel's dry, mocking tone and off-the-wall vocals are simply brilliant. Collins' tasteful rolls fit perfectly. Such a good version. The Musical Box is vamped up by Collins' re-thought drumming and a fantastic Hackett performance, bringing out all the rock in his guitar stylings. A sort of contra-bass I think part adds a bit of the unanticipated, and Gabriel's vocals sound almost as fantastic as in the studio one, though he can't quite pull off all the tricks in it live.
The emotional climaxes, however, are just as powerful, and this is clearly one of Genesis' best songs. More great stuff. The Knife is another song rather substantially improved here. Collins is absolutely on fire, with a rhythmic performance replete with inspired fills. I mean, he even turns one of the drum parts into a seriously danceable thing with absolutely no prior warning.
Hackett fits the song like a glove, adding his own stylings, aggressive and yet sensitive, to the whole thing. Rutherford's rapid bass runs and Banks' solid organ also fit it very, very well. Gabriel adds a very neat flute solo as well as his idiosyncratic voice, and even if in the initial part of the song he feels a little drowned out, he more than makes up for it with the hilarious vocoder.
Seriously, that entertains me every time I hear it. Anyway, another absolutely quality performance. So, to sum it up, a very, very good live album, and vital even for those who aren't enormous fans of the group, and one on fairly regular rotation chez Orb.
Just about every piece has some area of improvement on the studio version and two of them Get 'Em Out and Hogweed flatten the studio versions in every respect. Superb stuff. This is the band's first official live album, and I feel that it absolutely suffers a little from poor production and the feeling at the time and confirmed by the band since that it was rushed out by the record label.
For the very few visitors to this site who are not familiar with the band's work, I would recommend that you save a few extra pounds or dollars etc. You do, though, get a sense of how powerful they were live at this stage, and The Musical Box and The Knife certainlty shout out as far more noisy and driving than the studio equivalents, and they were great in themselves.
Genesis Live is comprised of two songs which originally appeared on Nursery Crymetwo from Foxtrotand one from Trespass The latter had begun to experiment with unorthodox guitar tunings and had the top three strings tuned into F sharp which provided the jangly sound heard in the opening and the chord that signalled the start of the electric guitar solo. The Return of the Giant Hogweed is a poor rendition, and deserving of a star knocked off in itself. In quotes cos the organist and the mime-influenced vocalist have the drummer a little confused! He overdoes the pronunciation a bit and obviously he gets a lot of fun to himself doing it. Retrieved 24 February — via robertchristgau. Retrieved September 17, As far as his singing goes I don't hear much difference from the studio albums.
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