Seconds Out

Seconds Out

4.1 8
by Genesis
     
 

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Depending upon your point of view, Genesis in 1976/1977 was either a band ascending toward its peak commercially, or a group crippled by the departure of a key member, and living on artistic borrowed time. In reality, they were sort of both, and fortunately for the members, their commerciality was more important than their artistic street cred

Overview

Depending upon your point of view, Genesis in 1976/1977 was either a band ascending toward its peak commercially, or a group crippled by the departure of a key member, and living on artistic borrowed time. In reality, they were sort of both, and fortunately for the members, their commerciality was more important than their artistic street cred, as their burgeoning record sales and huge audiences on tour during that period attested. Seconds Out caught the band straddling both ends of their history, their second concert album and this time out a double LP. Apart from capitalizing on a successful tour, the album's raison d'etre appears to have been to present the case to critics and longtime fans that post-Peter Gabriel Genesis, with Phil Collins as lead singer, was essentially the same band as Genesis fronted by Peter Gabriel. The original side one songs consisted of repertory from such post-Gabriel albums as Trick of the Tail and Wind & Wuthering, and most of those live versions, including "Squonk," "The Carpet Crawl" (positively ethereal), and "Afterglow," are superior to the original studio renditions of the same songs. Indeed, part of the beauty of this album is the sheer flexibility of the band during this period -- in addition to superb vocals by Collins throughout, the drumming by Chester Thompson is at least a match for Collins' best playing. On that older repertory (which comprised sides two and three of the LP version), the results are more mixed, though still surprisingly enjoyable -- on "The Lamb Lies Down on Broadway," despite the best efforts of Collins, backed by Michael Rutherford's and Tony Banks's singing, he really can't match the subtlety or expressiveness of Gabriel's singing, though he comes close; he actually fares slightly better on the closing section of "The Musical Box," a piece that requires power as much as subtlety. "Supper's Ready" -- which, sung by Gabriel, missed making it onto 1973's live album -- holds up well, mostly by virtue of the playing; and in fairness, the band even extended itself to including "Cinema Show," which is worth hearing just for Bill Bruford's transcendent drumming, over and above how well everything else works; as this track was never represented with Gabriel, even on the group's boxed set, it's difficult to complain too loudly about any weakness in Collins' singing. ~ Bruce Eder & William Ruhlmann

Product Details

Release Date:
11/29/1994
Label:
Atlantic
UPC:
0075678268922
catalogNumber:
82689
Rank:
31440

Related Subjects

Tracks

Disc 1

  1. Squonk  - Mike Rutherford  - Tony Banks
  2. The Carpet Crawlers  -  Steve Hackett  - Tony Banks
  3. Robbery, Assault & Battery  -  Collins  - Tony Banks
  4. Afterglow  - Tony Banks
  5. Firth of Fifth  - Tony Banks
  6. The Lamb Lies Down on Broadway  -  Collins  - Tony Banks
  7. Musical Box (Closing Section)  -  Collins  - Tony Banks

Disc 2

  1. Supper's Ready  -  Collins  - Tony Banks
  2. Cinema Show  -  Collins  - Tony Banks
  3. Dance on a Volcano  -  Collins  - Tony Banks
  4. Los Endos  -  Collins  - Tony Banks

Album Credits

Performance Credits

Genesis   Primary Artist
Bill Bruford   Percussion,Drums
Phil Collins   Percussion,Drums,Keyboards,Vocals,Voices,Soloist
Steve Hackett   Bass,Guitar,Electric Guitar,12-string Guitar,Koto
Chester Thompson   Percussion,Drums
Tony Banks   Keyboards,Hammond Organ,Electric Piano,Vocals,Background Vocals,Mellotron,ARP,Arp Pro Soloist,Epiphone
Dale Newman   Guitar
Mike Rutherford   Acoustic Guitar,Bass,Bass Guitar,Electric Guitar,Background Vocals,12-string Guitar,8-string Guitar,Moog Bass

Technical Credits

Phil Collins   Composer
Peter Gabriel   Composer
Genesis   Producer
Steve Hackett   Composer
Tony Banks   Composer
Robert Ellis   Sleeve Photo
David Hentschel   Producer
Mike Rutherford   Composer
M.L.   Monitors
Armando Gallo   Sleeve Photo
Frank Sanson   Art Direction
Craig Schertz   Engineer
Graham Wood   Sleeve Photo
Handsome Harvey Baker   Special Effects,Stage Technician
Tex Yodel Read   Tour Manager
Hunter MacDonald   Contributor
Randy Blair   Contributor

Customer Reviews

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Seconds Out 4.1 out of 5 based on 0 ratings. 8 reviews.
Guest More than 1 year ago
I have always felt that this was the best Genesis record, period. Being a fan of their 70's style vs the later material, this assortment of songs presents the best songs from the represented albums. Phil Collins' voice is much easier to listen to and more consistent than Peter Gabriel's, and he does a better job of Gabriel's songs than old Pete himself. The playing is excellent, with ''Afterglow'' representing one of their finest momements on record. Steve Hackett's solo on ''Firth of Fifth'' is out of this world, and the closing section of ''The Musical Box'' is compelling. Great selection of songs, great playing, if you had to buy just one CD-this would be it!
Guest More than 1 year ago
Not sure what beef is in some of the reviews, I've always loved this record. The performances are excellent, IMHO with the band at its high point musically (ie still playing lots of PG-era, plus the strong material from Trick & Wind). Phil does a fine job at the PG stuff, smoother, less quirky, but strong and with good humor. He sings his songs from Wind & Trick better than on the studio recordings -- he's beginning to come into his own (even though for this tour he grew a big bushy beard to hide behind, and handed over some of the audience patter-spots to Steve Hackett and/or Mike Rutherford -- check the boots). Steve Hackett's guitar parts in particular are a joy to hear on this record. His sound is warmer than on the studio records, and less dry. He's using weirder effects than on the studio records also, which is fun to listen to.
Guest More than 1 year ago
In response to other reviews' I can only say that true Genesis fans will love the album. From a musical stand point it's excellent! Highest marks there....Sure Phil Collins is no Peter Gabriel... thus causing the vocals to be a little thinner than we were used to. However, all versions of the old material were pulled off without a hitch...You see Mr Gabriel decided to leave the band shortly before the tour started...and there was no time to record new material before going on tour...this would have given us all a dose of Phil singing lead vocals...hence the vocals would not have sounded like a new vocalist was with the band! Perhaps others would have preferred the band to just go away! Fortunately they did it this way and gave us many more years of music! Then again everyone is entitled to an opinion......I throw mine in your direction as a Fan from the early days in 1970...as a musician who played the tunes on this and most of the other albums!
Guest More than 1 year ago
Polished, slick, tight, and boring. Phil Collins vocals are an excellent substitute for Peter Gabriel but they never seem quite loud enough. This is just so flat and lifeless compared to the first Genesis live album. Collins is a super drummer but of course you don't hear him on this album much because he's so busy singing. Greg Lake and Keith Emerson must have watched with horror and amazement while they floundered as their rivals were on the cusp of superstardom.
Guest More than 1 year ago
A surprisingly downbeat and rather boring album. The album opens with average versions of the hits 'Squonk,' 'The Carpet Crawl,' and 'Robbery, Assault, and Battery.' The band really drags when it gets into extended versions of 'Firth of Fifth' and 'I Know What I Like.' Even though the closing section of 'Musical Box' offers some flare, CD 2 is a lost cause. Phil Collins tries to keep everyone from falling asleep during a dragged out 'Supper's Ready;' and he is no Peter Gabriel when it comes to sections like 'Willow Farm.' Another downright boring song from 'Selling England' is 'Cinema Show.' The album thankfully ends with 'Dance on a Volcano' and 'Los Endos.' This is not quality Genesis.
Guest More than 1 year ago
just got this in the mail today and love it the live version of suppers ready rocks some parts a bit longer and a bit faster then the orignal studio version and a great live version of carpet crawlers and robbery assualt snd battery. phill collins does a outstanding job on leads. this album rocks
Guest More than 1 year ago
This album is absolutely one of the finest live Rock albums ever recorded. It captures Genesis at the peak of its poetic and artistically-musical creative abilities (despite the absence of Peter Gabriel) before the group fell slowly into writing and recording songs instead of complete albums. In order to fully appreciate this album, though, you should understand what you are getting and adjust your expectations, accordingly. Genesis' material from the 1970s and early 80s centered around treating the entire album as more of a Rock Opera that a collection of unrelated songs. The lyrics were not all rhymed in sing-songy fashion, but instead flowed melodically and peotically along more complex melodies. Each song flows into the next, much like the movements of a classical symphony or songs in an opera flow together. Their concerts were performed the same way. The songs could stand out, just as the final movement of Beethovan's 9th symphony or the opening movement of Mozart's Symphony 41 stick out, but they more so blend into the musical theme of the entire album. But in contrast to much of the "art rock" of the 1970s, Genesis' music was still accessible and "went somewhere" besides a drug-induced haze. Genesis also did not produce Hard, guitar-oriented, Rock Operas like the Who or Pink Floyd did that will knock your socks off and blow your eardrums away. Instead, their music relies far more on Tony Banks' melodic synthesizers--not Pete's windmill guitar antics--and Phil Collin's throbbing drum line--not the wild, pounding of, say, Keith Moon (The Who). Their lyrics similarly were more ethereal and poetic: more like Lewis Carrol (Alice In Wonderland). Fans of the "Illegal Alien" "Invisible Touch" pop-oriented Genesis from the late 1980s through the 1990s will understandably feel confused and very disappointed with this album. The music is rather different, reflecting the band's artistic 1970s output, not its commercial output of the late 80s and 1990s. However, once you understand what you are getting, you will not feel nearly as disappointed. Perhaps the best part about the music on this album is that it can inspire your own imagination or allow you to think things over while the music plays. Unfortunately, some people want all the thinking and imagery done for them. Others might just simply prefer something harder or softer. I could not disagree more with the B&N review, nor with those who panned this album. This album is phenomenal!!
Guest More than 1 year ago
This album marks the first for Gensis Phil Collins era, and it features songs from A Trick of the Tail, and the follow up Wind & Wuthering, and guitar enthusiasts realized that this is the last album to feature Steve Hackett, which meant after this album was completed, he left Genesis to pursue a solo career. This album is definately not only for Genesis fans, but for drummer enthusiasts, because not only Phil Collins is the only drummer, but they're two jazz drummers too like Chester Thompson, and Bill Bruford who in fact was Yes' founding drummer, who left Yes in 1972 after finishing Close To The Edge, to join King Crimson, but then joining Genesis for this album, and this would'nt be the only time Steve Hackett would perform with a Yes member like Bill Bruford, he then would join Steve Howe to form GTR, in which guitar enthusiasts would definatley enjoy. All Genesis fans, especially Phil Collins Genesis era fans would really enjoy this album from start to finish.