Second Live Genesis Album
351137
I like this lineup of musicians, but was disappointed that Bill Bruford only appeared on one song, Cinema Show, which is an excellent version of the song. The song selection is very good, with seven songs from the Peter Gabriel era, including the epic Supper's Ready, mixed in with half of the songs from A Trick of the Tail, the album the band was touring to support when this was recorded. Phil Collins vocals sound amazingly like Peter Gabriel, and his masterful drumming is unmistakeable when he joins in during a break in the vocals. This is Phil Collins era Genesis at its peak.
4658426
Some fans regard the 1983 self-titled album by Genesis as the band's "middle of the road" album, a Genesis disc that has a strong first-half but a weak second-half. All I know is that I think it's a terrific Genesis album from beginning to end, and that includes the supposedly "weak" second-half of tunes. Honestly, what's weak about the second-half? Is it because the songs are short? Is it because none of the second-half's batch of tunes were hits? PUH-LEEZ. They're great songs, all of them."Genesis" marked the very first time that Tony Banks, Phil Collins & Mike Rutherford wrote & recorded a Genesis album from scratch, with no material written before entering the studio, as they had done in the past. All of the songs came out of jams, and the results are outstanding. "Mama" is a Genesis classic, a sinister tune that harks back to the band's progressive Peter Gabriel era. Next up is "That's All," the band's first big hit, and it's a great toe-tapper. "Home By The Sea" & the instrumental "Second Home By The Sea" are spectacular, memorable Genesis rockers. "Illegal Alien" is the most criticized track on the album---some even claim this song is offensive to Latinos! I say hogwash. The song is satire, plain and simple. It's funny, catchy, & upbeat, and, speaking as a person who's part Latino myself, I have no problems with it. "Taking It All Too Hard" is a beautiful ballad, and "Just A Job To Do" is a great rocker (I also remember it being used as the theme song to that old ABC cop show, "The Insiders"). "Silver Rainbow," like "Illegal Alien," also seems to get picked on a lot by reviewers, but I haven't a clue why. I think it's a fine Genesis song. Finally, there's "It's Gonna Get Better," a gorgeous song about hope, concluding the album quite wonderfully. The only thing this Genesis album lacks is a remaster treatment ("Genesis" was NOT included in the band's remaster series for some reason). But other than that, "Genesis" is yet another winning platter of music from Phil, Mike & Tony. Buy it! :-)
761929
I'm a very die-hard, old-time Genesis fan and own nearly everything released.

This album is one that has a very different sound and concept to it, yet the same complexity of composition and little touches that mark Genesis are present.

It's an album that grows on you, in a good sort of way.

IMHO if your collection contains the "old" (Gabriel) and/or "new" (Collins) Genesis, this is something you should listen to.  Let it roll around between your ears a bit and it may grow on you too.
2584158
This is the third genesis cd, entering steve hackett and phil collins. Great sound for 1971. Secondly only the lamb as far genesis cd's go. I will differ from most people here in saying that my facorite tune on the is seven stones..one of their best songs. The whole cd is excellent...the fading in out of the fountain of salmacis..kind of surrealistic..the good rythm section on return of the giant hogweed and of course everybody else's favorite the musical box..play me song here it comes again. If you have never picked up this cd and like genesis cd's do so.
1233212
Steve Hackett demonstrates on this album how much Genesis missed his searing, truly original guitar playing and compositional input. A stunning musician who left a much greater imprint on Genesis than many casual fans seem to understand. Mike Rutherford isn't even in the same universe as Hackett as a guitar player, and that is evident on all the post-WAW recordings.
4068567
Mellow. Laid back. Tons of keyboards and 12-string guitars. Lush production, lots of reverb. Did I say mellow? Good album but mellow, this is a very different-sounding Genesis, I could even compare it a little to the Banks solo album "A Curious Feeling". Hackett's gone and it's obvious. Genesis were always kind of a trio, Banks Collins and Rutherford writing most of the material, with Steve Hackett adding guitar later and Peter Gabriel adding his parts last (see my review of Wind and Wuthering for the history of Genesis and Hackett). TTW3 is like their "solo" album. They got lucky though, "Follow You Follow Me" was their first smash hit. Their next album Duke, would be similar with some notable exceptions, "Turn it On Again" the most obvious. After those hits and Collins solo career taking off, Genesis knew which direction they should go. It was a smart choice and they never looked back. Progressive was all but dead and they had made their indelible mark. TTW3 was an anxious time for Genesis fans, with Gabriel and Hackett gone, they wondered about the future of their beloved progressive art-band. TTW3 was considered below standard by most fans, but Genesis eventually made as big a mark on the 80's as they did on the 70's. They are truly one of the great survivors and one of the most influential bands of all time. This album is somewhat of a low point, but if you like Collins mellow voice, thick harmonies and layered arrangements, then check it out. There are no solos at all on this album, no progressive anthems. A few nice melodies and turns of phrase, but the longer tunes are still very even in terms of the writing and production, meaning no contrasting sections like earlier material. Mellow and even, no big highs or lows. Lush and mellow. Sleepy, I'm getting sleepy...Follow You Follow Me is I think the best tune on the album, and as the album closer it is indeed the shape of things to come.
1075848
1986, genesis was not purely progressive rock anymore.  This album still possesses the basic genesis elements you'll find on trick or wind or duke.  The drama, heavy drums, great keyboard sequences, & long songs are still here.  By 1986 Collins was a huge name as solo, producer, session player, & of course with genesis.  This album carries the rep of complete pop & it's not true.  This album & the last (genesis / 1983) has long & short, fast & slow, happy & sad.  There are two songs on here that are over 10 minutes (domino & tonight) Genesis definitly retains their progressive roots here in songs like domino, tonight, & the brazillian. they just modernize the theory.  You have to change & do different things.  Genesis & collins are renound for changing.  Everytime a genesis album came out from the late 70s to the early 90s people were surprised, be it impressed or disgusted.  Here, collins is using alot of electric drums & is mixing them with acoustic drums especially in songs like tonight & throwing it all away.  Although the drum machine is here per usual, phil is playing live & very aggressively.  Tony Banks's keyboard patterns are typical but the yamaha piano is pretty much gone in place of longer sustained chords (typical).  Rutherford's knack for great rhythm guitar patterns is represented well here especially in domino & tonight.  Collins's vocal range is very strong here & shows the depth of his ability as a vocalist.  This album produced 5 top 5 hits in 1986-87 & was #1 in us/uk.  I can still remember those michelob commercials with genesis doing tonight...  Long time ago... This was also the last genesis album until 1991 (we can't dance) which would be their last studio album.  This album is in every way a genesis album.  it retains the genesis format.  There are more poppy songs in 4/4 time but the songs are still complex.  Genesis was good for many reasons.  The biggest reason was they were good was they could turn a simple pop song into a complex journey.  Sometimes simplicity is complexity.  Great album...
4382092
The 3 Disc album is a near perfect collection of both the radio hits & fan favorites. I however,for the life of me,dont know why Undertow or A Trick Of The Tail are on here...when Deep In The Motherlode and Dance On A Volcano- arent. Particularly when the 4some that wrote "Dance" all comment how it gave them confidence after Gabriel left. My only other complaint is Nick Davis mixing out that little guitar line from Rutherford in Misunderstanding. if your a fanatic,you know what i mean and feel how i feel.

Thats the album,as for the band..let me put the 'Collins ruined Genesis' movement to bed.

Do you prog-ophiles forget that Peter Gabriel wrote pop (Solsbury Hill) before Genesis was? (yes...Car and A Trick Of The Tail came out in the same year...which one sounds more Prog?) thank you *drops the mic,walks off*

If it was all Phil...why was he composing 'Wot Gorilla" while Mike was penning "Your Own Special Way"?

If it was Phil...why wasn't Invisible Touch released in 1976,right after The Lamb? okay,ill be realistic...why wasn't the first Genesis album after Face Value..Invisible Touch? Collins had the success,he was in charge right? Yeah...riiiight

Didnt Phil suggest playing Suppers Ready on the We Cant Dance Tour? Not Tony,Or Mike..but Phil. Yet they didnt. Hmm,i thought we was the group leader by then? Riiiight

I don't mean to down Mike or Tony, or anyone else in the band. I like Tony for always giving the band that little touch of 'Odd' that kept it from being straight pop. Steve,Ant,Ray,Peter...i like you too

Since were using Invisible Touch as the example of all things Bad-Genesis, know those 2 love songs? Throwing It All Away and In Too Deep. Yep...Mike & Tony. GASP...you mean the whole group EVOLVED as it went along? That the members all equally and unanimously went in whatever direction that felt right to them?
....That its possible to be a Genesis fan who is happy listening to I Know What I Like,No Son Of Mine, Los Endos, Suppers Ready, I Cant Dance and Calling All Stations...or any other song,despite what period of the band its from? Is it possible?

For us real fans...its easy.
562580
I will admit ... I am not a Peter Gabriel era Genesis fan ... I do like some of his solo work,  but their material with him reminded me considerably of stuff that Yes & ELP put out at that time. This album is a complete masterpiece, however. Every song on this album is a complete winner.
I do not consider Taking It All Too Hard a snooze as it was put by somebody else. Of course,  my favorite will be Just A Job to Do. This combined with the Abacab & Invisible Touch albums will give you basically all the Genesis that you need.
213678
Hello Genesis Fans !! Our Prayers has been anwser !! Some Genesis, Old and semi Old on DVD !! I saw This DVD In France Last month since it was out in Region 1 First !! It's a GREAT Collectort's Item !! Don't miss this chance to get closer the ever to the Rare Gabriel Feeling !! Enjoy Genesisian ! Phil LeBlanc Genesis Fan since Ever !
3443784
Here Collins takes the helm.  At this point Genesis is still firmly entrenched in it's prog rock roots, so there's alot on this disc to enjoy for any prog rock or Genesis fan.  The first track 'Dance on a Volcano' is probably the strongest track, with a toss up between Entangled and Robbery as the weakest.  The song 'A Trick of the Tail' is a good story oriented song, the kind that drew me to Genesis in the first place (read Gabriel era music).  Good album, go get it.
4730517
Original lead guitarist Anthony Phillips had left Genesis after the "Trespass" album, and the band also wanted to upgrade their drummer situation.  They settled on Flaming Youth drummer and former child actor Phil Collins and neophyte guitarist Steve Hackett.  The album that resulted, 1971's "Nursery Cryme", had a harder sound than "Trespass", with fewer overdubs and solid production by John Anthony.  The downside is that "Nursery Cryme" has the weakest set of songs of any Genesis album from the '70s.  Keyboardist Tony Banks hit the nail on the head, saying in Armando Gallo's "I Know What I Like" book that "we seemed to be a bit lacking in material.  I think that 'Musical Box' and 'Salmacis' are the two songs that sort of carry that album."
"The Musical Box" is the standout track, a 10-minute piece that alternates loud and quiet passages, climaxing with Banks' best guitar-playing moment, as he trades leads with Hackett, and also slips in a quick electric piano solo.  The album closes strong with "The Fountain of Salmacis", which tells the Greek mythological tale of Hermaphroditus, who was turned into the first...well, you know.  In between are a couple more long songs and three short pieces that are all pleasant, but are a tier below Genesis' usual level.  "The Return of the Giant Hogwood" is a sci-fi epic reminiscent of "The Day of the Triffids", with evil plants out to take over the Earth.  "Seven Stones" is the weakest track, and a truly strange choice for the single.  The short songs include the silly, upbeat "Harold the Barrel" and ballads "Harlequin" and "For Absent Friends".  The latter was Collins' first lead vocal for Genesis.  This is a 3-1/2 star album.
(1=poor  2=mediocre  3=pretty good  4=very good  5=phenomenal)
2193734
Genesis's first great album is different from the rest (before Collins and Hackett). It has a magical  storytelling quality to it, as if sitting around a campfire listening to forgotten legends. Bursting with  rich-sounding 12-string guitars and dulcimer, and chock full of lovely  Hammond organ! Tasty!
1683215
If '70s Genesis was in the morning of growing creativity and musical skill, and '80s Genesis was in the bright, sunny afternoon of the pinnacle of their talent and their profession, then '90s Genesis is the dreary winter's evening of slowing tempos and declining powers.  It's hard not to listen to the lyrics of "Fading Lights" and feel that, at the time, Genesis intended WCD to be their last album.  The song sounds like their goodbye to the fans and to each other.  Don't get me wrong here, there are some VERY good songs on this album, particularly the satiric "Jesus He Knows Me", the epic prog song "Driving the Last Spike", and the aforementioned "Fading Lights".  But, the overall sound of this album is that of a band who, after 25 years of recording great music together, had finally decided to call it a day.  That's no small achievement, really - how many bands last that long, especially as a continuous entity?  Not many.
Looking at it in that light, the album works very well indeed.  Despite some poppy moments, especially on "Jesus He Knows Me", the album is very slow, quiet, and subdued, especially when compared to the predecessor, Invisible Touch.  Phil's voice is very melancholy and wistful throughout the album.  Tony Banks' keyboards excel here, as they always had before, especially on "Driving the Last Spike", "Fading Lights", and "Living Forever".  Mike Rutherford, as usual, provides a solid foundation on guitar, but doesn't really stand out anywhere.  Genesis after Steve Hackett's departure was very much a keyboard-driven band.
I always think of this album as Genesis' farewell gift to their fans.  It would have been appropriate, if sad, after the truly stratospheric calibre of music they had put out for 25 years.  I only wish it had, in fact, been their last album, but Tony and Mike tried to soldier on without Phil, with disastrous results.
2967456
Like many reviewers, I also feel that this was Genesis (post Gabriel) at their height. Still creating wonderful melodic pieces with the mythical quality they were known for. That being said, there is the hint of the commercial shift to come with Your Own Special Way. Still not as cheesy as Follow You Follow Me but not quite in the same realm as the rest of the album. Blood On The Rooftops, Unquiet Slumbers For The Sleepers and In That Quiet Earth are just beautifully crafted songs the likes of which slowly disappeared from the Genesis albums to follow.
1629415
When Genesis announced they would go on without Phil Collins, I felt that they could do it.  The media and the critics immediately dismissed the idea.  I had confidence in Tony Banks and Mike Rutherford to do the right thing.  They conducted an exhausted search and found Ray Wilson, former lead singer of Slitskin.  Wilson is not Phil Collins.  He has a dark, haunting voice and it blends beautifully with the talents and songwriting of Banks and Rutherford.  I predicted great things and even thought after this album we might see another 10 years of Genesis.  I was surprised it didn't work out because the album hits a mega Home Run.
The opening song "Calling All Stations" introduces us to the world of Ray Wilson. We immediately get a feel for his dark, haunting voice.  The song builds up to a climax toward the end.  The second song is "Congo" - a lighter song than Calling All Stations with a nice twist of an ending.  "Shipwrecked" and "Alien Afternoon" continue the haunting theme.
There are two songs which absolutely stand out on this album. First up is "Not About Us".  Wilson absolutely shines on this song.  The vocals are as good as any vocalist I heard.  Not About Us reminds of Invisible Touch/We Can't Dance, but it also shows what a talent Ray Wilson is.  Possibly the best track is saved for last - "One Man's Fool".  This is the complete package.  It's the long composition of the Genesis album.  In my opinion this was possibly the best song of 1997 and ranks up there with any Genesis song.  Not only does Wilson shine, but you can hear that Genesis hasn't lost one step in the songwriting department.
Although Ray Wilson took the fall for disappointing sales (I think the album was marketed at all in the US), I still plan on following his career!
1785481
The Moody Blues Hall Of Fame (ARK 21)
After an 8 year dry spell with no new studio Moody Blues albums (excluding Best Of/Hits packages which seemed to grow & release themselves from inside they're former label offices and the excellent Live At Red Rocks) this is the 2nd new release since the latter in 2 years. The first was Strange Times the MB's first new studio album in 8 years (read my review) and now from the MB's new label ARK 21 we have Hall Of Fame. Yes this is another live album recorded at the Royal Albert Hall on May 1st, 2000 on the MB's U.K. 2000 tour. This album is another live greatest hits package with the MB's backed by The World Festival Orchestra this time around. Additional musicians on board as the Mb's band are Paul Bliss & Bias Bushel (keyboards), Gordon Marshall (drums/percussion), Susan Shattock & Tracy Graham (backing vocals). Well, why do I find this new live album interesting even though it contains 99% of the same old' same? First off it includes a killer version of "Legend Of A Mind" from the MB's ancient pyschedelic days of past. Thankfully they resurrected this gem and Ray Thomas who don't get to sing lead that much is magnificent and the band still plays it with the old pyschedelia (minus the substances  at work now). "Haunted" & English Sunset" both from the Strange Times album excel and work perfect into the MB's new live set. Let's hope they stay. Second, they are much looser and a tad rawer as opposed to doing the usual polished, monkey suits play em' and leave em', take the money and run routine. Something, which they have been accused of over the years since they started doing the oldies but goodies, hits shows. Justin Hayward's voice is a bit scratchier and rawer (whether he had a cold or he developed a new style), he still sings like a prince and pulled it off. The same goes for his guitar work. His solos still buzz with a sting but sadly he still sounds as though he wants to stretch and rock out more but is restricted. The angst comes through and I love it! This attitude gives the songs a new approach and new life. This album will appeal to every MB fan and should be of interest to the younger new fans just discovering the band. Why?  Because of Justin's voice & guitar work. Another fine album added to the MB's canon of brilliant work. A+.