Yeah, the Union tour included eight of the twelve various members of Yes. Pretty unreal. And a pretty darn good concert, too; I saw them twice. "Awaken" was first performed live on that tour.
Really? Jon Anderson said in multiple interviews in 1991-92 that they had never bben able to play it live before. That seemed somewhat odd to me, since it was the centerpiece of Going for the One.
Not condensed, luckily. (One of my favorite tracks by them too.) Full 15 min or so. I even double checked to make sure it wasn't recorded on the Union tour in the 90's: 1979. Y'all should get that Box Set anyway. Lots of good stuff on it.
I've been holding off on this, considering I already have "Yessongs", "Yesshows", the two "Keys To Ascension" live sets, plus the "Yesyears" and "In A Word..." box sets. Is there anything on "The Word Is... Live" set I don't already have??
am I the only person who thinks the Phil era of Genesis gets a bum rap? The entire Phil output is loathed by many just because of a few songs like I Can't Dance, Invisible Touch and In Too Deep. Yes, they got more mainstream as Phil's popularity grew, but even on albums like Invisible Touch and We Can't Dance, there were tracks like Domino, Fading Lights, Driving The Last Spike and the sort that were actually great records and "real" Genesis. It's as if everything post-Abacab was pop crap, and it really wasn't all that bad. Hell, IMO, "Mama" ranks among the greatest works the band did with any lead singer, and that's from an album that is loathed by most.
Maybe it's because of my age, I grew up with Genesis as the Phil Collins pop band and then years later discovered the Gabriel years. I think you can like both, and I also think Phil's contributions to the band are much better than a lot of Gabriel fans are willing to credit him for.
My first Genesis disc was ... And then there were three. But that has some killer progressive stuff on it. And Duke is fantastic. I think, "Genesis" was their last collectively good album. After that, there were some good songs here and there, but Phil's pop sensibilities were really starting to take over.
I saw them on the Mama tour, and I still remember they opened with that song, and how they performed it, music and visuals and everything, and it sent shivers down my spine.
Personally, I think Trick of the Tail and Wind & Wuthering approaches the best of anything that they did.
Yes: Word is Live: Awaken, another very good version of Siberian Khatru (with Patrick Moraz no less), and I also really like the versions of America and Yours is No Disgrace. Plus all the Tormato stuff, and Tempus Fugit. To be honest, I made a 2 disc version out of what I liked, but there's some good and interesting stuff on it.
Nope - there are a lot of hardcore Genesis fans who think the era between PG leaving and ...And Then There Were Three was the best - especially the live shows.
I think a question that has to be asked by the later Genesis detractors is - just what did they want the band to do? The band had to move with the times - continuing to produce Gabriel-era whimsy would have been dull and unimaginative. I think the course they took (basically, melding Mike and the Mechanics and Phil Collins solo type songs to the 'Genesis sound' was imaginative and successful. And shock horror, they earnt money doing this and earnt new fans. And these new fans then went on to discover the delights of early Genesis; and these are people who certainly would never have found out about Genesis in the first place if Genesis had continued to crank out endless copies of Foxtrot era compositions.
No - I'm with you. Funny - I really like PG solo but don't care for PG-era Genesis. However, I'm lukewarm toward PC solo and PC-era Genesis. I do enjoy both, though, and the only Genesis albums I own are PC-era. (I have "Duke", "Abacab" and "Genesis" - that's honestly all I want from them.)
I love PG solo, although Lamb is the only PG era Genesis I really like. The rest of it gets a little hard to listen to at times. PC era Genesis I like, except for Invisible Touch. I have Three Sides Live and it's pretty good. I've never heard Seconds Out, though. Perhaps I'll have to add that one to my collection.
Personally, I'm glad there's no PG-Genesis reunion planned. I'm awaiting his next solo album.
I don't know whether anyone has the "Genesis Songbook" DVD, but there were several insightful interviews done, in 2000 I believe, with PG, PC and Tony Banks that echoed Andrew's post. In one shot, we see PG gushing about how "The Lamb" was the greatest thing written. The next shot have TB saying otherwise, followed by PC saying the same thing.
I don't know. I put the Lamb right up there with Tommy, Quadrophenia, Physical Graffiti, The Wall, and Exile on Main St. A lot of bands have trouble putting out one lp's worth of good material, let alone two.
It is well worth listening to. Basically, it's the greatest hits of the Gabriel era (sung by Collins whom I think has a better voice in a live concert) plus a roundup of the best of the post-Gabriel Genesis up to that point.
[Point of trivia - if you have Three Sides Live you may well already have heard some songs from the Seconds Out concerts that didn't make it onto the S.O. album. However, it depends which version of Three Sides Live you've got. Two versions were released. In its original vinyl incarnation, TSL was a double album with three sides devoted to concert material. The fourth side was a collection of singles, B sides etc and is pretty disposable. Hence, 'Three Sides Live'. The alternative version of the album has the same three live sides and then instead of the studio tracks, has a selection of live tracks, some of which (e.g. Fountain of Salmacis) are from the concerts in Paris where Seconds Out was recorded].
Well I, for one, vastly prefer the Gabriel-era "whimsy" to the post-And Then There Were Three material. I also think A Trick of the Tail and Wind and Wuthering are easily equivalent to the best earlier material, raising the question: is Steve Hackett the most underrated collaborator in rock band history? But I also really enjoy later Genesis, especially We Can't Dance, for the magnificent "Driving the Last Spike" and "Fading Lights."
But I have to vehemently disagree with Mr. Markworthy's assertion that
For evidence, I would point to Gabriel's extremely imaginative, innovative, and commercially successful solo career, as well as Hackett's. There is no reason to assume that the band would not have grown artistically with the same membership. I don't think Gabriel or Hackett would have been terribly interested in producing Foxtrot clones, either.