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It benefits more than any other song from the opportunity of having two drummers play the instrumental parts. When you compare it to the live version of Firth Of Fifth from the Selling England tour, it becomes apparent that, despite all flourishes and panache, the drum sound was thinner and had less depth. The Seconds Out sound on the other hand is much warmer, much fuller, because the different sound of both drum kits with their different cymbals combines in their synchronicity. The beginning of the middle section is much improved by the possibility to have both the drums Thompson and the percussion Collins: It gains musical depth and expression.
Steve Hackett's guitar solo, probably -the- solo in the progressive genre, is even more intense while Collins and Thompson harmonize so well in the background We listen raptly to subtle hi-hats, cowbells and various crash cymbals from both sides and the powerful parallel fills that come from both left and right and add to the drama of Hackett's wonderful solo. Towards the end Hackett makes his guitar scream a last time before a brute drum break leads into the slightly sluggish finale that ends with a conciliatory keyboard line.
Before the audience gets the opportunity to fully express their appreciation Genesis would usually play their songs as in the studio version. I Know What I Like is the exception to the rule, though. The single from the Selling England album has not only been adorned with this introduction, its live performances also benefit from the extended closing section. And that part is something special so that even those who do not quite like I Know What I Like enjoy it.
The finale features Phil Collins' tambourine tarantella, of course, which is not as spectacular in an audio recording than on video. If you would like to get an impression of this artistic feat you will want to check out the film In Concert that can be found on the bonus DVD of the rerelease of A Trick Of The Tail. For all those who get bored with the tambourine dance Genesis bring on a series of gimmicks that still make the live version interesting.
We can clearly hear on Seconds Out how Phil hurries to his drum kit after the dance to play a groovy second beat on cowbell and tomtoms. If that is not for you you could try and find out which melodies of previous Genesis songs the band has hidden in the closing section. Apart from the most famous and most obvious quotation — the ending of Stagnation from 's Trespass — one can make out the beginning of Visions Of Angels also from Trespass and a bit of Dancing With The Moonlit Knight from Selling England It may not be a substantial highlight on Seconds Out , but there is a particularly intense reaction from the audience at the end.
Genesis leave their audience no time to calm down from this high. Mysterious keyboard sounds creep into the applause. It takes the audience a moment to identify the chords, but when they do a new wave of enthusiasm hits us and washes us up Broadway. Let us say right away that The Lamb Lies Down On Broadway is very different on its own than in the context of the concept album of In the dramatic arrangement of Seconds Out it is, as it were, the encore before the break.
This is Genesis playing an all-out version of the Lamb album title song. While it only had gently cymbals and drum rolls on the Lamb tour, it gets the big treatment with open hi-hat, distorted guitars and big bass riffs. Opposed to this are only the pathetic backing vocals Banks and Rutherford add to the chorus, and a brief middle section that anticipated Carpet Crawlers. This is where the surreal mood of the original flashes through before the band comes in again.
A strong cue where there was just a subtle drum roll in the original comes with strong hi-hat and playful guitar notes that soon evolve to the liveliness of the beginning. The mood in the audience changes immediately when Steve Hackett begins to play the tune of The Musical Box. Chester Thompson gently touches the chimes while we imagine how Collins replaces Gabriel's Old Man mask with his own facial expressions. Finally the drums come in and the chords from guitars and keyboards keep heightening Rutherford's bass pedal comes in and adds substance to the sound … until Collins sings the temptation coming from the musical box just like Gabriel used to: Why don't you touch me?!
Touch me now, now, now, now, now! The second half of Seconds Out begins much like the first. It is quite fitting that Supper's Ready is the only song on Seconds Out to have a brief announcement. Not only is it the opus magnum of the band and took the whole of side three at more than 20 minutes playtime, but it also is, in a way, the myth of the Gabriel era. The song is a surreal and mystical tour de force. All compository aspects the early Genesis used to express themselves are brought to bear on it, just like all the lyrical and theatrical elements that are usually linked to the artist Peter Gabriel.
Supper's Ready is a focal point for the self-conception of early Genesis fans. Collins, who would later complain that some of these fans made Genesis into a sort of holy cow, had little to gain from this song on the and tours. Perhaps we can use the distance of 35 years to properly appreciate Collins' work in this song.
The first part of Supper's Ready , Lover's Leap , is a gentle mise-en-scene. The focus seems to be on the mundane but also romantic situation of a married couple having supper. Lover's Leap is accordingly quite mellow and balladesque.
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Collins' gentler voice makes the sweet chorus almost more authentic than Gabriel. It is remarkable how easily Collins switches from chest-voice to head-voice, thus not only bringing out the various characters but also the different moods in this part of Supper's Ready. Whoever is fighting whoever in Ikhnaton And Itsacon , the musical rendition of the lyrics really works.
One can feel the initial euphoria of the warriors who can hardly wait to go to holy? The band plays up with a big dynamic range, most so during the 'battle'. Banks' lively keyboard lines rule the image. Chester Thompson, who was playing his first tour with Genesis then, excels by mastering Supper's Ready easily despite the numerous changes in beat and rhythm.
Seconds Out - Wikipedia
The brisk beat, Hackett's exalted guitar work and the vocal performance of Phil Collins, who uses everything his voice can offer and who audibly enjoys the absurd puns in Gabriel's lyrics, make this song really exciting. The final third of Supper's Ready is generally considered its strongest part.
Long organ chords and guitar sounds slowly prepare for the end of the world While Gabriel tended to become an actor in the scene he told by grotesque acting and his artificially brief singing, Collins is more tangible for the audience because he acts less. The central role besides the two drummers is taken up Tony Banks.
His flowing organ chords illustrate the topic in a breathtaking manner.
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Regardless of whether they like it or not, listeners have an special reaction to it. Nowhere else on Seconds Out can both drums be distinguished as clearly as here. All the subtleties, even the ghost notes on the snaredrums, are wonderfully clear and add a remarkable groove to this primeval force.
Genesis - Seconds Out (1977)
We are thrilled to hear Collins and Thompson as they seems to exchange slight rolls and fill-ins in an almost playful way. Wildly gesticulating he drives his voice to the limit, but still seems august and invulnerable. Everything has turned to good again, the trip through hell is over and the lovers are reunited: Wearing a white gown and a full beard the resemblance to the conventional presentation of Jesus is not likely to have been a coincidence.
Those who have followed the song with ears uncluttered by ideology easily recognize the strength and the focus of Collins' interpretation: The theatrical effect manifests in the singer's performance. Collins uses his voice to perform many different roles in order to live up to the occasionally very abrasive contrasts as well as subtle nuances in the seven parts that open up like a whole new world. His ability is all the more impressive when you consider that Steve Hackett uses no less than five different singers including himself to cope with this piece in the new recording of Supper's Ready for his album Genesis Revisited II.
Collins may well have benefited from his early acting career.
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It is, however, very clear that he makes excellent use of his voice. The souvereign use of register and colour in his voice is the foundation for a convincing, lively rendition. Genesis manage to perform this big epic of the Gabriel era with Phil Collins as the lead singer not just adequately, but in an impressive, captivating version on stage.. Gentle, soft guitar sounds introduce the final part of the album.
In a sweet voice he reports Juliet's preparations for the date before he conveys Romeo's expectations from the evening with a stronger, more expressive voice: Collins' voice is much better suited to the falsetto part than Gabriel's, and the subtle percussion in the background makes us almost voyeurs to the action. Youthful ease and butterflies in one's stomach are conveyed by Bill Bruford's cue as he supports the beat with subtle press rolls and provides a backdrop of gargling percussion and bird whistles for the interlude. Cinema Show has a special place on Seconds Out for the recording is from the tour before that.
Luckily, one is tempted to say, because it has Bill Bruford's free and variable rhythm work. He uses all kinds of percussion instruments and definitely leaves his stamp on the rhythms and colours of sound. The band would later find a drummer in Chester Thompson who better fit to their idea of musical predictability.
Whatever one may think about the new accents added by Bruford, his drumming with Collins in the long instrumental part has a splendid groove and sounds highly inspired. If you compare this live version to the studio recording of you might think there were two utterly different temperaments. The Seconds Out version of The Cinema Show has become a benchmark, not least because of two drummers unleashed. Actually it is not the drums that are frontmost in the instrumental second half of The Cinema Show.
When Bruford sits down at the drumkit we get to head two brilliant drummers playing together and sounding very well against Rutherford's bass. Towards the end there even is a brief drum battle. Collins and Bruford goad each other on, the china cymbals get no rest at all, and both keep up the driving beat in perfect synch until the band joins in again and moves towards the big finale.
Dance On A Volcano. After the sparkling keyboard tune the entry motive of Dance On A Volcano marks a dramatic contrast. The raw power of the beginning may convey itself more directly on the Trick Of The Tail album, but it is less awkward here. The live version is more organic and befitting to the poetic vein of Seconds Out. Cymbal rolls and clever breaks sound much warmer and less sterile here, and then there is the threatening bass to illustrate the omnipresent danger from the volcano we are climbing with the band.
Thompson's hi-hats work very well in their hurried state. Only Collins seems a bit meek. He sticks to the studio version and sings far less aggressive than on later tours. The middle section is quite a feat; Collins breaks out the tambourine while Hackett and Banks swap unusual sounds to imitate bubbling and boiling lava. Thompson plays a bit gentler while Collins gets the audience to clap along to the beat before the whole band gets going towards the finale. There is a markedly richer, stronger sound before Collins sits down at the drums again and the band leaves the musical stage to the two drummers.
On Seconds Out we get to heat the first drum duet with Phil Collins and Chester Thompson; it would become a fixture in all tours to follow. Here we only get to hear a tomtom duet for a couple of bars that nevertheless has the audience thrilled. Unfortunately the dance on the volcano proper, this completely unleashed and musically raw instrumental from the studio version with the crescendo and decrescendo in the epilogue, had to give way to the drum duet.
Dance On A Volcano fits better into the climactic ending structure of the album, because it uses one of the main motives as a reprise as well as a move forward. The drum duet is in full flow After a couple of introductory cymbal beats Collins and Thompson begin the transition into one of the most effective concert finales ever — Los Endos. It seems peculiar that it should be an instrumental that brings the long journey to musical bliss to its peak and ending. The rising melody of the first notes lifts the song to higher spheres.
Like fireworks the music rises, defying gravity, spirals upwards and blossoms into a majestic fiery rain that illuminates the skies. The middle section is one of the truly great Genesis moments: We imagine the band dimly lit by vertical spotlights The dramatic concept of the album comes full circle, the beginning and the ending, Squonk and Los Endos , correspond.
It all does not only provide coherence but an almost spiritual audio experience. Because of its excellent live suitability Los Endos became a staple of Genesis live shows. What we hear on Seconds Out may well be the classic version of a live classic. It may not be urging forward as youthfully as on the Trick tour compare the In Concert film from , but all tempi, transitions and musical colours are perfectly fine. Let us also not forget this: It is the last time we hear Steve Hackett on a regular Genesis release, and it is far from nostalgia if we note that the way he had of colouring a song with his guitar instead of throwing in virtuoso riffs works strongly in Los Endos and leaves an indelible and inimitable mark on the song.
The sound of Seconds Out: The sound of Seconds Out conveys a remarkable sense of space; it is ethereal in the quieter moments. It has to be said, though, that the guitar sounds he used to use then are frequently very difficult to distinguish from Banks' keyboard sounds. Banks' equipment of that time exudes lively brilliance and warmth.
His characteristic sounds are worlds apart from the sterile presets he would use later. Rutherford's bass, too, is pleasantly strong without being overpowering.. The drums sound transparent and intricate, which is very important for the moments when both drumkits are played simultaneously, and still down to earth. It is quite remarkable how well the listener can distinguish the drum kits by the differences in material and sizes of drums and cymbals. Thanks to the good stereo mix it is easy to locate the positions of the drum sets, particularly in the instrumental passages where the both play.
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. 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. AllMusic relies heavily on JavaScript.
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