Live 1973-2007

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Sobre este producto

Genesis Live 1973-2007 gathers the four live albums recorded by the legendary British group from 1973 to 1992. Featuring brand new stereo mixes, the boxed set also includes the long-awaited release in stereo and 5.1 of Live At The Rainbow 1973 only available with this collection. Genesis Live 1973 - 2007 11 disc boxed set that includes: Genesis Live, the band's first Top 10 album in the UK, recorded in Leicester and Manchester and issued in 1973, and featuring the classic line-up of Tony Banks (keyboards), Phil Collins (drums, vocals), Peter Gabriel (vocals, flute), Steve Hackett (guitars) and Mike Rutherford (bass, guitars). Genesis Live, for this box-set release, has been extended to feature five bonus tracks recorded at the Shrine Auditorium, Los Angeles on January 24, 1975 and the full album is also presented in 5.1 for the first time. The double set Seconds Out, a Top 5 entry in 1977 that documented the group s Paris dates as a quartet with Collins on lead vocals following Gabriel's departure in 1975. The tour featured touring drummers Bill Bruford and Chester Thompson. Exclusive to this boxed set, Seconds Out is presented in stereo and 5.1 versions. Three Sides Live, a #2 album in the U.K. in 1982, mostly showcasing the Banks-Collins-Rutherford incarnation augmented by Thompson and guitarist Daryl Stuermer. The Way We Walk, finally sees these two live albums resequenced as per the original show's set list. Originally released separately and entitled Vol I: The Shorts, which made the Top 3 in Britain in 1992, and Vol 2: The Longs, this was the band s sixth # 1 album, and their only concert recording to top the charts in 1993. Recorded in London by the Banks-Collins-Gabriel-Hackett-Rutherford lineup, Live At The Rainbow 1973 expands on the live material first issued on the Archive 1967-1975 boxed set in 1998 and will delight die-hard fans of that period in their lengthy career. The concert from October 1973 features most of Selling England By The Pound at the time of its release, along with the conceptual piece 'Supper's Ready' and 'Watcher Of The Skies' from their breakthrough album Foxtrot, and 'The Musical Box' from Nursery Cryme, the last two titles on 5.1 version only. Genesis Live 1973 2007 has been designed to incorporate space for the most recent live Genesis release - the 2-CD set Live Over Europe 2007. All albums feature brand new stereo mixes created by Tony Banks, Nick Davis, and Mike Rutherford, while Genesis Live, Seconds Out and Live At The Rainbow 1973 all feature 5.1 Dolby Digital Surround Sound versions.

Modelo

B002GU5V24

Categoría aduanal

CDs & Vinyl

Exwag

Finally, excellent sounding versions of the live records!

OK, first of all: many of the negative reviews here can be summed up as "I did not read the description carefully and thus I'm mad that the DVDs have only 5.1 audio and no video". It's clearly written on the physical package and in all online descriptions exactly what this box contains, so while I agree that combining the "Video Box" they also came out with, with this one, would have been an amazing value, it is what it is. So, I'll review the actual package rather than wishing that the band, who can put out whatever they want as it's their body of work, not mine, did it this way.I own the 1970-75 and 1976-82 box sets, as well as the individual "Invisible Touch" remix set. While the Gabriel era box is pretty fantastic, it is a bit too compressed and there are problems with the remix (bits of vocal that are different from the original, and an awful, weak ending to "Supper's Ready" that really ruins the climax). The '76-82 set is worse, as the compression is really noticeable and some CDs sound too shrill. On the new wavey "Abacab", this actually works, as the slamming drums and nasty keys sound good juiced--but not so much on, say, "One for the Vine". Overall, I dig the remixes for the new insights and clarity, but I do feel Nick Davis went overboard on the loudness, sadly.Not so here on the Live Box! Davis and the band must have taken the criticisms to heart, because the Live albums are not nearly so juiced, and are eminently "crankable". I think that overall they sound great. I'm focusing on stereo, as I have not spent time with the 5.1 mixes yet, and don't really care about that so much (of course, many do, and I'll let them discuss!). Genesis Live (1973) is a revelation. This is my favorite Genesis album of the early era, because of the gritty and exciting live sound. It always sounded good to me but here it is cleaned up and you can hear parts you never could pick out before. My only gripe (a constant one in all the remixes) is that Hackett is lower in the mix, consistently. Man, if I were Steve I'd be pretty pissed at that revisionist history. Still, it's not egregious, and overall the record sounds great--especially Rutherford's Rickenbacker bass, which finally is distinguishable. The "bonus" tracks, from the L.A. Shrine "Lamb" show in '75, previously appeared on the Archive box. They are fine, but really make little sense here. The version of "Supper's Ready" that was on the Dutch "test pressing" of Live back in '73 (you can find it online) really should have been included instead. This is one of the few things on the box where I really do say, "dumb move guys", but I see that they felt including that piece on the Rainbow show was enough (it's not--we must have it all! :)Live at the Rainbow (1973) is just fantastic, even though the 2000's era Gabriel vocal overdubs on a few tunes are really jarring (this was discussed a long time ago when the Archive box came out--5 tunes appeared on that-- so I won't go into it here). What a great show, and there are extra tunes on the DVD that won't fit on the CD, so you can hear the whole show. No complaints.Seconds Out (1977) finally has some real low end and power. I like the record but always thought it was a bit subdued both in performance and in sonics, compared to some other 76/77 shows out there on bootleg (look for the 77 Zurich show, an amazing performance that sounds excellent too). I still think it's a bit subdued in the playing, but the sound is now rich and powerful and the bass and drum mix especially is much improved.Three Sides Live (1982) was a big album for me, as it came out when I was 12 and really getting into the band. It always sounded thin. Not so any more, thank goodness! It really rocks for the first time now. The guitars are now audible, even the rhythm work, and I noticed that some of Tony's keys (like the nasty saw wave in "Abacab") seem to have been recorded in stereo, and now are actually spread over the channels. It is very cool to listen to in headphones. Also a great job on the drums. Chester is now more centered (snare in the middle, toms and cymbals spread out to the sides) most of the time, and when Phil joins in on drums, he is in the right channel and Chester moves over to the left. As a drummer, I was initially disappointed in "Turn it On Again"---when Phil joins in, his snare is clearly audible but Chester's seems turned down. However, in "Abacab"'s jam section, BOTH snares are nice and loud to accentuate the slamming beat. I realized that Davis was actually mixing each song differently to suit the music. It's a detail, I know, but it really adds to the experience. The drums in "Abacab" alone are worth the price of the set to me, just nirvana.I never owned The Way We Walk (1992), as I was not really into the later albums, so I can't really comment on the difference in the mix. Some have complained about drums but I think they sound great here. I actually am really enjoying this record, as it not only sounds great, but is causing me to re-evaluate late Genesis. Tunes like "Driving the Last Spike" are really like a mix of their pop and prog periods and I think they work great, at least on this live album. I was also surprised to see they did a 20 minute "old prog tune" medley, which is great. The resequencing of the "Long" and "Short" tunes into one double album (with a few bonus tracks) makes a lot more sense and it flows like a great show. To me, it's a cool thing to finally have.Yeah, it's pricey. Yeah, it's not got everything a "super fan" might ask for. But you don't have to buy it! For those who can afford it and want the new insight these remixes can give, it's highly recommended. (For what it is worth, I bought this just now, in spring of 2016, and there were no glitches on the "Seconds Out" CDs, so Rhino seems to have fixed it by now).Ver más

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Alessandro Berni

Live 1973-2007:The Best Box and the Best Sound

5.1. versions example. On SECONDS OUT you have a sound like Genesis are playing in your room or however you are at the concert hall seing them.TONY BANKS: ARP Pro Soloist solos are not just on the right and left channel but also on the centre channel you can turn up when PHIL COLLINS does not sing as on Robbery Assault and Battery which is the best synth solo sounding on this remix, it is creamy, since there ARP Pro Soloist has a bit of mids which generally are not on the Pro Soloist that is essentially a high end frequency synth (such as on Cinema Show). Hammond solo parts (Apocalypse in 9/8) are just on the L/R channels, not on the center one, but it is so pure sounding that you can hear Hammond's whistling, as in the first fast bars of the solo or on the last ascending phrasing before Phil is back to sing.Furthermore, the fast cross-handed Tony's interlude on Robbery, Assault and Battery (the one after the 1st synth solo) sounds as surround-like also on stereo version.Firth of Fifth, fantastic drums on both channels, Tony's solo on all channels (and you can turn up also the centre channel to taste his embellishments), and STEVE HACKETT happily spreading on the left channel with a dense sound unknown until now. Steve is definitely higher in the mix all over the place. Especially his embellishments on Robbery. Same on The Knife from Live where you can taste that aggressive playing from him.Drums and double drums part sound crystal clear also when are loud. Bass is precise, a world of difference from that bit of compression, harsh attitude which partially affected the previous studio releases, not that much on surround camp, but definitely more on the CD stereo red book layer.THREE SIDES LIVE sounds utterly superb in spite to be just stereo. This is incredible, Tony's ARP Quadra sound is now captured in its crystal clearness, richness, density and its strong mid frequencies. You can't imagine the drums,the bass sounds too.Me and Sarah Jane: Tony's Yamaha CP 70 seems to sound in your room and how distinctive, crystal clear is! Especially listen to the syncopate parts in the ska-like section, or the magic effect phrasing before "searching for a clue, traces on the sand" and again the stream effects of the arpeggiator on "first Iam flying...". It's really incredible. Drums sound solid, precise, perfect also on the wall of sound parts without any squashing at all (you can clearly hear all instruments also when drums are on fire), and on the final verse where organ chords, guitars and drums merge. Never heard so distinctly the organ chords (Prophet) on the finale and the very last closing with piano's ringing. Speechless.In The Cage: 1994 DER, as much as was good with energy, dynamic and so on, had that bit muddy attitude and the solo sound was somewhat thin, 1st Tony's synth solo especially which sounds weak since is more placed on the left channel without punch and with a "buried" effect.2009 remix captured the richness of the sound as originally intended. The organ (Prophet) is distinctly placed on the centre-right space, the drums are thunderous and precise also when the sound is wall-like, the glorious Tony's 1st synth solo (now on centre-left space) sounds rich and fat even though gives the impression that was arranged to spread around as a 5.1. version.But the best comes with following Cinema Show-Slippermen. As soon as chords change, here Cinema Show Tony's theme comes on the centre-right channel dense and clear...then on the first fast scale before Riding The Scree riff, you can hear ARP Quadra in its marvellous density and dynamic natural timbre when hands move from left to right...then the 2nd fast scale after Riding The Scree riff, here must have been hard task for Nick but what you have is ARP Quadra rich sound which surfaces on the centre space in spite of that heavy wall of sound of guitars, bass and drums. Then...finally, the drums rollings during the last bar of the synth solo sound thunderous without any squashing or unnatural loudness. Stellar! No surround but is the same as Tony's playing before you home or concert hall.In the Slippermen section you can clearly hear on the left channel that Tony's synth left hand rythm effect which augments the right hand Raven theme (placed on the centre-right space).One For The Vine: another great listening. The various sounds are perfectly balanced and played on the various spaces. Yamaha CP 70 crystal clear on the right, lead synth parts spread on the centre-right space, Daryl on the left (same as on Cage fast scales in its finale). Tony's Yamaha CP 70 finale has those bottom end on the left hand chordes which were inaudible in the DER version (I remember by heart). Those piano bass notes now sound definitely "big".The Fountain of Salmacis: great, but something less if compared to the previous two tracks, here Phil's voice sounds a bit too loud, however the instruments sound great even though not with that unbeatble brilliance of Cage medley and Vine.Dodo-Lurker: see Cage Medley, perfect, brilliant. You can clearly hear Tony's lead synth during the Lurker section on the center-right space while its hammering rhythm part is distinctive on the left channel.LIVE and RAINBOW sound great too. On Live you will be literally surrounded by mellotron, organ and organ pedals during the intro, all instrument have their definite place in the sound space.Even THE WAY WE WALK sounds great and it wasn't an easy task since originally was harshing sound, here is very nice to listen to although it is an album with much less in terms of bottom ens, but this was as Genesis generally intended their live sound on stage on We Can't Dance Tour. However you can taste a Fading Lights which, unlike the remixed studio version, has drums which happily spread without any squashed mood.