1969 From Genesis to Revelation<\/span><\/p>\n Like I mentioned before, this one wasn’t in the crop of remixes, and the original sound quality is notoriously bad.\u00a0 But I managed to make this one eminently listenable, and even sound downright great in some places.\u00a0 The corny strings and horns that Jonathan King added to most songs have been drastically minimized thanks to creative channel mixing on my part.\u00a0 The guys who wrote and played these songs really should cut themselves some slack over the material, because it’s not as bad as they declare it to be.\u00a0 There are some fine songs on here, and even some great lyrics.\u00a0 Some of the instrumental passages between songs show flashes of genius, particularly some by Tony Banks.\u00a0 I don’t think they should feel ashamed about starting out as an arty pop band that hardly anybody listened to.\u00a0 That’s how they ended up on their last studio album.\u00a0 Zing!<\/p>\n 1969 Xtra Tracks<\/span><\/p>\n Not an official release, but a collection of tracks mostly leftover from disc 4 of the first box set to come out in 1998<\/a>.\u00a0 This consists of the early recordings, demo versions of other songs that would appear on their first album, and b-sides.\u00a0 I’ve always thought that the lyrics to “One-Eyed Hound” are about anal sex, but I bet they’re not.\u00a0 The lads were much too proper for such shenanigans.\u00a0 There’s also one track (a demo of “Image Blown Out”) that is taken from the 2005 reissue of “From Genesis to Revelation”.\u00a0 The sound quality of all these recordings was quite poor before I got to work on them:<\/p>\n 1970 “The Lost Second Album”<\/span><\/p>\n This is a collection of songs that I invented out of thin air.\u00a0 It’s also sourced from the 1998 archive, and features the remainder of the songs from disc 4.\u00a0 This is by far the stronger half of the material from that era:<\/p>\n All of them have been Mikeified and now sound as good as they’re going to sound with my methods.\u00a0 And they do sound pretty damn good, even for demo recordings and BBC tapes.\u00a0 I also put some thought into the running order of these songs, and I really like the way the “album” flows.\u00a0 It’s short, and some of the songs are kind of goofy, but it’s not a bad listen.<\/p>\n 1970 Trespass<\/span><\/p>\n Like the recordings before it, this one required some drastic EQing to bring out the very low and very high frequencies that were buried within.\u00a0 I used basically the same two tools (Noise Reduction plugin and EQing) on this album as I always have, but I can get much better, more clear, and precise results now than when I first did these albums more than ten years ago.\u00a0 The difference is easy for me to hear, and I don’t have to put up with the nonsense and bad decisions that Nick Davis introduced in 2007.\u00a0 And even though I heard this and the following albums as I was working on them, to be honest, I was stunned at how good they all turned out.\u00a0 Simply amazing.<\/p>\n 1971 Nursery Cryme<\/span><\/p>\n This album also benefited greatly from my simple yet masterful approach.\u00a0 So much of Steve Hackett’s guitar work was lost in the mix, and it’s now easy to hear after I’ve gotten through with it.\u00a0 Not to mention that I didn’t squash down and ruin the album’s dynamic profile.<\/p>\n 1972 Foxtrot<\/span><\/p>\n I was disappointed the most by this one when I heard the 2007 remixes, and I think this one turned out the best with my method.\u00a0 Remember, I only have the two tracks to work with – left and right channel.\u00a0 Foxtrot contains some of my favourite Genesis songs, and it’s wonderful to hear them sounding so full and so powerful and so clear.\u00a0 The 2007 remix version of this album sounds muddy and flattened.<\/p>\n 1973 Live<\/span><\/p>\n This was one I actually took from the 2009 remixes.\u00a0 The original release could have been polished up to sound great, but like I mentioned before, the live remixes weren’t botched or fucked-with anywhere near as badly as the studio albums were.\u00a0 I can hear a guitar overdub here or there, but I don’t mind since this album as a whole came out sounding so great.\u00a0 I’ll let it slide.\u00a0 I had to do quite a bit to the sound actually, so I did a lot of work on this one too.<\/p>\n 1973 Selling England by the Pound<\/span><\/p>\n I spent a lot of time on this one.\u00a0 Most of this album had a loud and nasty hum through it that I had to eliminate.\u00a0 It also had more tape hiss than the previous two albums, and it just took longer to do the EQing on each track.\u00a0 It too turned out great.<\/p>\n 1973 Live at the Rainbow Theatre<\/span><\/p>\n This was remixed and released in 2009, and some songs were also released on the 1998 Archive box set.\u00a0 I found neither of these sources to be satisfactory by themselves because of the overdubbing and track omissions, so I went back to the source and found a bootleg of the original 1973 recording.\u00a0 As a result, it took a lot of work.\u00a0 Another thing that bothered me about the 2009 version is that they cut out all the on-stage banter, like the awesome part when Phil Collins isn’t paying attention during Peter Gabriel’s intro to “Supper’s Ready” and he misses his drum cue.\u00a0 “Sorry everybody… I wasn’t paying attention to what he was saying.”\u00a0 It’s a funny moment, and I’ve restored it.<\/p>\n I did have to use the very ending of “Supper’s Ready” from the 1998 box set because the bootleg I found cut out early, so I fixed up that bit and spliced it in.\u00a0 My 1973 source was also missing the totality of “The Cinema Show” and the ending of the preceding song “Dancing with the Moonlit Knight”, so I had to take those parts from the 2009 remixes – even though there is some new keyboard work from Tony Banks to repair some flubbed notes during his solo on “The Cinema Show”.\u00a0 I can live with that.<\/p>\n The 1973 bootleg was also the only source for the show opener “Watcher of the Skies”, which was performed a little differently in some spots compared to the album version.\u00a0 “The Musical Box” was apparently also performed at the show that night, but I couldn’t find any source audio for that.\u00a0 There’s an excellent version on the album “Live”, anyway.\u00a0 The real gems here are “The Battle of Epping Forest” and “Supper’s Ready”.\u00a0 My version extends the running time of the whole concert up to around 85 minutes.<\/p>\n In other spots, I had to adjust the volume in some places and otherwise smooth and iron out certain spots because someone had attempted to “fix” certain quiet passages in the audio by just suddenly boosting the volume.\u00a0 Yikes, that sounds bad.\u00a0 But after I’d gotten through with it, you can’t tell it had even been fucked with.\u00a0 I dun good.<\/p>\n 1973 Xtra Tracks<\/span><\/p>\n Again, not a proper album release, but tracks leftover from other sources that didn’t fit anywhere else:<\/p>\n Arranged in chronological order.\u00a0 The first track is a demo from 1969.\u00a0 Tracks 2 through 5 are some recently resurfaced recordings done for the BBC that were meant to be used as part of a special on the work of a painter named Michael Jackson.\u00a0 I know what you’re thinking, and no.\u00a0 It’s not the famous beer connoisseur<\/a>.\u00a0 These are only available on one of the remix box sets, but thankfully the source audio is untouched.\u00a0 I was able to edit them into sounding superb.\u00a0 The last four tracks are from the 1998 box set, and are from a BBC broadcast, a 1971 single, a 1972 single, and a 1973 single.<\/p>\n 1974 The Lamb Lies Down on Broadway<\/span><\/p>\n This is another album that took quite a while.\u00a0 One obvious reason it did is because it’s a double album.\u00a0 Another reason is because it’s, well, it’s sonically complex.\u00a0 With my first aim to be removing tape hiss, I had to hunt for areas of the album with more and leave alone areas with less.\u00a0 Most albums and most songs are quite easy to do in comparison.\u00a0 The results paid off though, and I think my version of The Lamb sounds better than any version I’ve heard.<\/p>\n 1975 The Lamb Live<\/span><\/p>\n This is basically the Mikeified version of discs 1 and 2 from the 1998 Archive box set.\u00a0 Live bootlegs of The Lamb are spotty and rather poor quality, so rather than try to piece one together, I just went with this one even though (horror of horrors!) it contains rerecorded vocals by Peter Gabriel and rerecorded guitar parts by Steve Hackett.\u00a0 To be perfectly honest, The Lamb isn’t my favourite Genesis album anyway, and I think some songs could have easily been left off had it not been a concept album.\u00a0 Other than that, the audio was already great, and now it sounds excellent.\u00a0 The only thing I did change was I axed the 1998 remixed studio version of “It<\/em>” from the end of the recording and replaced it with a Mikeified bootleg of that song from a recording of the same show.\u00a0 I can also see why they replaced it on the box set.\u00a0 There are a few flubbed notes here and there, and overall it’s not a great version.\u00a0 But it sounds better to me than a studio version stuck on the end of a live album.<\/p>\n 1976 A Trick of the Tail<\/span><\/p>\n This is my favourite album by anybody, so I was also very disappointed by the way the 2007 remix ruined it.\u00a0 My version sounds full and excellent, like it ought to.\u00a0 There are no re-recorded vocals and the original balance of the original mix is intact.\u00a0 The new clarity I’ve been able to give the album makes it sound even better.<\/p>\n 1976 Live at the Hammersmith Odeon This is sourced from a high-quality recording that was intended for live album.\u00a0 I was looking for some concert material from this tour because it features Bill Bruford on drums, and my original choice was the Genesis in Concert<\/a> VHS video that was included with the 2007 remixes.\u00a0 But the audio on that is just too poor in quality for me to get anything that sounds great from it, so I’ve tracked down this London concert instead.\u00a0 It sounds awesome now, and I much prefer this to “Seconds Out”.<\/p>\n 1976 Wind & Wuthering<\/span><\/p>\n This album sounds fricken incredible now.\u00a0 I hadn’t had to alter the sound of an album so drastically since “Trespass”, and it paid off just as well as that one did.\u00a0 The source for my new version (like most of these albums) is the 1994 “Difinitive Edition Remaster”, and that version was always very quiet and weak-sounding.\u00a0 I remember trying to listen to it on a Sony Discman in a moving vehicle and it was a lost cause.\u00a0 Now… well shit.\u00a0 This is another one of my favourite albums, and even though I’d done a decent job on it many years ago, I’m in jaw-dropped awe of how excellent this sounds.<\/p>\n 1977 Seconds Out<\/span><\/p>\n I had never much cared for the sound of this album before.\u00a0 It was always a great live album – in theory.\u00a0 The band still had a great lineup including Steve Hackett, the song selection is very strong and it’s a double album.\u00a0 But I always found the sound of the album to be weak and neutered.\u00a0 I think this was due to the way it was originally mixed.\u00a0 The only other live album that sounds the way the original version of “Seconds Out” does to my ears is “Wings Over America<\/a>“.\u00a0 That live album also came out in 1976, and I think the producers were using some early form of noise gate <\/a>technology on the albums to get the background noise and tape hiss down.\u00a0 That’s just rampant speculation on my part.\u00a0 Whatever the reason, both albums have a “deadened” sound that makes the albums seem very quiet and spiritless, even when they’re played at a loud volume.\u00a0 There is also a lot of reverb on both albums, which makes me suspect the use of a noise gate even more.<\/p>\n Well slap me upside the head and call me Babsabi, the 2009 remixes by Nick Davis actually sound pretty damn awesome to begin with, so I used that version of “Seconds Out” for a source here.\u00a0 For whatever reason, he didn’t repeat the mistakes that were made with compression and mixing on the studio album remixes, so after I had done my Mikeification thing to it, this album sounds simply amazing.\u00a0 It sounds like you’re right there in the audience.\u00a0 You can hear everything clearly, and I must say I really like this album now.\u00a0 I also restored the final little audio joke at the very end of the album… the opening of Ethel Merman’s performance of “There’s No Business Like Show Business” that faded out with the crowd noise.<\/p>\n 1977 Xtra Tracks<\/span><\/p>\n Another little pause to collect the non-album songs that came along since 1973.\u00a0 “It’s Yourself” is taken from the Archive 2 box set<\/a>, even though that version had about a minute cut from the original running time.\u00a0 It’s missing a verse, but it sounds way better than the ruined remix that Nick Davis mangled.\u00a0 Track #2 is sourced from the “Spot the Pigeon” CD because it was omitted from the Archive 2 set.\u00a0 Turns out there weren’t many past the first four tracks here, so they’ve been padded out with a live version of “Entangled” from the\u00a0Archive 2 set and some more live performances from the 1976 and 1977 tours.\u00a0 “White Mountain” is a nice find for me – I didn’t know they did this one on the 76 tour.\u00a0 The version here is a very clear sounding bootleg from Cleveland.\u00a0 The final four tracks come from a show in\u00a0S\u00c1\u00a3o Paulo, and were not featured on “Seconds Out”.<\/p>\n 1978 …And Then There Were Three…<\/span><\/p>\n Another album that had a “weak” sound to it before I got to it.\u00a0 I really like most of what’s on this album, although this is where Genesis started going Pop.\u00a0 I thought about stopping the new Mikeifications after this one, but I pressed on, even though as we progress from here I like the albums less and less.\u00a0 Back to sound quality.\u00a0 I brought out an amazing sound again, and I hear things in this album that I’ve never heard in it before.\u00a0 Not so much instruments and parts, but an overall “feel”.\u00a0 This boosts my opinion of the album up a notch, though “Many Too Many” is still a fucking terrible song.\u00a0 “Down and Out” and “Burning Rope” were always the best songs here, and now they positively leap out of the speakers.\u00a0 The latter sounds properly epic, as it should.<\/p>\n 1978 Live at Knebworth<\/span><\/p>\n Recorded for FM radio broadcast, this concert was the first one Genesis did after Steve Hackett left the band.\u00a0 It’s not really noteworthy other than that, though there are nice versions of “The Fountain of Salmacis” and “One for the Vine” on here.\u00a0 I did an okay job editing this one a few years back, but I’ve done a proper job of it now and the audio sounds as good as it’s going to get.\u00a0 The band sounds nervous throughout, especially Phil.\u00a0 They really didn’t know how their new lineup would be received at this point.<\/p>\n 1980 Duke<\/span><\/p>\n I love about half of this album.\u00a0 And there are a few songs on here that I just can’t stand.\u00a0 The drumming on this album is phenomenal though, and so is the singing.\u00a0 My version brings out all the good stuff good.\u00a0 It’s because of the way that Genesis would shift from a Prog to a Pop band over the years that I compiled the “1978-1991” collection listed below.\u00a0 I usually don’t listen to these albums as a whole to often just because of all the pop filler on them.<\/p>\n 1981 Abacab<\/span><\/p>\n A lot of fans of the old Genesis really hate this album and everything after it.\u00a0 I don’t like many of the songs on it, and that sentiment holds for the albums that follow.\u00a0 But I do really like about half the songs, even though there is nothing here that can really be called “Progressive Rock”.\u00a0 My new sounding version sounds much better than the one I had done before, because I really didn’t spend a whole lot of effort on it the first time around.\u00a0 I gave it a proper Mikeification, and everything sounds great now, even the weak throwaway material.<\/p>\n 1982 Six of the Best<\/span><\/p>\n You know you have a famous bootleg when it’s got a proper title.\u00a0 And that title is of course the title of the 1982 Milton Keynes concert<\/a> that saw Peter Gabriel join up with Genesis for one performance.\u00a0 The reason for this was to raise money for WOMAD<\/a>.\u00a0 Steve Hacket even joined the festivities, though he only plays on the last two songs because he arrived late from South America.\u00a0 The audio quality of this recording was quite poor to begin with, though it’s actually a decent audience recording as far as bootlegs go.\u00a0 It really is a shame that nobody thought to properly record audio or video of this because the performance is very special to most fans.<\/p>\n This one took the most work out of any album here to fix and get right.\u00a0 I had to use my full arsenal of tricks to get the audio under control.\u00a0 I had to remove as much of a “ringing” noise in the recording as possible, which I was mostly successful at doing.\u00a0 That made the biggest difference.\u00a0 I also removed the electric hum that was present throughout and tamed the tape hiss.\u00a0 Once I EQ’d it properly, I was amazed to hear how clear and powerful everything sounded.\u00a0 One thing I couldn’t fix was all the dumbass blokes yelling out “THE KNIFE!!!” and “SUPPER’S READY!!!” throughout the whole fucking concert, even when Peter was trying to tell his classic stories to introduce the next song.\u00a0 But this is a great listen, and it’s turned out so much better since the last time I tried to fix the audio more than a decade ago.<\/p>\n 1982 Three Sides Live<\/span><\/p>\n Sourced once more from the 2009 live remixes, which sound damn fine.\u00a0 I always liked this live double album more than “Duke” and “Abacab”, especially after I got the “English” release version<\/a> which contains four sides live.\u00a0 The performances are stellar and there just aren’t any bad songs on here, though I have to be in the right mood to really enjoy “Follow You, Follow Me” and “Misunderstanding”.\u00a0 The audio sounds impeccable now, and I didn’t have to do much to get it that way.<\/p>\n 1983 Genesis<\/span><\/p>\n Only “Mama” and “Home by the Sea \/ Second Home by the Sea” interest me.\u00a0 The rest of this album is forgettable, throwaway pop.\u00a0 “Silver Rainbow” is the only thing that redeems side 2.\u00a0 But it all sounds really good now, even if the actual material is weak.<\/p>\n 1986 Miserable Touch<\/span><\/p>\n I can’t stand most of this album.\u00a0 “Land of Confusion”, “Domino” and “The Brazilian” are the only songs I like.\u00a0 I’m getting a new appreciation for “Tonight, Tonight, Tonight” as well now that I don’t listen to the radio and I know what the lyrics are about.\u00a0 I never bothered to get this album on CD actually… my Mikeified version is sourced from my rarely played cassette.\u00a0 It’s amazing how good I can make a cassette sound.<\/p>\n 1991 We Can’t Dance<\/span><\/p>\n This album had the weakest sound out of all the recent albums, I think.\u00a0 And look at that, Nick Davis produced it.\u00a0 I’ll give him credit though, the 2007 remix was one of the least offensive to my ears and actually improved a lot on the original instrumental mix.\u00a0 If the compression and vocal mix errors hadn’t marred that one too, I would have gladly kept it as my favourite version.\u00a0 As I’ve done it now, it sounds a lot better.\u00a0 There still are way too many bad songs on it though.<\/p>\n 1991 Xtra Tracks<\/span><\/p>\n This collection assembles some really great and some really terrible tracks that were left off the albums from 1978 to 1991.\u00a0 The source for all of these is the Archive 2 box set, except for track 8, which was left off of that for some reason.<\/p>\n The songs are arranged in chronological order by release date.\u00a0 They all sound way better than they did on the 2007 remixes.<\/p>\n 1992 1978-1991<\/span><\/p>\n This is another collection of songs that I pulled out of thin air.\u00a0 It compiles the “Prog” songs from their albums as a trio, and saves me from having to hear shit like “In Too Derp” and “Holon My Heart”.\u00a0 I had made a collection like this before and burned it to CD, and I listened to it more than some of these later albums.\u00a0 This one was easy to make because all I had to do was copy & paste from folder to folder and change the mp3 tags.<\/p>\n 1992 Live 1978 to 1992<\/span><\/p>\n The bulk of this collection is from the Archive 2 box set, though it’s rounded out at the end with a couple of songs from their performance at Knebworth in 1990 and a couple of songs from the “I Can’t Dance” single released in 1991.\u00a0 That Knebworth performance was for the Silver Clef awards show and features the Phil Collins Band backing them up on horns and vocals on “Turn It On Again”, which becomes an extended medley of UK and US pop songs in tribute for the occasion.\u00a0 Many of these tracks were spliced together to make a sort of “live album” on disc 2 of the Archive 2 set, but they were out of order and in need of Mikeifying.\u00a0 I’ve done my magic on them here too, but they all fade in and out with crowd noise now.<\/p>\n 1992 Remixes<\/span><\/p>\n I’m not much of a fan of 12″ mixes and such, but for what it’s worth, here are the leftovers from the Archive 2 box set.<\/p>\n 1993 The Way We Walk<\/span><\/p>\n I never had this on CD, only cassette.\u00a0 And as amazing, clear and CD-like as I can make a good cassette sound with my process, I couldn’t do the same to these albums.\u00a0 (They were originally two albums – “Volume 1: The Shorts” and “Volume 2: The Longs”)\u00a0 My original cassettes have side 2 bleeding through in reverse on side one and vice versa, so the audio quality is compromised.\u00a0 So it’s really nice that the 2009 remix version sounds excellent and hasn’t been messed with.\u00a0 The track order has also been rearranged from the original releases, making this more like a real concert.\u00a0 One note personally for me – when I was in Germany in 1992, I stayed in Hanover for a while.\u00a0 Genesis played a series of concerts there for three nights, and though I didn’t attend, the hostel where I stayed one night was very close to the stadium where they played.\u00a0 So I got to hear a full Genesis concert, even though I wasn’t actually a fan at that time.\u00a0 Most of this album is from those Hanover concerts.<\/p>\n 1997 Calling All Stations<\/span><\/p>\n This album sounds much, much better now.\u00a0 I still think there are a bunch of songs (the pop ones) that should have just been dropped entirely from it, but most of it has really grown on me over the years.\u00a0 “Alien Afternoon” in particular went from a song I didn’t like to one that I think is pretty great.\u00a0 With the lowest and highest frequencies brought to prominence and the noise effectively eliminated, this album sounds great, and I think that as a whole album, it’s better than the previous three by the band.\u00a0 It lacks the standout hits, obviously, and the epic numbers that I put onto my “1978-1991” compilation.\u00a0 I also really wish they hadn’t given up on recording, as they had contracted Ray Wilson to make another full album.\u00a0 I think he’s a great singer.\u00a0 I also think they should have just let Chester Thompson become a full-time member like he asked when they asked him to play drums… but playing the what-if game is a fruitless endeavour.<\/p>\n But while we’re at it, here’s what I think the album’s track listing should have been.\u00a0 This is my preferred version of the album, and it drops the weak songs and adds some great songs that only appeared as b-sides.\u00a0 “Anything Now” in particular would have made a great single, with a minor edit for length.<\/p>\n 1998 Live in Katowice<\/span><\/p>\n I’ve read this concert described as Tony and Mike playing as grandfathers with a bunch of kids.\u00a0 That’s funny, but the band still pulls off a full Genesis set admirably.\u00a0 Chester, of course, chose not to participate and I think the band could have accommodated his request.\u00a0 Daryl Stuermer was off playing with Phil, so he wasn’t available.\u00a0 There’s a guy named Anthony Drennan on guitar, and he fills in for the guitar parts well.\u00a0 Listening to this concert really makes me appreaciate what an amazing drummer Nir Zidkyahu is.\u00a0 Dude fucking rocks.\u00a0 He’s able to really let lose in “The Dividing Line”, and he shines throughout the show.\u00a0 All in all, this is a very enjoyable concert, as I’m a fan of Ray’s voice as it is.\u00a0 The acoustic medley of old, old songs they do with Mike and Tony on guitar is also really cool.\u00a0 One cringe-worthy moment is during Mama when Ray mimics Phil’s sinister laugh – complete with lighting under his face.\u00a0 It just makes me miss Phil, but I didn’t get that feeling anywhere else.\u00a0 I had to do quite a bit of editing to bring the audio up to my standards, but it sounds awesome now.<\/p>\n 1999 Xtra Tracks<\/span><\/p>\n Another “Xtra Tracks” collection already?\u00a0 Well, they actually recorded quite a bit of music for “Calling All Stations”.\u00a0 Some of this stuff should have made the album, if you ask me.\u00a0 Phret, 7\/8, and “Anything Now” are damn fine songs, and could have replaced snoozers like “Shipwrecked”, “Not About Us”, and “If That’s What You Need”.\u00a0 In fact, I think the good tracks here and on CAS could have been made into two separate forty-minute albums.\u00a0 That’s about the right length for an album, if you ask me.\u00a0 So many albums overstay their welcome, and just because you can fill up an 80-minute CD with music doesn’t mean you should.\u00a0 CAS is almost 70 minutes in length, and the B sides alone add up to another 40.<\/p>\n Tracks 9 through 12 are from a live performance in Paris in December 1997.\u00a0 It was recorded for radio broadcast to promote the new album and required a lot of work to clean up the audio and make it sound better.\u00a0 I chose to include only the “Calling All Stations” songs that weren’t on the “Live in Katowice” DVD.\u00a0 I don’t need to hear “Mama” again.\u00a0 Those four performances are great, and I prefer most of those to their album versions.\u00a0 The last track is a sort of reunion from 1999 which features all five members from their 71-74 heyday.\u00a0 One thing that bothers me about “The Carpet Crawlers 1999” is that each of the three verses were intended to be sung by the band’s three singers, and in fact each were recorded by them.\u00a0 But we hear only the first two verses on the track because the band chose not to use Ray’s recorded verse.\u00a0 Damn, they really snubbed the guy.<\/p>\n As a whole, this is a very enjoyable collection, despite a weak track here and there.\u00a0 I like this collection more than I like “Calling All Stations”.<\/p>\n 2007 Live Over Europe<\/span><\/p>\n Genesis was on hiatus for a long time while the former members were being a bunch of old grumps. But in 2007, they attempted a reunion.\u00a0 It was only partially successful, and what we got was a final tour of the pop lineup.\u00a0 I’d like to say that listening to this is bittersweet for me, but I think the performances are just kind of lackluster in comparison to what the band had done live even nine years previous.\u00a0 Still, it’s probably the last kick at the can we’ll see or hear out of Genesis, barring some statistical improbability like Peter Gabriel deciding it’s more important than butchering Radiohead songs<\/a> and Phil Collins physically being able to drum again<\/a>.<\/p>\n The audio on these recordings didn’t require much work to bring up to my standards, but as it is, I doubt I’ll listen to this particular album much if at all.\u00a0 These performances really sound like five guys in their late fifties doing songs they’ve done hundreds if not thousands of times.\u00a0 The new medleys of older material are nice, though it just makes me want to listen to that old stuff again and skip all the Phil era hits.\u00a0 I really think it would have been something to hear the band rip into, say, Congo with Phil singing though.<\/p>\n\n
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