| | Genesis Seconds Out CD Genesis Discography of CDs
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After Peter Gabriel left Genesis, the band proved able to carry on without him, making high-quality albums with Phil Collins as the frontman. On the stage, though, where Gabriel's outrageous costumes, antics, and charisma made Genesis concerts the stuff of legend, the Collins-era band had even more to prove. Those who hadn't seen the post-Gabriel group live were served notice by SECONDS OUT that this was a performance unit to be reckoned with.
For the tour from which this album is taken, the band borrowed drummer Bill Bruford (between this and his time with King Crimson and Yes, Bruford was truly the prog-rock drummer de rigueur in the '70s) and set about exploring both new and old tunes with equal aplomb. Steve Hackett was still on hand, and his majestic guitar lines mix with Tony Banks's stately synths for that vintage Genesis sound on Gabriel-era epics such as "Supper's Ready" as well as newer tunes like "Squonk" and "Afterglow."
Recorded in Paris, France in 1976 & 1977.
Genesis: Phil Collins (vocals, drums); Mike Rutherford (guitar, bass); Steve Hackett (guitar); Tony Banks (keyboards).
Additional personnel: Chester Thompson (drums, percussion); Bill Bruford (drums).
Mojo (Publisher) (3/01, p.82) - "...The last essential concert LP....Collins makes old material such as 'I Know What I Like' and even 'Supper's Ready' his own..." Genesis Seconds Out Songs Seconds Out Music Review Average Rating: (4.5 out of 5 stars)   List All Reviews Better than Vinyl
Have it on vinal, damn glad I have it on CD? Would love for it to come out on DVD...
Submitted by gavlp (Chicago ILL) 
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another good find !
its my opinion that, not long after this album, Genesis became far too mainstream and pop sounding. Their earlier stuff was incomparable, and this Live album exudes their passion
Submitted by a_katsetos (Baltimore,Md USA)
Was This Review Helpful? Yes No Vintage Genesis
Despite the absence of long time front man Peter Gabriel this is a great live album. Any true Genesis fan should have this one in his/her collection. Collins, Hacket, Banks and Rutherford never really got the credit they deserved while Gabriel was with the band (btw: I am a Peter Gabriel fan and still follow his career today). This album shows of the collective talents of these four indiviuals and proves once and for all that their contributions to the band (while Gabriel was still a member) cannot be overlooked. Lets not forget - they are the original founding members. Do not get this album confused with the Genesis of the mid 80's. This is vintage hard hitting Genesis at its best. Buy it - you will not regret it!
Submitted by a reviewer (Maryland, USA)
Was This Review Helpful? Yes No  Original And Live
Genesis at it's best.
Phil Collins at his most original.
This is music that belies its age,
and has a real sense of atmosphere.
Submitted by a reviewer (Gateshead UK)
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This is the peak
This is the pinnacle for Genesis - fabulous live recording, with the sharpest arrangements. The catchy pop flavor of I Know What I Like is stretched out with an added interlude from Stagnation (uncredited) while Phil does his jolly tambourine riff, and then the band comes roaring back in for the crescendo finale. The closing section of The Musical Box is extremely powerful - why don't you touch me, touch me, touch me now, now,now,now,now, and then again Steve Hackett screams back in full on the volume pedal through his Gibson Les Paul custom. The Cinema Show has the best keyboard solo melody of any song, and the drum fills from Chester and Phil in Supper's Ready and Afterglow are just an air-drummer's nirvana. Mike Rutherford holds it all together with superb bass and bass pedals and intricate 12-string rhythm guitar. Thirty years later this is still the best they ever sounded - just an excellent album.
Submitted by Michael (Canal Winchester, Ohio, USA)
Was This Review Helpful? Yes No List All Reviews | Have you heard this album? |  |
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Floreando is the second CD release from Los Angeles-based Conjunto JardĂn. Inspired by the group's 2001 trip to Tlacotalpan, Veracruz, Mexico, to participate in the annual son jarocho extravaganza Encuentro de Jaraneros, the new CD combines the rhythmic drive and virtuosic sparkle associated with the port city of Veracruz with the more rural, roots-oriented and percussion-flavored style typical of Mono Blanco, Son de Madera and Los Cojolites, Veracruz groups prominent in the current resurgence of jarocho music. The only son jarocho group led by women, Conjunto JardĂn features sisters Libby and Cindy Harding-the name is a play on the Spanish pronunciation of their last name-on the traditional Veracruz jarana, a small strummed rhythm guitar, and requinto, a 4-string lead guitar plucked with a long bone pua or pick. Their sibling vocal harmonies, riding atop hard-charging jaranas, driving cajon-and-bass rhythm section and sparkling harp-like keyboards, focus a fresh, modern sound that is at once quite faithfully traditional and at the same time possessed of an accessible, rock-influenced drive and a certain - dare we say it? - commercial edge.Bailable (danceable) is not a term often applied to son jarocho, even though the percussive footwork called zapateado is an integral part of the tradition. But from the first notes of the opening track-"El Colás," a typically irreverent jarocho classic about a flirty guy-there's an undeniable groove going on that's a little different from what you might expect, and substantially funkier. The upbeat, driving "El Torito" (The Little Bull) will satisfy fans of the group's first album, and its medley-mate "El Toro ZacamandĂş" (The Magic Bull) percolates with raw energy. But the CD's real surprise is in the slower tracks-the restrained, hypnotic chant of "El Coco" and, especially, "La Guanábana," with its almost classical arrangement and deliberate build-up and release that echos the song's lyrics of yearning sexuality. Connecting the dots from Veracruz to Cuba and back to Africa is Marcel Adjibi from Benin, West Africa on cajon, the wooden box drum originated by black slaves in the Americas. His swelling crescendos and African vocal touches add an insistent, below-the-waist rhythmic sway that makes tangible what's often debated by scholars of son jarocho: the genre's African roots. ("La Bamba" was written by an African ex-slave in the 1800s. )Gary Johnson deploys traditional percussion instruments the quijada (donkey jawbone) and pandero (octagonal tambourine) when ...
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