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Genesis Genesis Collection Volume Two album cover
4.30 | 11 ratings | 1 reviews | 82% 5 stars

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Boxset/Compilation, released in 1975

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2 × Vinyl LP Charisma ‎/ CGS 103 -
Both 'Collection Volume One' and 'Collection Volume Two' contained albums in their original sleeve, but at a lower price. The limited edition became even more limited, as some vendors discarded the boxes and sold the records individually.

Thanks to Per Köhler for the addition
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GENESIS Genesis Collection Volume Two ratings distribution

(11 ratings)
Essential: a masterpiece of progressive rock music(82%)
Excellent addition to any prog rock music collection(18%)
Good, but non-essential (0%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

GENESIS Genesis Collection Volume Two reviews

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Collaborators/Experts Reviews

Review by VianaProghead
4 stars Review Nº 228

"Genesis Collection Volume Two" is a special compilation of Genesis. This is an economic package including their fourth studio album "Foxtrot", released in 1972 and their fifth studio album "Selling England By The Pound", released in 1973, on a double vinyl disc. It included two indispensable albums of the band and it would be a worth purchase, in those days. These are considered the two best studio works by them. Both are two masterpieces that can be joined to "Nursery Cryme" and "The Lamb Lies Down On Broadway", in Gabriel's era. But, for those who have already both albums, this compilation only can be interesting as an addition for those who are vinyl progressive collector's fans.

The line up on both albums is the same. So, we have Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford and Phil Collins.

As I've already reviewed these two albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my both reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I did before, but I'm only going to make a global appreciation of both albums.

"Foxtrot": "Foxtrot" was the album that confirmed definitely Genesis as one of the leading forces of the British symphonic progressive rock movement. It included, for the most Genesis' fans, the ultimate favourite track in form of the 23 minute, "Supper's Ready". This music suite, consisted of several different parts and compositions that, unlike the title track from Yes' "Close To The Edge", clearly were separated by several ideas that later were glued together to make the whole track. But, despite of that, it all worked superb, and the binding main melody is undoubtedly one of the most beautiful melodies the band ever wrote and the composition stand as one of the progressive rock's ultimate masterpieces ever. And the rest of the album kept the same high level of quality. The opener "Watcher Of The Skies" was an airy and energetic song that for many years would become the opening number in almost all the concerts performed by Genesis. "Get 'Em Out By Friday" was the Genesis song that allowed Gabriel most to really act out with several different characters. And "Foxtrot" also included one of their most overlooked gems, "Can-Utility And The Coastliners". Despite its modest length, the song managed to capture absolutely every side of the band in some very beautiful themes and melodies. So, "Foxtrot" is just as essential for any progressive rock fan as air and food are.

"Selling England By The Pound": Back in the studio again, Genesis made, perhaps, their best studio album, "Selling England By The Pound". The album was a flawless masterpiece that demonstrated some of the best and most perfect song writing, arrangements, production and performance that could be found in the 70's symphonic progressive rock music. The album also showed Genesis from their most British side, as most of the lyrics were influenced by the British history, legends and folklore. Hackett delivered my all time favourite guitar solo in the stunningly beautiful track "Firth Of Fifth". "The Cinema Show" started as a typical Genesis' tune of the quiet and atmospheric kind, but built up to an impressive and mighty instrumental part that I wish could go on forever. And at the very end, they returned to the main theme of the fantastic opener "Dancing With The Moonlit Knight", which could be very well one of my ultimate favourite tracks of Genesis, in Gabriel's era. Collins was also allowed to sing a few lines in the laid back "More Fool Me" where the simple arrangement made a comfortable break from the mighty and majestic cascade of sound on all the entire album. "The Battle Of Epping Forest" had some of the most complex lyrics that Gabriel ever wrote, and the album even scored their first hit single in form of "I Know What I Like (In Your Wardrobe)". The sound and style of the latter track would point forward to the next album. This is simply one of the best albums ever made and is perhaps my favourite album too. It represents also my first purchase from the band, in the distant 70's. This is a very special album, for me.

Conclusion: Both albums are two essential progressive rock masterpieces, not only in Genesis' catalogue but also for all progressive rock fans. These are simply two of the best albums ever made in the progressive rock music. If you simply take a look to the Progressive Rock Top Albums of Progarchives, you can clearly see that both albums are in the Top 10. And this is a constant thing that occurs all over the years, without exceptions. But, if you have already these two individual studio albums, you don't need this compilation because it hasn't anything new to offer. Unless you are a collector and you have the chance to discover it in any record store. In this case, this would be a great purchase and a good complement for you, to add a new item to your record collection. Anyway, if you don't have these two albums and you own this compilation, it substitutes perfectly well those original albums. So, I'm going to rate it with 4 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

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