SECONDS OUT

Easily my favourite Genesis album. Suppers Ready is haunting and melodic, The Cinema Show is brilliant and uptempo and the renditions of Firth of Fifth and I know what I like are wonderful ! This disc is never far away from my CD player... not a dull moment on it.

The Best live album I ever listened. The tracks are much better than the studio tracks. Dance on a volcano and Los Endos with the drums session in the middle is fantastic! Listen to Cinema Show and Firth of Fifth and the best version of Supper´s Ready registered by the band. No doubt, the best Genesis Album.

The original press release described this album: "from the best live band in the world, the best live album"; very little to argue with there, then - superb versions of classic Gabriel era songs, together with newer material like Dance On A Volcano/Los Endos, Squonk etc; Steve Hacket's swansong with the band & the way we will always remember him. Worthy of note, too, as it is the first album to feature Genesis with Ex Weather Report/Zappa drummer, Chester Thompson, whose duets with Collins throughout bring a new dynamic to the live sound. There is not a bad track on this album, but Cinema Show stands out particularly, due to Banks's solo & Bill Bruford's crisp drumwork (the only track to feature him)- a suitable way to bring this particular era of Genesis to a close.

For those who missed those tours (I did too), this is the proof that Collins did the Gabriel-era stuff as good as The Gabe did and sometimes even better (a flower?...) although I suspect a bit of studio tampering of this live album. It is such a delight to hear new versions of Cinema Show and the restof the earlier material.

Although recorded before W&W, this live album was released after the studio album (and Hackett leaving during the mix of the album) , only one track from tha album is featured and it is Afterglow. The bulk of the tracks here are from TLLDOB and ATTOT albums and do not diverge much from the original version (albeit with Collins singing some tracks even better than Gabriel did) .

GENESIS' "Second's Out" is a classic "Genesis Mark II - period" album with some great live performances. Of course at this stage in GENESIS' history Phil COLLINS had replaced Peter GABRIEL on lead vocals and drumming was contributed by Chester Thompson and Bill Bruford on tours. Songs performed include stirring renditions of "Cinema Show", "Afterglow" and "Dance On A Volcano" & "Los Endos". Although I always have preferred GABRIEL on the lead vocals, Phil does a great job in creating Gab's expressions and phrasing. "Seconds Out" sounds best when you have the bass and volume on 11. I love the deep bass vibes achieved with Rutherford's Moog Taurus pedals and Bank's Mellotron runs. An essential double album from the gods of progressive rock! And a monster album to boot...

This is, in my opinion, one of the best live albums ever made. It proves that Collins could handle the Gabriel songs quite well (although his ad-libbing gets a bit ridiculous) and if he continued to let Tony and Mike handle the writing, they could have continued to be a great band. What makes this excellent is the fact that the instrumental parts of almost every song is markedly improved from their original recording. The only vocal that I think Collins actually makes better is 'The Carpet Crawl' Side 4 is the highlight of this one.

Well the presence of Phil COLLINS in the place of Peter GABRIEL seems an heresy here!! But it never minds, cause the production is fantastic and the presence of Bill BRUFORD, well supported by Chester Thompson, who makes an incredible job within "Cinema Show" " and also inside "Dance on a Volcano" / "Los Endos", let us remain enthusiastic about this live!! Essential live!! Even though the piano intro of "Firth of Fifth" missed me very much the first time I listened to "Second Out"!!

This is THE Genesis live album: a mix of songs from both Gabriel's and Collins' eras. Phil Collins is THE singer! The 2 weak points are the following ones: 1) Rutherford's bass is a bit lazy and timid 2) Banks' keyboards too often consist in the Afterglow-esque floating organ, approximating the subtle keyboards refinements of the studio tracks. "Carpet crawler", with Collins on vocals, is better than the original!! Collins is awesome on the majestic "Supper's ready". The best track is definitely "Firth of fifth": you have to hear the OUTSTANDING combo guitar solo-floating keyboards: unbelievable: those 2 instruments suddenly take all the available room, and that is pretty moving! I also like the modern version of "Supper's ready", featuring Collins on vocals: the guy has nothing to envy from Gabriel! Of course it has no more the strong Baroque dimension present on "Foxtrot", but the modern approach gives an opportunity to appreciate that song from another angle of view, which is totally valuable. The last part of "Supper's ready" presents Collins' echoed, poignant & loud voice, surrounding the incendiary & floating keyboards and the very SLOWED DOWN rhythm: you feel at that moment all the power & inertia of the overall music, and I find this part as good as the original one, if not better! Let's not forget the WONDERFUL "Cinema show"! Less good than the original because of the FLAGRANT lack of bass presence, it is all the same remarkable as reveals the excellent synchronization of the instruments. Unfortunately, Rutherford wakes up at the end, suddenly starting to play his spectacular bottom & complex bass too late! "Los endos" is very good, although the keyboards and drums are not as clean as on the studio version.

Rating: 4,5 stars

Encore

This live album was recorded pretty soon after the departure of Peter Gabriel. Phil Collins therefore takes on the lead vocals on many tracks previously fronted by Gabriel, post Gabriel Genesis material being in relatively short supply . It should be borne in mind that although "A trick of the tail" had given a firm indication that there was life after Peter, fans attending live gigs were still apprehensive, seeking the reassurance that the old favourites would not simply be ditched.

This in itself gives the album a purpose, as it is interesting to compare and contrast the way the two Genesis singers perform the songs. Collins does an excellent job with the older material, sounding of course very similar Gabriel. The version of "I know what I like" included here is particularly good, being considerably extended, and incorporating an extract from "Stagnation".

Also included is a superb rendition of "Supper's ready". Given the way Gabriel had developed his performance of this track, both aurally, and visually, performing it without him was a brave move, but there's no question it works.

This was the beginning of Collins now well worn path between drum stool and front centre stage. Chester Thompson and Bill Bruford (here on "Cinema show" only) were therefore brought in to fill in for Collins while he was out front. This though offered an excellent opportunity for some interplay between the drummers during instrumental passages, which is exploited to superb effect.

The only minor blemish is the missing piano introduction to "Firth of Fifth", allegedly because it was too hard to play live. The track starts rather abruptly without it, perhaps even a taped intro would have been preferable.

"Seconds out" is a good mixture of old and (at the time) new, with only the newly released "A trick of the tail" representing the post Gabriel era. As Peter Gabriel said at the time on his "Solisbury hill" single, "Today I don't need a replacement". "Seconds out" went a long way to showing that to be the case.

Time, Gentlemen, Please!

Quite simply, one of the best live albums you are ever likely to hear. Phil Collins does a superb job on the vocals - it's clear that generally he's trying to do a "Gabriel", but often he does things his own way, and it's some of these details that really let him shine. I particularly like the way he delivers the line "Me, I'm just a lawnmower, mate, you can tell me by the way I walk" in "I Know What I Like" (this is one of his best deliveries overall), and "A Flower?" in "Supper's Ready". Overall, Collins sounds more soulful and less strained than Gabriel.

Every song sounds fresh, but the mixing is dodgy in places. "Robbery, Assault and Battery", "Carpet Crawlers" and "Firth of Fifth" are other stand-out moments on this amazing album, even if FoF is brutally hacked (hence 4 stars).

OK, Gabriel is great, there's no denying it. The thing about Collins' voice is that it doesn't sound strained, like Gabriel tended to. BUY THIS IF YOU LIKE PROG MUSIC :0)

I've read in this page many reviews from this album, some people believe it's a masterpiece, other's think is crap, well in this case I can't agree with any of those positions, I honestly believe it's a good album with a fantastic production that presents some better, a couple different and other terrible versions of 12 Genesis classics.

The basic problems with this album are two, the first one is the criminal mutilation of many Steve Hackett's parts (In some cases turn the guitar volume so low that is almost impossible for any two legged being to listen).

The second one is why in hell don't include more stuff from Wind and Wuthering? Where are One for the Vine and Eleventh Earl of Mar? Those tracks would make the album better instead of many Gabriel era songs where Phil was weak, but that was impossible because Hackett's contribution to W&W was the biggest in Genesis history and they wanted everybody to forget good old Steve who left the band instead of joining the pop team.

In the group of songs that sound better in Seconds Out than in itheir original versions I can include, Squonk (A collins era song, so there's no problem), Robbery Assault & Battery (Amazing drums), I Know What I Like (Maybe the only Gabriel era song that IMO sounds better by Phil) and Los Endos, the perfect concert closer.

There are others that sound different (not better or worst) like Carpet Crawlers (perfect for Phil's voice), Afterglow (more atmospheric), Dance on a Volcano and Cinema Show which is enhanced by the brilliant drumming duel between Master Bil Bruford and Phil Colins (Almost sure Chester and Bruford never played together in this album).

Some other songs are worst like Firth of Fifth (Where's the piano intro?), The Lamb lies Down on Broadway with that repulsive repetition of words (lies down.down, down, down) and of course Musical Box, a song made for Peter's voice with an ending that absolutely lacks of strength and emotion, the greatest achievement of the original version.

But the lowest track of the album is Supper's Ready, this masterpiece is murdered by Collin's inappropriate vocals, he's not Peter Gabriel and he should never try to sound like him. This song requires a vocalist capable of making different voices (specially in "Willow's Farm) something Collins can't achieve because his voice is flat and lacks of variations but he insists on trying to make different voices turning this masterpiece in a caricature of the original.

Second's Out is the last Genesis album I can listen without feeling nausea, IMHO deserves three stars because it's a good release but nothing else.

"Seconds Out" is the most fantastic live album I've heard in my life. I can't find a single weak piece, except, maybe, with some hesitation, "Lamb Lies Down" which is somewhat flat in comparison with the 1974 studio version. Both "Firth of Fifth" and "Cinema Show" sound much more impressive than the originals, mainly owing to the prolonged and powerful instrumental parts. These two, and "Los Endos" demonstate the intensest climaxes progressive music was ever capable of, and which drive you almost mad with delight. I never thought there was a group that might rival Pink Floyd in its greatness, but after listening to "Seconds Out" I often start wondering if Genesis is (or, unfortunately, was) as mighty.

After many many years of wanting to buy this album, but always getting something else, I recently purchased this album. I have to tell you, it was a disappointment. It not that Collins is singing and Gabriel is not (that goes without saying); it's that the musicianship of the band is really lacking on this album.

If you compare the versions of the songs found on this album and Archive - Volume 1: 1967-1975, you will quickly hear the difference. The band, at the time of this recording, couldn't hold a flame to it's old self. Perhaps Chester Thompson wasn't as comfortable in the band was he would eventually become. Perhaps Phil Collins is a much better drummer that we even give him credit for. Perhaps Steve Hacker knew his time was limited and really wasn't putting his heart into it. I don't know, but you're better spending your money buying Archive - Volume 1 and Trick of the Tale, than purchasing this album.

This to me ranks as the best live album of all time. Why? Not only is it cunningly accurate to the originals it has Collins on vocals and he does superb renditions of ' Supper's Ready', ' The Lamb' and 'Fifth of Firth' but 'Los Endos' is breathtaking. Daryl Stuermer and Chester Thompson are also on guitar and drums respectively and their talents are well founded.They complimented the new Genesis line up for years to come.Top marks for this great album.

I can admit that the album wasn't perfect, I'm not sure that there is a perfect progressive rock album by anybody although Close to the Edge and Going for the One by Yes certainly come close. This is surely a great album; the weaknesses are Squonk which does not have the power that the studio version did although I like the live ending better. The Lamb Lies Down on Broadway seems to be too fast and too light; it seems that the band was playing the song because they had to instead of because they really wanted to. I definitely prefer the original versions. The production on this album is miles above anything else that Genesis did before this; I tire of straining to hear Steve Hackett in the mixes of the prior albums with a few exceptions. Seconds Out sounds so live and energetic and most of the prior albums, A Trick of the Tail being an exception, sound like they were recorded in a box. Sorry all you Gabriel fans but the man sounds like he is croaking on the live version of Supper's Ready while Collins hits it right on the head and Phil does good to excellent versions on everything left unmentioned on the album. Firth of Fifth and I Know What I like are masterpieces on this album. The loss of the intro piano solo in Firth of Fifth is more than made up for by the superior production of the live version. I Know What I Like is lighter on the live version; I do like the psychedelic quality of the studio version but everyone jams on the live version, yet control is maintained and to anyone listening it is clear that Steve, Tony, Mike, Phil, and Chester know what they are about as players. Of course Bill Bruford's (and Phil's) drumming is phenomenal on Cinema show and Tony lets it all out as well. This is a great album and one of my favorites of all time and it is a shame that Genesis went down the tubes afterward. Every fan of progressive rock should own this classic.

Alongside 'The song remains the same' by Led Zeppelin and 'Genesis live' 'Seconds Out' is one of the best live albums ever recorded. This album says a poingnant farewell to many of the Gabriel classics, in most cases very respecfully. Recorded in Paris, 1977, this was to be the last time Steve Hackett appeared on a Genesis recording, and represented a fine departure for him. The album is wonderfully produced, allowing the complexity of Phil, Chester, and Bills drumming to come through as well as the thunderous Taurus pedals which shook the arena to its foundations. Getting the low points out of the way first, I would say that 'Robbery assault and battery' needn't have been on the album. 'Ripples' or 'In that quiet earth' would have been far more fitting! The rendition of 'Suppers Ready' cried out for Gabriel to come back!! SR wastes a whole side of the album IMO. But hi-lights are the fantastic 'Firth of Fifth' which has some of the best drumming I have ever heard on a prog album, live or otherwise. The same can be said for the brilliant version of 'Cinema Show' and the classic 'Los Endos'. 'Seconds Out' demonstrates all of Genesis's live strengths, and perhaps marked the end of them being a 'true' prog band, not that I have a problem with the two albums that followed. Live albums were big in the 70's, and were important marketing tools for rock bands setting out to prove that they were hard working musicians on tour and not spineless miming pop acts. 'Seconds Out' more than proves the worth of this classic band. No Genesis fan should be without this, nor should any lover of well perfomed, well produced live music.

Almost all the songs in this album (except "Cinema Show") were recorded during the "Wind & Wuthering" tour in 1977, with the excellent drummer Chester Thompson playing his first tour with GENESIS. "Cinema Show" was recorded during the "A Trick of the Tail" tour, with Bill Bruford (another excellent drummer) as guest in that tour. This is one of the best live albums I have heard, despite Steve Hackett`s guitar was mixed lower. Phil Collins sings in his own style the songs from Gabriel`s period, and he did a very good job.He also sings very good the songs from the "Trick" and "Wind" albums. I think that by 1976-77 GENESIS reached their highest point as a concert band. Gabriel`s fans missed (and still miss) his theatrical vocals and costumes, but by 1976-77 GENESIS was mainly a band which played music, and they played it very well. Gabriel`s vocals and costumes were replaced by laser lights, with Collins being himself most of the time, doing some "theatrical vocals" in his own style when the music needed it. This live version of "Supper`s Ready"was considered as the "definitive" version by Banks/Collins/Rutherford in the eighties.

I absoloutely love this one! All the songs are spot on, and PC does a great job taking PG's place. And the double drums!!! I love how thay blended "Cinema Show" with "The Musical Box, " it works very well. "Supper's Ready" is a s good as Foxtrot's version, maybe better, and it all culminates with "Dance/Los Endos." Brilliant.

At first I was very pleased with this inspired live-album from the '76 and '77 world tours: it delivers GENESIS at their creative peak (including an excellent Hackett and Banks) and it contains a comprehensive 'best of 'tracking list featuring the emotional "Carpet Crawlers" (beautiful twanging guitar and warm vocals), a Mellotron loaden "Afterglow" (more than on the studio album), a compelling version of "Firth Of Fifth" (including that 'progrock #1' moving guitar solo), a dynamic "Supper's Ready" (great drums and organ interplay) and of course the splendid instrumental parts (like the drums-duet) on "Dance On A Vulcano" and "Los Endos". But gradually I started to miss some exciting songs from the albums "A Trick Of The Tail" and "Wind And Wuthering" like "In That Quiet Earth", "Eleventh Earl Of Mar" and "One For The Vine" along songs that GENESIS exclusively played like "Inside And Out", "White Mountain" and "The Knife. In '77 the BBC (UK) broadcasted a complete "Wind And Wuthering" tour concert and that one featured the "Seconds Out" tracks plus the missing tracks. I wish that once this will be an official release because once again the GENESIS aficionados have to search for bootlegs featuring that concert.

Conclusion: "Seconds Out" is a great live-album, I've rewarded it with 5 stars but in the future Prog Archives have to add a 6 category when the Genesis '77 BBC concert is released on CD!

This album has been know to divide fans. I know people who really hate it. I really like this album. Phil handled singing the old songs well. Supper's ready is a very good version and dance on a volcano sounds amazing here. The band are playing well on this album, Steve Hackett sounds great as always. Give it a try you may just like it!

I'm probably alone in finding this a little bland and over produced.Genesis had a certain amount of 'grit' in their early albums which, despite being a live recording, is missing here.I also miss Phil Collins contribution on the drum kit on most of The Musical Box and Suppers Ready.That said you do get the wonderfull dueting with Chester Thompson on the instrumental Los Endos which lifts this whole album.3.5 stars.

This album may be sacrilegious to Gabriel purists, but the fact remains, this music is often superior to the sacred studio versions. Not because Collins is a better singer, but because of the magic and the chemistry that's happening here. Nothing can beat a Genesis concert for the atmosphere and emotion - this can be attested to by anyone who was lucky enough to attend one in person (myself included), and this is what's captured here - that special chemistry of Genesis playing live. Tight musicianship, good-natured sense of fun and a fantastic sound system - put them together and you have magic. And yes, Collins was a great singer and an incredible musician, and when he came to the front, the whole band benefited from the energy and you can really feel that on Seconds Out. That's why it's my favorite live album.

"Only 3 stars?" many will ask. There are a few reasons that I only rate this album with three stars.

Firstly, I am a Hackett fan. When Hackett left the band, some magic left with him. It's no secret that Hackett was sick and tired of the band by this time, and the lack of material of his being used, And so for a start his heart just wasn't in it. This creates a problem right from the word go. Secondly, with Hackett's departure, he was mixed out in the studio. This made the album have a very weak sound, and I think this reflects in the music. It's just missing that "something." I think it's Hackett's guitar, which is only really heard in solo's. Thirdly, after Genesis Live (which I thought was superb) this album was a let down. The mixing and everything on Genesis Live is great, but Seconds Out lacks so much, I think. These reasons have been why only 3 stars was awarded to this album.

I have bootlegs that sound a lot better than this. A lot. My advice is to acquire those, they're much better than Seconds Out.

My older brother bought this album in 1978. This is *the* album that got me into Genesis, Peter Gabriel and Rock music in general. I remember my dissappointment when I later heard the original studio albums, thinking how harsh and (in general) how poorly recorded they were.

Almost 30 Years later, this album still finds regular play on my CD player and on my iPod. In terms of muscianship, it was Genesis at their peak. Yes, Phil does not deliver the songs the way Peter Gabriel did - but in a way it serves to highlight how innovative these guys were as song writers and incredibly tight as band members.

Best Cut : "I Know What I Like". The band basically jams around the song's melody for several minutes while the audience and Chester Thompson keep the tempo. Its makes you ache to have been there in concert.

"Seconds Out" is an achievement without parallel: in this reviewer's opinion, it's the best live album ever, the best Genesis album, and one of the three best progressive rock albums of all time.

From start to finish, this album is astonishing in its excellence. Tracks like "Squonk" and "Dance on a Volcano" have immense sonic power; "Cinema Show" and "The Carpet Crawl" offer the delicacy of angels. And all of this is captured in a recording of incredible clarity, warmth, and dynamic range.

Perhaps most amazing of all, the band takes songs from the Peter Gabriel-era and, with Phil Collins singing, actually improves on them with better production and engineering. Truly a pinnacle of modern music.

As a whole, this live album lacks the punch and thunder of "Genesis Live". There's just not enough ummph! Hackett's guitar is so low in the mix, it's frustrating. Phil sings well on the songs from "Trick Of A Tail", especially 'Squonk'. But when it comes to singing the Gabriel stuff, I'm sorry, his voice is not theatrical enough. I miss the nuiances in Gabriels voice during 'Supper's Ready', 'Musical Box' and 'Fifth of Firth'. Anyone can sing those songs and sound fine, as Collins does. But Gabriel gave them a uniqueness. He gave them a soul. He breathed life into them. With Collins, it's just a song to sing. With Gabriel, they're a part of his very being. Not all is bad though. Mssr. Bruford's drumwork on 'The Cinema Show' is splendid as is his duel with Phil during 'Los Endos'. Mr. Thompson's I find competent. So what this albums boils down for me is a kind of halves. One half, (Collins era songs) are fine. The other half (Gabriel era songs) disappointing. So I'll split it down the middle, 3.5 stars.

In my opinion the best album from the four man era of the band. The production is absolutely superb in fact the recording is better that some of the earlier studio efforts and is one of the reasons why the release is so good. (I would recommend the Definitive Edition Remaster version CD as it is superior to the original release). There are really strong performances from all four members. The highlight is of course Supper's Ready, all the power and emotion is captured intact. Many have thought otherwise but I think Collins does a superb job on vocals. There is much to savour with the unforgettable organ solo during Apocalypse in 9/8 and the triumphant ending. I actually prefer this version to the original album recording.

The last two tracks are standouts also with an extended keyboard solo at the end of Cinema Show and the apocalyptic Dance on a Volcano/Los Endos. On Firth of Fifth Steve Hackett gets a chance to shine with a supreme extended solo. Almost every single track is better that the studio original and this is a definite "desert island disc" for me.

Good Lord, I dont even know how to start this review. Phil Collins makes an excelent job with the vocals, I even have to admit that I liked his singing more than Gabriel´s, I mena obviously Genesis wouldnt have produced a lot of the great music they did if wasnt for Gabriel, but anyways, Phil Collins sings excelent. Some reviews here compare this album to Yes´ Yessong, I teel you that this one´s far superior. Here you cant tell the difference that one of the original members is missing, on Yessongs you can identify a different drummer right away, (I can´t forgive Alan White for that), but here the music remains intact and sometimes it sounds even better. The musicianship here is also excelent, everyone knows what they´re playing. The replacement drummers are also stunning, specially the Man himself, Mr. Bruford, and also the drum duet on "The Cinema Show" is breathtaking. I would´ve liked a longer section from The Musical Box but I can´t complain with what they did. Amazing. This is their last great album and well, Im sorry that they didnt come up with something as good as their previous work, but Im glad that they retired with this awesome masterpiece.

The quint-essential live album !!!! Phil Collins takes Genesis to a new level of mastery of the live performance. With updated versions of the bands staple classics and the infusion of the "New Era" Genesis this album is a must for all fans of Progressive/Art Rock. Terrry Tunstall. New Orleans, La.

This is the essential Genesis live album. Although Peter Gabriel had long since been absent, Genesis carried on with two strong studio albums and then released this live album. This would be the final Genesis album to feature guitar maestro Steve Hackett, and his performances are a very strong part of the album. The material covered on the album is from their seminal era from Nursery Cryme to Wind and Wuthering. These are among the best live performances Genesis had ever accomplished.

Highlight tracks off this album are Firth of Fifth, which features great performances from Banks and Hackett, the latter's solo being the highlisht. Bank's piano outro is utterly phenomenal, as well. The extended version of I Know What I Like is also very good, Phil Collins sounding like Peter Gabriel in bits and pieces of the song. Supper's Ready, which has been extended by 3 or 4 minutes is the pivotal track of the album. It features spot on performances by all members, especially Tony Banks. The Cinema Show features drummer- for-hire Bill Bruford on the kit along with Chester Thompson, who duel near the end of the show.

With spot on performances, and a plethora of great material, what could be bad about the album? First off, like most Genesis albums of that era, it is terribly quiet, sometimes inaudible in the quiet sections. And second, Hackett's guitar tone during his solos is a little unsettling at fiest. Overall, I feel that the faults are overshadowed by all the strengths of the album. It is the one all Genesis fans should own. I really want to give it a 5, but due to the minor weaknesses I give it a 4.5/5.

Great exemple of what a five star album should be. An amazing concert, recorded in a very interesting moment for the band. Phil Collins singing beautifuly after Gabriel´s departure. Ex Zappa´s drummer Chester Thompson fiting perfect on duets with Collins, giving a great force to awesome melodies. Tony Banks´s keys are breathtaking and Steve Hackett´s twelve and six string guitars sound beyond excelent. Mike Rutherford at his best shape and even a small contribution from genious Bill Bruford on an incredible" Cinema Show" version, gives it a very special flavor. I always include it in to a few hours car driving journey. Great era of GENESIS captured live, in a recording that would later influence many people and bands. Many changes would be ahead at that time. One of the best live albums of all times, without any doubt!

This review is unplanned. I was having lunch when my cellular phone sounded "clink" which remarked a short message being received. As usual, it was a prog message that said: " .. runnig at 33 1/3 RPM from 200 gram LP powered by 4 hours pre-heated amp . The unbelievable analog sound of The path is clear though no eyes can see. The course laid down long before. And so with Gods and Men .. Gancet! A very well balanced composition played by Genesis". What a provoking message in the middle of my lunch with my family at a restaurant when I had no music (prog I mean!) access at all. The sender was Ican - the guy who met and talked in person with individual Marillion members in US during their reunion with Fish in 1997 - and he actually forwarded the message from Ijal. Interestingly I only knew these two guys only through cellular messages exchanges. The connector was Tatan, my prog mate.

Inspired with that message, when I got a chance to drive alone, I put "Seconds Out" CD at my car audio and turned the volume really loud (beware the traffic!). Why Seconds Out? Because the second message from Ijal saying that he was listening to this album. Music is contagious. Wow man!!! What an astonishing experience - driving alone in highway with a moderate speed (hey, this is not "Highway Star" man!) and getting a loud volume of Seconds Out CD from my car audio system. Great!!!! From energetic "Squonk" with excellent vocal of Phil Collins to melancholic "Carpet Crawlers" until keyboard-driven "Robbery, Assault & Battery" and mellow "Afterglow" with mellotronisque music at the ending part plus excellent double drumming, I had a great joy with my driving. What a great weekend.

My ultimate satisfaction was fulfilled when the CD reached track 5 "Firth Of Fifth". Performed live with no piano introduction (what a regret!) as studio version, the band still could do the song in an energetic way with excellent live vibes. Phil Collins replaced Gabriel's role in vocal without having to emulate Gabriel's voice and it still sounds wonderful! What's so powerful about this song is the interlude. In this version, the oboe part is replaced by soft keyboard work by Tony Banks. The keyboard solo with touchy melody is really great and memorable especially when the inventive drum works enter the music. Yeah, all of you have known that this uplifting keyboard solo is continued nicely with Steve's howling guitar work. And this is actually the reason why I usually repeat this song (like today, I repeated four times!) because Steve has changed his guitar notes at the end of his solo. To fully understand what I mean, if you have the CD version, at approx minutes 6:37 you hear the end of Steve guitar solo in high register notes combined with dynamic double drumming of Phil and Chester. WOW!!! It's truly a musical orgasm for me at this part!

"Supper's Ready" is also another track that needs special attention as it is performed flawlessly. Yes, there is a huge difference at the opening part - not that this version has no "Horizon" as introduction - but the powerful voice of Gabriel singing "Walking across the sitting room ." of the studio version is replaced with a much softer voice of Phil. At first listen I got problem with this as it disappointed me. But when I see the band perform it in its entirety I can enjoy this version as well.

I also like "Cinema Show" in this version because I can hear how great Bill Bruford is, especially during short drum solo incorporated in this live version. Great work, Bill! "Dance on A Volcano" is another great track with an uplifting mood, frequent tempo changes and touchy melodies. This live album is concluded with an encore "Los Endos" taken from the same album of the previous track, "A Trick of The Tail".

Overall, it's an excellent addition to any prog collection. This album can be treated as a farewell concert with Steve Hackett as guitarist. The band then continued with a three- piece band and when they did a concert, they hired seasoned musicians: Chester Thompson (drums) because of Phil's duty as lead singer and Daryll Struemer as guitarist. Keep on proggin' ..!

Progressively yours, GW

Exhibit A on why Genesis missed Steve Hackett more than it did Peter Gabriel.

Sacrilege? No, and I say that as a big Gabriel fan and a huge fan of Gabriel-era Genesis.

But Hackett's extraordinary playing and his ability to add different moods and textures to the Genesis tapestry really shines on "Seconds Out." Rutherford and Banks always were overlooked songwriters (Gabriel gets too much of the credit), and Collins more than capably fills in vocally for Peter. No one can match Gabriel's theatrics, but muscially I don't think the band suffered a bit. "Trick" and "Wind" proved the band could produce compelling material, and "Seconds Out" proves it could play the old stuff just as well without Gabriel.

This album has GREAT keyboard work by Banks, and the "Apocalypse in 9/8" section of "Supper's Ready" is phenomenal, way more powerful than it was on the studio version. It still can raise the hair on the back of my neck and bring tears to my eyes.

I am not anti-Collins. I like the band's material without Gabriel just as much as I enjoy the Gabriel era. But this, my friends, is a disaster. Honestly! The musicianship, while not outstanding, is absolutely fine. But the things that drag this album down from 5 stars to 2 stars is Collins' really lame vocal performance, and the recording/mixing side of things. Why the hell are the drums right at the front of the mix? Guitar is seldom audible, and Phil's vocals sound distant and indistinct. Let's run through this track by track.

Squonk: 5/5. There is actually nothing wrong with this track, it is mixed quite well and is possibly superior to the studio recording. A very very good start...

The Carpet Crawl(ers?): 2/5. Terrible performance of an already weak song. Keyboard parts just sound like a backing track, and Phil does a sickly R'n'B type voice. Cannot hold ones' interest at all, and it is way too long. Steve Hackett must have got bored during the performance because he just messes around on his guitar at intermittent intervals.

Robbery, Assault & Battery: 2/5. Grim. Like the previous track it is uninteresting and unadventurous. You can even hear the audience clapping along, probably in an attempt to drown it out. I wouldn't blame them. I don't like this song anyway so perhaps I'm biased. But once again the drums are at the front of the mix and Phil's voice is drowned out.

Afterglow: Another example of an inferior rendition. 2/5. Gone is the powerful, rich texture of this magnificent mini-epic, and instead we have a boring, quiet track which fails to get off the ground. Phil's vocals again are underpowered.

Firth Of Fifth: 1/5. The worst botch-job on the album. Absolutely terrible. Where is the breathtakingly beautiful piano intro? Gone. Goes straight into another underpowered, badly mixed track which cannot hold one's interest. Steve Hackett's guitar solo is far too quiet, the bass and drums once again taking the spotlight. Shameful edition, especially as the celestial flute solo is replaced with something like Moog Patch #34357: Steel Drum/Marimba w/ reverb. Sounds abominable, quite frankly.

I Know What I Like: 3/5. Well I think everybody agrees; this song was written for Phil. He performs this one with the style he knows and we love/hate. A good rendition, finally picking up the pace and Phil finally singing something he wants to and is good at. His 'tambourine antics' cannot be appreciated by just listening, it has to be seen; creating a lull in the song from about 3:10 til 4:00. Then when Tony Banks comes in with the synth it's exciting again. I would give this song a 4 out of 5, but it lasts way too long. Something Phil seems to do a lot when performing the big poppy songs (check out Turn It On Again on Genesis: The Way We Walk; it lasts about 12 minutes). Skip the track at about 5:00.

The Lamb Lies Down On Broadway: 2/5. Did Tony buy a different electric piano? Because the intro for this sounds nothing like the intro from the studio version. Another badly mixed track, with uninspired vocals (where is the growling 'Rael Imperial Aerosol Kid'?) which shows that Phil shouldn't be singing such a theatrical Gabriel song. The song is also played way too fast and Mike Rutherford's fuzzy bass fails to shine.

The Musical Box (Closing Section): 4/5. Actually not a bad version of this part of the song. Phil manages it quite well and there is actually some atmosphere during the 'brush back your hair' part. It's just a shame Steve's guitar wasn't better mixed. It wasn't really very well mixed on Nursery Cryme either, but here it's worse. Billy Bruford just drums right over the top of it. The apex of it closes the disc in quite a lovely fashion though. End of Disc 1.

Supper's Ready: 3/5. Well, Phil tries. The rest of the band manage fine, but Phil just doesn't excel himself enough and overall doesn't quite do this epic the justice it got in 1972. Some interesting moments though; The Willow Farm section sounds good. I get the impression that Phil only really wanted to do this track because the audience wanted to hear it. The rest of them handle it with skill and passion though. Espeicially Tony! His organ parts sound like they were just taken right off the studio version! Marvellous organ work from him this time round.

The Cinema Show: 4/5. A surprisingly sophisticated and refined performance of one of my favourite Genesis tracks. Phil's vocals aren't made for this song really as he can't do the gentle thing without sounding like an R'n'B singer. But this isn't really a problem as the vocals are only in about 20% of the song. Steve Hackett gets a brief chance to shine, and comes through quite well. The instrumental section is played passionately and flawlessly, doing the studio version sufficient justice. A highlight.

Dance On A Volcano: 5/5. Finally, an all-round decent track, sounding just as good as the studio version. Phil and Bill's drum duet is especially satisfying, and launches flawlessly into...

Los Endos: 5/5. Another wonderful performance by the boys. With Phil finally back at the drums where he belongs, the album sounds complete! And it is only here that it all falls into place: Phil can't sing old material live! Maybe for some of it, yes, but he's best off behind the drums.

I know I said I was giving it 2 stars, but I'm giving it 3 because the 2nd disc is so solid. Enjoy the second disc!

I don't get it....the first Gabriel era live Genesis LP was criminally short and would certainly have been GREATLY improved had they included a second album with Supper's Ready and a few Selling... or Foxtrox cuts. Along comes the second chance and they butcher it, too. The discs are full of tunes that would have been brilliant on the Genesis Live LP! I don't get the lack of W&W material....One from the Vine and the final medley ending with Afterglow would have been absolutely amazing. Instead, we're pelted with memorabilia from the golden days. Plus, the engineering is horrible....Hackett is practically mixed right out of the arena....and the performances are lacking excitement.....and Collins' stage antics had to be seen, not heard, to be appreciated. Overall, a disappointing end to the four piece group....an album focusing on the two Mach II albums would've better served both fan and band.

Very good live document, marking the end of the "classic" GENESIS period!

"The Carpet Crawl", "I Know What I Like" and "The Cinema Show" are excellent here, arguably even better than on their respective studio albums. Collins gave his best singing performance ever on a GENESIS album. Too bad Bill Bruford was not present on more than one track. Recommended to wrap up the collection of classic "progressive" period of this unique band. Afterwards goes.... well, another story.

I'm still tracking down the Genesis Archive Vol. 1 set that has the full performance of The Lamb... and Supper's Ready, but until then I have to be content with Genesis Live and this record, Seconds Out, which has a good array of songs but recorded with Phil Collins at the front of the band. Phil Collins is a strong vocalist, and the band did have some moments of real strength after Gabriel left, but there are some moments here where he is REALLY missed, where the band's arty-performance sensibility live that is somewhat inherent to Gabriel-era live recordings, and definitely missing with Collins' renditions, though Collins' voice is technically stronger and more consistent than Gabriel's. I'm sure every true Genesis fan has had this debate with themselves before, so I'll spare the rest of it. Needless to say, I prefer Genesis Live! an emphatic amount more than this album.

The band is fairly spot-on in most moments, giving the original album renditions justice, for the most part, despite certain omissions. Hackett and Rutherford are both flawless on this whole set, and the drumming, whether by Chester Thompson (touring drummer), or a combination of Phil Collins and Thompson, or the guest appearance of Bill Bruford, is spot on, plenty of genuine energy and flourish throughout, a good balance of power and delicacy, as prog rock drumming ought to be. I've said my piece on Collins' vocals; the rendition of The Lamb Lies Down on Broadway seems almost painfully soulless compared to the Gabriel original, and the missing theatrics on I Know What I Like and Supper's Ready are obvious in their absence. And while I don't hate Tony Banks, I do think some of his solos are a bit redundant, especially since he recreates most of them note for note, and his choice of synth sound very occasionally grating. And his synths are certainly no match in tone and warmth for Gabriel's reedwork in the album versions, though he has exhaustive energy. Indeed, there are certain songs in which the band clicks with their energetic playing and propels the arrangements, but as this was the first album to cover Supper's Ready, Selling England By The Pound and The Lamb..., the disappointment on so many songs - over half the album's playing time, really weakens this album as a whole.

A live album with songs from all of their prog-era albums! This was the first album with Genesis I got, along with 'And then there where Three'. I got them from my sister who had bought them in France somewhere. It is indeed a good starter for Genesis. After this album Genesis declined, although Duke is still good in my opinion

Now the tracks:

1. The Album starts with Squonk from ATTOT. The base is better in the original, everything about the original is slightly better, but this is still very good.

2. The Carpet Crawlers, from The Lamb. Phil takes on a Gabriel-era song. It's easy for him here since it's a softer song, wish suits his voice better than Pete's. It becomes almost too soft. The original is still better even though Phil does well here.

3. Robbery, Assault and Battery. Still the originals do better. This quite humorous piece maybe isn't the best of Genesis songs but a highlight on ATOTT. And it has a very fine keyboard solo and this part is better here.

4. An ending piece which ends the first side. Some hints of what is to come are heard but this is still quite good.

5. Firth of Fifth. Now we're talking good music. One of Genesis best tracks! Peter's voice is better suited for this song. Phil's voice is too much ballad-oriented and this song isn't a ballad. But that doesn't matter on the long run. It takes more than a weak voice to destroy this masterpiece.

6. The first song on the album which is better than the original. Mainly because the flute-part is changed to a lengthy keyboard solo. I think they did so live back in Gabriel's days too. Cause he didn't have time to pick up the flute. This is one of prog-era Genesis biggest hits but unfortunately one of their weakest. But as said this version is better.

7. The Lamb Lies Down on Broadway. Another one better live. As with the other track from The Lamb, Phil's voice fits quite well. This version feels somewhat wilder and rockier than the original.

8. A fine bridge consisting of the classic Broadway song (Don't remember group or name of the song.) takes us on to the closing section of the Musical Box. I'd rather have heard the whole song but this is ok. Again better than the original and again because Phil's voice is better suited.

9. The real stuff begins with the second LP. It kicks of with a superb version of Supper's Ready. The live version of the 1973 live video with Gabriel is nearly as good as this but As sure as Eggs is Eggs (Don't remember if that's the right name) really gives me the shivers on this version. Not to forget that the rest of the song is wonderfully done.

10. Cinema Show. My all time Genesis favourite (Which means all time favourite in my case.) in an even more superb version than the superb version of Supper's Ready. Wow, this music really blows me off. First comes the ballad part, which again Phil has a better suited voice and then comes the best keyboard solo the world (My world at least.) has ever known!

11. Dancing on a Volcano. Back to the worse versions of the originals. This sounds weak compared to the ATTOT original, and even weaker after the mind blowing Cinema Show! It's even shorter than the original, the ending jam missing.My CD version of the record also has an error here: half of Los Endos is on this track. But hey nothing is bad with prog-era Genesis IMO.

12. The best track of ATOTT. Just as good here. Heck, it's always good. A real show off!

Conclusion: The best Live-album I have heard so far

Probably, my fauvorite GENESIS album after GABRIEL's departure. During this period, the band's singer is PHIL COLLINS.On the previous albums "A trick of the tail" &"Wind & Wuthering", Phil sang while playing the drums. On this live album (and the other live albums from 1977-93), the band hires Chester Thompson as a support drummer, while Phil is singing at the front of the stage. Then, in the instrumental sections (On Robbery Assault & Battery,Firth of Fifth,Musical Box, Supper's ready(Apocalypse in 9/8),Cinema show,Dance on a volcano's drum duet & Los Endos), Phil would jump back to the drums and play along with Chester. Sqonk: A very surprising intro for a concert.It's a lot different on GENESIS LIVE , that has a very good orchestra-like intro, which lasts 2 minutes.This one has just got about 7 seconds of silence, and then "BLOOM" it just starts off! The song's quite similar to the original 1976 version but this one sounds a bit "hevier" , whichis better(That's maybe why I like live albums better than the studio ones.The sound is usually more powerfull). Carpet Crawl is Ok, and I think Collins' vocals are better than Gabriel's , on this song.Phil does a wonderfull drumming on the instrumental middle-section on Robbery,assault and battery.Afterglow is identical to the original, but in the end, it gets more powerfull, and the ending is a "KILLER".Firth of Fifth is very good, Banks' keyboard solo sounds amazing, such as Hackett's guitar solo.I Know What I Like is quite different fom the original 1973 version.It's got a quite long instrumental section in the middle.The Lamb Lies down on Broadway is identical, musically, to the original, but Phil's way of singing is very different. Musical Box is a lot shorter because they only play as from:"She's the lady..." Supper's ready is maybe the highlight on this album.It's a very good prog-rock 24-minute piece.On the section "Apocalypse...", at 17 minutes(more or less) Phil plays along with Chester, and they do an amazing drum-work, together.Cinema Show is quite similar to the original.By the end of the song, Phil plays along with Bill Bruford, the first touring drummer in 1976(This is the only track recorded in 1976).Dance on a Volcano, is a rocker, one of my fauvorites (Well, all of this songs are my fauvorites,really).In the end, a 1 minute drum duet by Phil & Chester(It's really MIND-BLOWING!)The closing song is Los Endos:Very well played , with a very good guitar work by Hackett, and keyboards by Banks. Highly recommended. FIVE STARS!!!!!!!!!

Pure genius. Chosing between Gabriel and Collins is like chosing between Sean Connery and Roger Moore. I personally can't chose between them. Seen both live and are equally as entertaining, in different ways.

This is the first CD I've bought in several years, purely because my kids mess with the vinyls.

Live album "Seconds Out" announced in 1977.I think that this work might be perhaps one of the most perfect live albums in the history of the rock.The following part is from "Firth Of Fifth" to extraordinary wonderful. Buy it at once if you have not had this album with the fan of GENESIS yet.

Genesis were the first prog band I saw.It was 1980 and during the Duke tour.I was curious to know what to expect hence my encounter with this album.It told me what I wanted to know and more.This is a superb live album,and whilst Steve Hackett was replaced by Daryl Stuermer,it prepared me perfectly for the concert I was to attend.Suppers Ready,The Cinema Show,Dance on a Volcano and Los Endos are the last 4 tracks on the album,and possibly the finest quartet to end a live set.As with all live albums it should be played LOUD!!

Seconds out is not only best Genesis live album, but its one of the best live album of all times. For fans who never get to see live performance of bands like Genesis or Yes, this is absolutely fascinating. In addition to fantastic performance, the biggest bonus I got from this album is getting to hear Phil sing Gabriel. And Phil does a wonderful job here (since his vocal melody level is slightly above Gab) singing Carpet Crawler or Supper's Ready (however I prefer Gab's Cinema Show). This album leaves me with a feeling that I have heard a brand new album with new songs.

Well...what can I say that hasn't be said yet about this great album? It's simply one of the best live albums ever made, and absolutely a MUST HAVE for any prog fan, I only have complains about Steve's sound which seems to be a bit drowned by the other instruments, the other low point is the song selection, it could have been a bit better with more classics or Lamb's material...

Total Score: 4.75/5.00

Bye, Bye...Steve!! and GENESIS sound for that matter!! I personally will get this one only for two reasons.. First, because is the last chance of having Steve Hackett performing live with GENESIS and second, I wanted to listen Bill Bruford on board!! Excellent! Chester Thompson is always good, and he proves himself here too! Phil do the PG numbers OK, but not as good in my opinion, however he sings those numbers not trying to be PG but gives them another feel!!! 3 1/2 stars...........

Almost 30 years on and still sounding fantastic. You can feel the atmoshere and chemistry between the band and audience. Possibly one of the greatest live albums ever made (along with Live Rust!). Maybe the pinnacle of Genesis before technology and P.C.'s love affair of drum machines ruins the pure sound that made them so distinctive at the time.

I remember buying this album the day it was released... and wow, the sound was amazing! Even before the release, I saw the W & W tour in MSG, NYC, back in 11th grade and the only thing `Seconds Out' is missing (besides a fair-to-Steve Hackett mix), was the amazing visuals and lasers. The show was dark, moody, powerful and unforgetable.

Though I prefer Gabriel's range of vocals to Collins, Phil sings most of the old material admirably with more of a delicate tonation, but he still can muster some dramatics during the end of `Supper's Ready,' obviously he is more comfortable with songs like: `Robbery Assualt and Battery and other ATOTT songs). Still remember that this was Collins' `genesis' at being the lead singer and his voice is controlled and void of the silly `alm' sounds, and `Oh Lord,' additions that he embaressingly overused in his `Duke' tour voice work. Yet, l Phil is weakest during the Willow Farm section of Supper's ready where his range can not compete with PGs.

The worse calamity comes from the total mix down of Steve Hackett's guitar. Steve was not a happy camper during the W & W tour. His gem- `Please Don't Touch' was voted down in preference to Collins' `Wot Gorilla,' and he felt that his compositions were not being used (though the band was using more in W&W compared to ATOTT). Because he left the band, I firmly believe that it was Collins' or the band intention to drop the Hackett sound in the `Second's Out' mix- maybe their way of saying godd bye. It's a shame. Steve's haunting guitar effects and work is totally unique; he was the last bastion of power and experimentation that the band subsequently lacked- this mix down decreases the bands power a bit. In the years to come, M. Rutherford tried to emulate Steve sounds, but either failed or went in a more muttled- safe avenue.

It would have been nice to hear more from Bill Bruford on the drumming but ex- Zappa- Chester Thompson is an excellent drummer and filled in well, yet his style is quite un Genesis-like (Chester fit in much better in sucessive tours), but his skill (as well as Collins' limited drumming shines through.

Tony Banks' keyboards are excellent and `Seconds Out' is really the last Genesis album that really let's him showcase the true Genesis sound, complex key work and provide ample orchestration.

Get this album simply for `Cinema Show' and `Supper's Ready.' This showcases the best of the band and not the sell-out rubbish that they did in the 80's and 90's. Yes they made tons of money, but who's going to remember `I Can't Dance?' over `The Lamb Lies Down on Broadway' album?

Though Steve Hackett's `Tokyo Tapes' Live CD (and DVD) try to honor and bring back a memory or two from 70's Genesis (and King Crimson), it still pales to the power, dramatics and elegance of this amazing live album which I consider one of the best ever. Buy it!

This is a great live album. First off, it ousts Genesis live because of the available material on it. Having written three more masterpieces and being able to include Supper's Ready, it's bound to have more potential. Yes, they were missing Gabriel, but you can't see it on the album. And truly, Phil Collins rocked it. I never thought I'd have thought so until I heard the album. And I'm a huge fan of Gabriel's voice - my favorite in prog.

This album is essential as possibly the finest live release of a proggressive rock band. All I've got to say is, Collins - damn. We knew Hackett, Banks and Rutherford would be in top form, and they were creating an ambiance unavailable on produced albums. The kick is that Collin's vocals are a small notch down from Gabriel's at worst.

If you are a fan of Genesis but you don't have any of their live albums all I can say is shame on you. A Genesis concert was a powerful thing of beauty and awe. The first live album suffered from a lack of good engineering, mike placement, mix, performance, etc. but all subsequent offerings have been exemplary. This one stands out because it shows how the band unleashed their enthusiasm and energy to compensate for the loss of P. Gabriel. Aside from a few "noodling" explorations during "I know what I like" there isn't a weak spot to be found. The melding of "The Lamb" with the emotional end of "Musical Box" is incredible and stunning. But the drums are the real stars here. When Phil and Chester play together on "Suppers Ready," "Firth of Fifth" and "Los Endos" it signifies one of the finest moments in dual percussion history. I'm so glad their performances are preserved because it may never happen again. If you can't get over Gabriel's departure then you will surely enjoy Archives I but don't miss out on this and the British version of "Three sides live" to truly appreciate what a juggernaut Genesis was on stage.

It's a pretty good live album, if not their best, because of their outstanding performance on Firth of Fifth or Cinema Show. But the other songs are very good, too. Especially the songs which were written for Collins' voice are impressing. But there are also some flaccidities. Hackett's guitar is often too quiet, and in my eyes Chester Thompson isn't really familiar yet with his job at Genesis, you can see it at Cinema Show, the only track from the '76 tour with Bill Bruford at the drum, it sounds much more vivid than the other songs. But overall, it's pretty fine.

This is a fine live-album, but I think it's a little too overrated over here. Firstable, the sound is very thin and far away and secondly, where is Steve Hackett? I find it terrible that they mixed the man out in the studio. His guitar-sound was wonderful in the old songs.

Well, the band plays very good and Phil really did a great job replacing Gabriel at that time, although I think the old material (except "The Carpet Crawlers", strangely noted as "Carpet Crawl" on this record, and "The Cinema Show".) sounds weaker with his vocals. On the 1982-LP "Three Sides Live", things became vocal-wise stronger. I don't think "Supper's Ready" is improving anything. Maybe Collins' voice is more 'clean' than Peter's, but the power of the song is real emotion, and that emotion can be heard on the Gabriel-versions. To be honest, I'm not that fond of this version, but It's not bad.

The songs from the Collins-era are very good, as they were written for Phil's voice. The older song "The Cinema Show" sounds fantastic with Bill Bruford on drums. At the end, Phil is playing drums too, which created great effects.

To me, the 1972 "Genesis Live" and the 3rd disc of "Archives 1967-1975" are way better live albums by the band than this one, but don't get me wrong. I like this one, but especially Hackett's mixed-out guitar-parts are frustrating me even today.

This is the album that seems to divide a lot of Genesis fans. On one hand, it is a better documentation of live Genesis than "Genesis Live" (which suffers from less than stellar quality and just not enough songs). This live recording shows the band at a transitional phase, still not completely sure which direction the band would go ion.

This album has a few major faults, which have already been pointed out by the other reviwers. For the most part, the good qualities outweigh the bad, but this still doesn't quite reach the qualities that make an essential purchase.

When this album is great, it's very great. The Trick Of The Trail songs are played magnificently. Collins vocals are spot on, and Chester Thompson is a very worthy replacement on the drums. Two other tracks that stand out are performances of Gabriel-era songs "I Know What I Like" and "The Lamb Lies Down On Broadway". Vocally, Phil takes these songs and makes them his own, and in many ways, he outdoes Peter's performances. This is especially true with "I Know What I Like", which easily sounds like it would have fit comfortably on "A Trick Of The Tail" or "Wind & Wuthering".

"Supper's Ready" is the most controversial inclusion. Phil's vocals work in some parts, mostly in the beginning. Phil gives a more soulful performance during the parts where a less melodramatic voice is needed. But once it gets to Willow Farm, things start to go wrong. Phil really can't pull this part off like Peter could. He sounds like a parody of Gabriel, overexagerrating the voice changes that flowed so well when Peter sang them. His voice also fails to impress on "Apocolypse in 9/8" and "As Sure As Eggs In Eggs", where Gabriel's dramatic voice really feels needed.

The other songs on the album are kind of bland and forgettable, esepcially "The Musical Box" and "Firth Of Fifth", which are uncomfortably abridged. "Afterglow", the only track from Wind and Wuthering, just kind of floats by unnoticed.

However, the albums finalie, "The Cinema Show" and "Dance On A Volcano/Los Endos" are a fantastic ending to the show. Both feature an excellent drum duet. It's hard to tell which drummer is playing what, but it doesn't matter, because both give top notch performances. The inclusion of extra percussion adds a lot more to the Genesis sound, and it would be great to hear more of this is there ever was another reunion.

Overall, this live recording has some great moments, and some dull moments, but is a good collection of live songs that every Genesis fan should hear.

I could never get the feel of "Seconds Out", to me there seems to be something fake about it. "Seconds Out" was one of my first Genesis albums and I was a little annoyed when I discovered it was a live album. I was expecting it to be a studio album and the fact that there was no Peter Gabriel annoyed me even more. I thought that no Genesis album is complete without Peter Gabriel. So, for a long time this was all I had to go on with Genesis until about a month later when I purchased some more of the band's stuff. Now I realise that "Seconds Out" is a rather good performance, its no genuine Genesis in terms of line up, but it isn't bad. A couple of stand in drummers were brought in to compensate for the fact that Phil Collins because lead vocalist in Peter Gabriel's wake. Bill Bruford and Chester Thompson were recruited into the band to substitute for the absence of Collins (on drums). The boys did a fantastic job and the drum sounds are as clean and coherent as on the studio albums.

Steve Hackett's guitar is clean and precise as ever here and his solo on "Firth of Fifth" loses none of its magic. The instrumentation in general is great, the music loses the Peter Gabriel feel in parts, and in particular songs like "Suppers Ready" aren't the same without his passionate singular voice. Also with Peter Gabriel went the real flute and oboe, a minor point to some but for me the flute in "Suppers Ready" is very important to the mood of the piece. I think its criminal to have only included the ending of "The Musical Box" and there is nothing from 'Trespass' and very little of 'Nursery Crime.' 'Trick of the Tail' and 'Selling England by the Pound' both got considerable work-outs with several (exaggerated number) songs taken from both. These include a fantastic version of "I Know What I like" which involves the crowd and gives the song an extra dimension.

Overall the absence of Peter Gabriel isn't as grievous as one would expect, the only major things lacking are genuine vocals and a real flute. Apart from that this is genuine Genesis and is well worth three stars. I'd recommend "Seconds Out" to all Genesis nuts out there, and just to confirm: don't let the absence of Peter Gabriel affect your judgement too much. Good, but non-essential

Boring, boring, boring. I though this album was painfully dull even before I heard the first Archives Box set (or even boots of similar material). And I was actually excited the first time I heard it to hear a complete live Supper's Ready. I was a bit worried that Collins was singing, but I figured he is a good singer, Bruford is a great drummer, it should be pretty good still. But no, it was slow, undynamic, and dull, dull, dull. The other tracks don't improve matters much. They sound like they are tired and/or bored. There is not enthusiasm or energy like on the Gabriel era live stuff. What is strange to me is that I've seen a video of a performance with Bruford (Trick tour) and it is quite good. Not sure what happened, but I guess Hackett's heart was not in it by the point this album was recorded. But it sounds like the rest of the band isn't either. Oh well, a shame. 2 stars at best.

The end of a golden age...

Seriously, I think that this album is the last goodbye to Genesis golden age and maybe to the classic symph prog of the 70's. I'm very proud 'cos I have the double vinyl of this album and still sounds amazing. Well, the entire album sounds great: delicate, excellent keys/synths by Tony Banks, great drumming (even when I really need to listen more of that Bruford/Genesis weird fussion) but Hackett guitars sounds a little low and distant... Maybe Steve was saying goodbye too... This is one of the weakest points of the album and yes, very-very important at last.

Well, the album starts with a decent version of Squonk (on eof my least favourites of that period). Following a kind of ballroom version of The Carpet Crawl with Collins almost whispering and then an excellent version of Robbery, Assault & Battery with the amazing fingers of Mr. Banks taking the lead.

Afterglow sounds great even when it's not a great song. Firth Of Fifth it's one of the songs when you really miss Mr. Hackett taking protagonism. I Know What I Like, The Lamb Lies Down On Broadway and the closing section of The Musical Box just passes through your ears as cold wind but then you find the best four songs of the album: Supper's Ready (really amazing version even when you miss Gabriel vocals), Cinema Show (another great and symphonic version, with a brillian work of Mr. Banks on Keys/synths), Dance On A Volcano (maybe a very elegant version to a songs that's have to sound raw IMO) and of course, Los Endos in another great work of the band.

Resuming: a necessary album 'cos it's part of the prog music history. But I insist, Mr. Hackett sounds like a secundary musician and that is the weakest point of an album that could be brilliant...

This album is a compilation of two tours (1976 and 1977). Both were recorded in Paris. I saw the concerts of both tours in Brussels.

It's a pity that their record company compiled these two on one album (being a double) only. In those days, live albums were not as popular as now. Five songs are from "and then they were four" era but I was very disappointed that only one song from "Wind" was selected out of the tour ("Afterglow") while "Eleventh Earl Of Mar" and "All In A Mouse's Night" were regularly played in 1977. I guess that the fact that Steve left the band in the meantime (after the 77 tour, but before this release) was the main reason for it. The best track from "Trick" is also skipped (actually, it will never be played live) : of course, I mean, "Mad Man Moon". So, let's go now to the more positive side : the renditions of "Squonk" (which sounds harder than the studio one), "Robbery" (during which I think, the clip was displayed on a giant screen. I think it was the 76 show, but I am not 100% sure), and "Afterglow" (wonderful moment of emotion) are very good. As far as the "old" repertoire is concerned, if we except the (too) long version for "I Know..." (but this will be their trademark for this song for the next two decades), and the emasculated "Musical Box" limited to the closing section (three very cool minutes though) there were two very nice versions from "The Lamb" : the title track as well as "Carpet". All the other tracks are at the level of excellence : "Firth" being as beautiful as on "Selling" (but, hell ! Why did they cut the intro in their concerts ?) I remember quite well "Supper's Ready" and the laser effects surrounding Phil. Actually, I prefer this live version to the Foxtrot one (and even to the other official live release on the "Archive I" boxset recorded with Peter at the Rainbow theater in 1973). I can't tell though if this version was taken in 76 or 77 (the laser effect appeared in both tours). Phil is really astounding in the lead vocal of this epic of prog music. In general, Phil was great during those tours, and quite a surprise for most of the fans. The last three tracks of this album are GORGIOUS. When you listen to the second part of the "Cinema Show" the drumming is incredible. Can you imagine : Bill and Phil on the drums on the same stage ! About five minutes of pure crazyness. They were probably the best prog drummers in the world (and even if we include Bonham, Paice and Moon we got two of the top five drummers in the music history on the same stage - let's add maybe Carl Palmer to be complete). The same feeling will apply to the closing numbers which I did not consider as great studio tracks on "Trick" but here they just sound fantastic. This time, the second drummer is Chester, and I can tell you that it was a great experience to watch them both playing together. As I was always in the first row in those days, I could see them pretty close. The liner notes mention Bill on drums for "Cinema Show" only. This means that this is the sole track of the 1976 tour on this album. For your information, this is how both tours looked like (here and there some tracks changed, but not very much) :

Classical 1976 tour : 1) Dance On A Volcano 2) The Lamb Lies Down On Broadway 3) Fly On A Windshield / Broadway Melody Of 1974 4) The Carpet Crawlers 5) The Cinema Show 6) Robbery, Assault & Battery 7) White Mountain 8) Firth Of Fifth 9) Entangled 10) Squonk 11) Supper's Ready 12) I Know What I Like (In Your Wardrobe) 13) Los Endos 14) It/Watcher Of The Skies

Classical tracklist 1977 tour : 1) Squonk 2) One For The Vine 3) Robbery, Assault & Battery 4) I Know What I Like (In Your Wardrobe) 5) Firth Of Fifth 6) ... In That Quiet Earth 7) Afterglow 8) Eleventh Earl Of Mar 9) Supper's Ready 10) All In A Mouse's Night 11) Dance On A Volcano 12) Drum Duet 13) Los Endos 14) The Lamb Lies Down On Broadway 15) The Musical Box (closing section)

This is great live record, and a wonderful moment in my "Live" life. Four stars.

Seconds Out is a difficult album for me to review, I had wanted this album for months so when my girlfriend brought it for me a couldn't wait to give it a spin. What I heard however left me somewhat disappointed being that Genesis are my favourite band of all time.

Where the hell is Steve Hackett in this album, his guitar solos and overall sound are drowned out by the other members. His guitar solo for Firth of Firth barely noticeable and sounds very weak. Lets be honest drums and bass should not drown out a hackett guitar solo!! ha ha.

The drumming in this album is far too busy and over the top even for a live album. The bass playing is nothing special, apart from Los Endos. Bank's keyboards are ok but again I ask myself where is Steve Hackett and his sound in the midst of things.

Some of the choice of tracks are poor, especially Carpet Crawlers which is a poor song by album standards. The Cinema show is too slow and dragged out to make it as a live song and Robbery Assult and Battery sounds much better as an album track.

The live set does not contain enough to satisfy you if your a Wind & Wuthering fan. Tracks such as 'Eleventh Earl of Mar' and 'In The Quiet Earth' would have made perfect sense to have as live tracks instead we are treated to a poor version of 'AfterGlow'

On a positive note however Phil Collins does quite a good job of singing the Gabriel pieces such as 'Suppers Ready' and 'I know what I like'. The fact that Hacketts sound was not remastered properly unlike the rest of the members really lets this album down badly. Guys you should be throughly ashamed of yourselves for doing that to him.

To sum the album up I would put it under the heading 'Not bad but could do a lot better'

God! Where do I start from? This is probably the best piece of live music I've ever heard (together with the band's previous live album) and definitely one of the 4 or 5 albums that I would give 6 stars, if I could. Well, this album has this certain overall sound that makes you feel that all of the songs in here come from he same album. The versions are quite loyal to the originals but, at the same time, they have a unique sound that makes them "feel at home" in Seconds Out, sounding different from the studio versions. This unique overall sound (clean keyboard sounds, echoed organ, potent bass, stunning drum work, and sort of background guitars), which I'll call "The Magic of Seconds Out". 1-Squonk: The album starts quietly; you can hardly hear a sound, until Chester Thompson does the counting with his drum-sticks and BOOM, it starts off. Great guitar sounds, well played bass lines, nice keyboard sounds, and Phil's vocals are in really good shape. I also like the sound produced by the guitars when mixed with this sort of "echoed" organ. 2-The Carpet Crawlers: The previous song ends with a lot of power and flows quietly into this one. As the audience finishes clapping, Tony Banks enters with stunning mellow electric piano, then augmented with Steve's guitar on the background. The vocals enter softly, sounding totally different from Peter's, and, later the snare drum. The song builds up and up, until it reaches its peak, and softly ends. Perfect! 3-Robbery, Assault and Battery: The concert continues to flow nicely with the synth riff of this great piece from "A Trick of the Tail". Phil plays the different characters changing his voice, while Mike does some great bass job and Steve plays his guitar parts, really well. During the keyboard solo (which is awesome), Phil jumps back to the drums providing some excellent playing. I really like the part where Tony plays the Hammond. This is a great experimental keyboard solo. 4-Afterglow: Excellent version of this great track by Mr. Banks. Wonderful organ and guitars, breathtaking mellotron. Phil sings his soul out here, again. Awesome drum duet in the end. This version is very similar to the original, but it's even better. The ending will take your soul away. 5-Firth of Fifth: Now, this version is very different to Peter's version. The vocals sound more peaceful, the sound is not as aggressive as the original. We haven't got the piano intro here, but it's still great. The virtuoso solos by Tony Banks and Steve Hackett are present and extremely well executed, not to mention the stunning drumming. Mike plays both guitar and bass with his double-necked. 6-I Know what I like: Wow, here's some "Magic of Seconds Out". It's nothing to do with the original and it has this overall sound like all the other tracks, so it feels as if they all came from the same album, as I mentioned above. Just listen, it's a lot longer than the studio version, and Phil's way of singing it is absolutely different. Oh, pay special attention to the syths and the stunning bass lines. 7-The Lamb Lies Down on Broadway: Great version, almost the same as the original, except for the vocals, of course. Really good version, maybe even better than the 1974 version. 8-Musical Box (closing Section): You may ask yourselves: "Why would I want to hear just the closing section?" Well, the effect it produces is wonderful. "The Lamb" ends with nice guitar arpeggios which flow seamlessly into the last part of this epic track, to close the first half of the show. If you want the complete version, you've got it on "Nursery Cryme" and "Genesis Live". This is a whole different point. It's like a brief ending to the first disc. The guitar solo is done with a lot of passion, as well as the singing. Oh, very loud ending, typical of great live shows! 9-Supper's Ready: Disc two starts off with the ENTIRE version of Genesis's magnum opus. Wow! Incredible version. For the ones who think Phil would fail singing this epic, listen to this and you'll most likely find out that you're wrong. Banks, Rutherford and Hackett come in playing guitars, as Phil's voice gently sings the "lover's leap" section. His voice sounds more peaceful than the original and it hasn't got that high-pitched second voice on the background. Tony's electric piano solo sounds very clean and clear and it gets mixed with the guitars perfectly. Very loudly played "Guaranteed eternal sanctuary man" section. Well, everything here is perfect. Every note in its right place, all played with energy and soul. I'd like to remark the transition from "How dare I be so beautiful" to "Willow Farm" and the whole "Apocalypse in 9/8". The part where the demonic mellotron and guitars get mixed sounds really scary, and the Hammond organ solo is just perfect! This guy is awesome, man! The drum work there is also stunning, as well as the backing guitars, augmented by strong bass pedals. The ending is colossal! Steve's solo is top-notch! This is, actually, the first version I've ever heard of this song (even before the original). Just plain perfection! 10-Cinema Show: This is the only recording taken from the "Trick of the Tail" tour, with Bill Bruford on drums. Sang with soul, played gently, just great. The awesome part is the instrumental half, with those virtuosic keyboards, and drums. This part is better than the original, played with a lot more energy. 11-Dance on a Volcano: I remember this was one of my favorite Genesis tracks, when I started getting into the band. The performance is, again, stunning and there's a 1- minute drum duet in the end. It's good to have this, because Chester and Phil would do that on every tour since then. 12-Los Endos: Performed awesomely, with the virtuoso keyboard, guitar, bass and drum playing. God, these guys were all virtuosos! Loud, really loud ending for this awesome show! Well, this is not actually all the same show, but it really feels like it. The set-list is really well arranged and the flow from one song to another creates the atmosphere for a perfect live show. Just listen and enjoy one of the best live pieces of music ever!

Seconds Out is probably one of the best progressive rock live albums ever released. Originally released as a 2-LP set, it covered material from the peak period of the group, from Nursery Cryme to Wind & Wuthering. One song, Cinema Show, features Bill Bruford during his very short tenure with the group. With Phil Collins now in the lead, the drumming was skillfully performed by Chester Thompson (of Weather Report and Frank Zappa fame).

Unfortunately, not everything a die-hard fan could want is found here. To satisfy every Genesis fan would have taken a 4-LP set! Missing are Eleventh Earl of Mar, One for the Vine, In the Cage, Colony of Slippermen, among numerous others. What a dilemma? When five of your last six studio releases are masterpieces, what is a group to do?

Thank goodness they had the sense to include the full performance of Supper's Ready. And Phil does an incredible job on this. What a fantastic collection. Like I said, too bad it wasn't a 4-LP set. Nonetheless, a genuine live album masterpiece. Not many fit that bill, but this sure does. This album would also make a nice introduction to Genesis for those of you not familiar with them.

I can't understand why so many people adore this album, consider it one of the greatest live albums ever, etc. To me, it has some great music from early Genesis, but shows me all that I don't like in Phill Collins led Genesis. Moreover, Genesis always had good concerts due to Peter Gabriel's charisma and the theatrical side of the concerts. But musically, they were immensely better in the studio. Alive, they lost some of the instruments and overdubs from studio, and didn't compensate that with new arrangements, lots of energy or improvisation. Genesis, actually, was quite the opposite, all of their musicians like to play exactly what they wrote, and if you compare a bootleg from them in 1971 and 1974, the differences in the songs that are on both are minimal. And they're not the most energetic band, surely! So this album has new versions to the songs that are at most times very similar, and none of them is superior to the original. I really miss Peter Gabriel in many moments, like Firth of Fifth, Carpet Crawlers (Phill managed to make this song even slower and popper than it was). Besides, Firth of Fifth doesn't have the amazing piano introduction, and the synth solo is made on a different synth, with a worse timbre. Supper's Ready is well played, Phill does his job very well. But there are some very small changes that were made that really upset me. An example is a keyboard theme from the part 4, Ikhnaton and Itsacon and their band of Merry Men. There's a descendant arpeggio of D in this section that's really important for all the music. Alive, Banks changes a single note from the arpeggio, and the result is disastrous. It shows us how this masterpiece of progressive rock is carefully done and anything changed can be the water drop that breaks the camel's back. I Know What I Like is one of the few songs that I like here. It has an extended ending, with some improvisation, where they even play a small section from Stagnation (a song from Trespass). Phill does a good job here, too. The songs from A Trick of the Tail I can't bear, in the originals or here. Except Dance on a Volcano, which is at least entertaining, the others are really bad songs. If it may serve as a consolation, they would get remarkably worse in the 80s.

So I think this album doesn't add almost anything to Genesis's discography, so it's good but not essential at all. I must say that if I were on their show from this tour, I would certainly love it. The problem is that I don't find it artistically relevant enough to be released.

This album sounded awkward at the time and I still get this feeling today. It had a bitter taste also, because by the time it was released I already knew Steve Hackett was gone. I had the feeling that this would be the end of the band (in a prog way, I was right). Anyway, this live album is a good one, it has some fine moments. Still it is like hearing two different bands playing sometimes. The Collins era stuff is simply great, with some songs sounding better live than in the studio versions. The older stuff sounds just right, but more like a cover band doing them (even if is a brilliant cover band). And it definitly does not have the same musical quality and guts as the earlier Genesis Live (although the production is drastically better in Seconds Out). The inclusion of a whole Supper´s Ready is dubious: it takes so much CD time and the performance is good, but it pales if you hear the original one or the DVD version recorded with Peter Gabriel in Shepperton . It would be much better if they played some latter day stuff instead.

All in all a good live album of this transitional period. It lacks however some balance and the Wind And Wuthering tracks are sorely missing here. It would be much better if they played more of it (one song only?). Even if the band is excellent and the performances are spot on, this release is far from essential.

Final rating: 2,5 stars that I´ll round up to three because with Steve Hackett still on board, they were still brilliant.

This is my absolute favorite live recording ever made. Phil steps up wonderfully to sing Peter's parts. This album has truly amazing musicianship on it. It has some of my favorite Genesis songs of all time. This is the first Genesis that I really listened to and it really turned me on to the Band. I would highly recommend buying this album. I recently saw Genesis live and they still sound great. This is the closest thing to the way they sound now that I have found.

Easily one of the best live albums out there. The drum duets are especially worth it! usually I hate two drummer bands, but these guys make it work in a way that few do.

A couple weak spots in the record. Gabriel fans will miss PG. Though his voice was never better than Collins' it was always more true to the songs. Collins already has his pop flourishes that damage the mood. Example: "When the laaaamb (Oh the lamb!) lies doooown (down, down, down!) ...." Phil, we can do without your crap pop embellishments on classic songs. Also, Squonk in particular is a little simplistic and flat. Heck, can;t blame them, they are touring to promote an album, but there are better songs than Squonk to perform. Others, like Dance on a Volcano, work great. Afterglow is a preview of the pap Genesis would become, and could also be left out. But the classics that real prog fans love are in general done very well.

Just an aside: I saw the "Genesis Concert Movie," made from this tour, in 1984 when I was in high school. It is what made me go out and buy all the classic Genesis albums, because it was such a great show, and such great performances. In spite of a few annoying points (oh the lamb!), it still manages to charm.

4.5 stars

This album is for Genesis what Playing the Game is for Gentle Giant and what Two for the Show is for Kansas. The end of their progressive rock career. Well! And Then There Were Three, Missing Piece and Monolith all had progressive elements but they are without a doubt more commercial than the three bands previous efforts.

The quality of Genesis songs are not to be discussed, I love their music. But I don´t think their live albums are essential listening. Good but not essential. Seconds Out is no exception to that rule unfortunately. I think the perfomance is quite passionless and not very exciting.

The real treat here is of course that you get to hear Phil Collins sing some of the Peter Gabriel classics like The Carpet Crawl, Firth of Fifth ( without the brilliant piano intro), Cinema Show,The Musical Box (Closing Section) ( why only the closing section to this beautiful song ???) and Suppers Ready.

While Phil sings the drums are played by Chester Thomson ( Zappa, Weather Report) who as usual delivers his best. But in the longer instrumental parts Phil gets behind his kit and plays with the others. There is absolutely nothing wrong with the musicianship on the album. It´s just too streamlined.

First of all, I know Genesis was this huge live act due to Peter Gabriel's Antics, but on a cd, you can't hear them. Nor were the songs as good live because of the absence of a grand piano, replaced by a corny electric that doesn't do justice to any of Banks' glorious piano parts. Second of all, Collins may have sounded a little like Gabriel on the first two albums with him singing, but that doesn't mean he can do the old songs as well. Firth of Fifth sounds strained, due to the lack of piano and Collins not coming up to the power of Gabriel. Supper's Ready cannot be done at all well without Gabriel, as he is the main star, and the other classics are ruined. the reason this isn't getting the full one star is because of Afterglow and the Dance/Endos medley. Afterglow sounds great and epic with the drum duel, as does the closing medley. other than that, even good ones like squonk aren't as good live. Overall, the death of a Great Band and the birth of a terrible one.

Released in 1977, this double live album was was brought out after Wind and Wuthering and was the last Genesis release to feature Steve Hackett. You may groan with doubt and apprehension, but fear not, because this is an excellent album- for the most part anyway. The album contains mostly material form Gabriel albums, with a few tracks with the Collins albums up to this point. The quality is much better than the first Genesis album, and there are no doublers either so this is worth every penny. The highlights for me were the live versions of The Cinema Show and Squonk, as well as the closing section of The Musical Box, which is the only evidence of the much forgotten and underrated Nursery Cryme album. Only two things let this album down for me. One is the fact that I really dislike the tracks Afterglow and Robbery Assault and Battery, which for me reek of Collins' impending pop explosion. The other thing is once again down to Collins', in that his flowery pop vocals are already apparent in some of the material, such as the versions of The Lamb Lies Down on Broadway and Supper's Ready, which are otherwise two of the best tracks on the album. At the end of the day though this is a great album and oh so nearly 5 stars, but 4 just for the fact that Phil ruins it! 4 stars.

Now were talking! This is how i want my live Genesis raw and vital and with many surprises, all the songs are well played and immproves on the orginal ecpesialy the Selling england ones while the stuido version was boring and dull, this ones are reworked shorter all the boring parts are gone and only the best stuff are left palyed beter then ever, much beter and more fun in everyway the solos now sounds more alive then ever. Why they added the boring Afterglow from the mediocre Wind and whutering album i have no idea, its by far the worst song on here and the skip button is the only option. the rest of the songs shines. Squonk opens the album in a amazing way and is beter thne the excelent studio version more heavy and superb singing form Phil, The Carpet Crawl is as beautifull as ever. And many may not agree but i like this version of Suppers ready much much more then the orginal stuido verion on foxtrot here it realy comes alive and collins singing is simply great, before i heard it i tought he culd never pull it of but not only does he but he makes the betst version of it i ever heard, no stupid masks and make ups are needed he gives it his everything and for the first time i can sit trough the whole thing without geting bored at the end, and the great playing blows the studio version away by miles. the last 3 songs Cinema Show, Dance on a volcano and Los endo all immprovs on thier old verisons and are all simply amazing. This is toghter with ELPs Welcome back my friends.. and Yes Yessongs my favorite prog live album. And it blows the dull Gabriel era Genesis Live album away by miles. This is it the best live Genesis you will ever get. 4.8 Stars.

It'll be very hard for me to talk about Seconds Out, because I adore it. More than loving it, I mean. I just can't live without listening to this live album each week. It's absolutely wonderful, no weak moments. Some songs from A Trick Of The Tail, just one song from Wind & Wuthering, and, among the old songs, Supper's Ready ! Performed, of course, by Phil Collins. I largerly prefer this version than the original studio version (on Foxtrot). The last album with Steve Hackett, recorded live in Paris in 1977, just before Hackett leave the band ; 'And then there were three' for the future...

Well its not yesterdays leftovers or is it?

When this album came out in the 70's it was much heralded and timely. I think time has shown it is not quite the document it once was though. At that time it was the only official live versions of songs like Suppers Ready, Firth of Fifth and anything off the Lamb. Now that Archive box set Vol 1 was released those things aren't quite so important as they were. I was introduced to Genesis through the Gabriel albums but I never saw that band and my first show was A Trick of The Tail tour. This album is a pretty fair rendition of that era and it was the end of the sound we had come to know and love. It is not the complete concert so this is just a part. Genesis shows were generally 2.5 hours to 2.75 with encores in length so there is whole hour of stuff missing here.

So the questions is does this album remain relevant to the band and prog rock in general and the answer is simply yes. Genesis had changed a bit over this two year period but they still were a force on the prog scene. Anyone who devalues that is crazy. As for its popularity Genesis was on the rise even thought they had not really released a noteworthy single to date. They went from the 3000-5000 arenas to the 12,000-18,000 ones. Their album sales were up and the band really was playing at a very high level.

All the muttering over Collins vocals don't detract from the fact this was the one of the best live acts of all time. I still get chills at the end of Firth of Fifth when the piano fades out and Phil just sings a couple of notes rising with it from his last note of constant change Simple and perfect! Or for the very first time Tony plays meoldies from Visions of Angles and Stagnation into his solo in I Know What I Like. Songs never to be heard live again and am so very happy he kept it in even through the last tour. I am with others though I could do without the Lamb/Closing Section The Musical Box medley except for one simple fact I didn't think that way as I sat there and watched it in 1976/1977 and you can also hear it in the crowd when they recognize it when the Musical Box starts.

Maybe as some suggest more songs or different songs could have been placed on here and Steve Hackett should have been up in the mix as well. I still enjoy listening to this at it brings up the memories of the classic concerts I saw. This is still a 4 star release. Maybe in time the band will re-release it with more songs and Hackett back in the mix where he belongs then it will be a 5 star again..

From Genesis to Los Endos

It is always difficult to find some original words of praise for an album that is already massively popular and well respected. However, one controversial view that I hold is that Phil Collins performs these songs, both the newer ones and the older ones that were originally sung by Peter Gabriel, better than anyone else could do, including Peter Gabriel! It is remarkable how well Collins performs vocally. And the rest of the band are spot on too!

Since Genesis at this time had so many great songs to choose from they were able to make this excellent live album at the very peak of their amazing progressive career. If you love the progressive Genesis, you will simply love this album. It doesn't outdo the studio albums, of course, but it is a live masterpiece album!

Highly recommended!

Bill Bruford sure played for some great bands live on stage. It doesn't get better then KING CRIMSON, YES and GENESIS does it ? He's actually featured on one track here "Cinema Show" from a concert in Paris in 1976.The rest of the songs feature Chester Thompson and were from their concert in Paris in 1977. It shows how much respect both GENESIS and YES had for Bill Bruford, that both bands would release live albums and yet go back to older live material just to get him on these particular albums.This is from the "A Trick Of The Tail" tour and features four songs from that album (the most) and three from "Selling England By The Pound". "Wind And Wuthering" wasn't released yet but there is one song ("Afterglow") from it as well. This would be Steve Hackett's last recording with the band. Lots of mellotron on this one and Phil is in fine form.This recording is in my top three of all-time favourite live albums. It's almost perfect.The only thing I would change would be to have "Dancing With The Moonlit Knight" in place of "Robbery, Assault & Battery".

So many highlights to pick from. I will say that "The Carpet Crawl" is in my opinion one of the most beautiful songs i've ever heard. In like manner "Afterglow" is a gorgeous track with some beautiful mellotron.The sound gets louder before 2 1/2 minutes and it's so emotional. "Firth Of Fifth" is really a song I feel that I should stand fo r(like the national anthem). That's how much respect I have for it. Anyway check out Banks after 3 minutes, and the drumming that follows is outstanding. A fuller sound with mellotron before 6 minutes. Perhaps the biggest wave of mellotron on this recording comes in after 8 minutes. It ends with piano and we can sit back down now. The crowd really gets into "I Know What I Like" clapping along. Some nice bass in this one too. Great sound 5 minutes in.The closing section of "The Musical Box" is so moving.

"Supper's Ready" is the best version i've heard. 24 1/2 minutes of bliss for me. Funny but this is a song that i've never warmed up to until about the fourth listen to this version and then it clicked. It is simply jaw dropping. I can't even begin to express how incredible the first almost 5 minutes are. "Cinema Show" features Bruford but honestly Hackett and Banks shine as well. Check out Hackett before 2 1/2 minutes. Beautiful. I like too when the tempo picks up before 6 1/2 minutes as Bruford and Banks deliver. It's even fuller sounding 8 minutes in with mellotron. Nice bass 10 minutes in. Lots of mellotron on "Dance On A Volcano". Love the intro as well. There's even a drum duet with Phil and Chester after 4 1/2 minutes. Mellotron opens "Los Endos" as drums build.The mellotron throughout is incredible.

Each track is outstanding so I feel bad not touching on them all. This is the kind of music that for some reason really moves me.

Peter Gabriel departed, Phil Collins arrived. Well, moved some steps forward from the drums and out to the limelight at the front of the stage. And a good move it is, too.

This album presents some of the best Genesis songs from that era. Well, the track selection is always up for debate. There is not any songs from the Live album (the Peter Gabriel era's only live album) on this album, if I am not wrong. The result is a more softer, melodic album. A couple of ballads was even introduced here. Which is the only thing I do not like about this live album. So let's move onto the good things about this live album.

The songs, with exception of those two ballads, is delivered with great musicianship and joy. Supper's Ready is a joy to behold here. Firth Of Fifth too is excellent. The jazz part on Robbery.... is excellent. The inclusion of The Lamb Lies Down On Broadway is heart warming. The Musical Box is superb, although it is not the full song. Cinema Show, Dance On A Volcano and Los Endos is superb. I actually always tend to play the last four songs on this album because I regard them as the main dish of this album. I love them.

This is in my view one of the great live albums from the prog rock scene. It is a good last hooray from the classic Genesis era. It is also a very symphonic prog live album which is bordering to jazz at times. It is one album to fully enjoy.

4 stars

Seconds Out is *the* live album of 1977.

I remember walking into a book store in the month of April 2009, looking for some books, some albums, anything that fits my mood. I remember walking through a book counter and hearing something unknown yet familiar. It sounded celestial, with that 12 string guitar, and those lyrics, "Hello baby, with your guardian eyes so blue. Hey my baby, don't you know our love is true.". I hurried to ask the man at the counter what this heavenly music is, and he said, "Supper's Ready" by Genesis. I have only heard of the song, so I didn't know what to expect, and when I heard this, it surprised me, in a very good way. I kept walking around in the store looking at the books and the CDs, but all that was in my mind at those exact moments were the music. I straight away knew, that prog is my love. Having heard prog artists like Camel and Uriah Heep I decided to pick up a few albums, so I approached the man at the counter and asked, "Do you happen to have this album on CD to sell?", and he replied: "Seconds Out, no, sadly, we don't have it.". Ever since I have looked for the album, but have failed to find, and only saw Genesis classics like Trespass, Foxtrot, and Nursery Cryme. One day, I was in a vinyl store, just looking around, and I saw this album, for 20 NIS, which is around 5 dollars. Of course I had to buy it, and I did, but it was left out and wasn't even given a single spin. About 2 weeks after the purchase, I ran into the vinyl during a clean up and decided to give it a spin. Starting with a track from A Trick of the Tail sort of bummed me out, but then Carpet Crawlers started playing, and I knew that this album was worth the endless searching.

The track listing is rather good actually, featuring Genesis classics like Supper's Ready and The Musical Box, but also "new" tracks like Squonk and Los Endos. The album also has Chester Thompson and Bill Bruford guesting as drummers on a few tracks, Bruford's being The Cinema Show and Thompson being the main drummer when Phil Collins is too busy singing. The playing here sounds grandiose, especially on Tony Banks and Mike Rutherford's parts, but most chances are that it's just the echo in the room.

As I said earlier, the version of Supper's Ready is more than excellently played and it is heard that the band has practiced many times to get it right, and when the night came, it was time to rock n' roll, and they rocked properly. You Yes and King Crimson fans, don't expect Bruford's high-pitched snare sound on The Cinema Show, as he was just doing Phil a favor by drumming on that track, not making this a King Crimson gig.

A lot of people hesitate on which Genesis live album they should buy, and most of the time people go on and buy Genesis Live, but this is the real treat, and while this may not have Peter Gabriel singing, or Peter Gabriel's composition (on some tracks), the band does a very good job at safekeeping Gabriel's legacy. While this may not be a progressive rock masterpiece, it is a great piece of music to introduce you to Collins-era Genesis and maybe even Genesis in general. 4/5, and maybe Genesis Live is better, but from the many times I've listened to it, Seconds Out is the better live album.

Seconds Out is a certain contender for the top 10 of prog live albums ever. Seconds Out was recorded shortly before Steve Hackett would leave Genesis and in doing so bereave the band of their strongest remaining prog asset.

It also two studio releases where Collins took the position as front man and even though these albums could not entirely convinced me; the live recordings here prove his grown confidence. Phil gives a solid performance on both his own and on the Peter Gabiel tracks. Quite an achievement. It is never easy to impersonate another voice, let alone that of an icon like Peter Gabriel.

The rest of the band is in fine form as well. Thompson fills Phil's shoes as if he never worn anything else and Bruford sounds as comfortable with Genesis as he did with Yes and King Crimson. Rutherford and Hackett don't miss a note and as usual Tony Banks brings in an excellent performance. More then 30 years after its release, his keyboards have aged very well and still sound fresh and inspiring. Something that can not be said about many of his contemporaries...

As far as I'm concerned this is an essential addition to the Genesis catalogue.

This album is one of the best live albums ever released, and certainly the epitome of Collins-era Genesis. Phil does a great job performing Gabriel-era pieces, melding them perfectly in the set with some of the newer, but stylistically similar, pieces. This album has the definitive live recording of "The Cinema Show." Never have I heard such a spectacular keyboard performance--it far surpasses the already brilliant studio version. "Dance on a Volcano" / "Los Endos" and "I Know What I Like" are also played excellently here, showcasing Genesis' instrumental prowess before they went the way of pop rock. "Supper's Ready," Genesis' finest piece, is also performed well, but just a bit of the magic is lost without Gabriel on board. Nonetheless, this album is fantastic in nearly every way, and a must-listen for any progressive rock fan.

Surely "Seconds out" is an awesome witness of the post Gabriel first works by Genesis, personally probably the period which spans from "A trick of the tail" to "Duke" is my favorite. When I first heard about it I was not convinced about getting it, but I admit I was wrong; I took a look at the tracklist and the first thought was "I MUST get it"; it's awesome indeed, the production is perfect and in terms of audio quality it seems a studio album, anyway without missing the strong live feeling, not mentioning that rendition of tracks like "Afterglow" "Los Endos", "Carpet Crawlers" and "Supper's Ready" are simply stunning; surely it has not truly moments of improvisation, a corner point of other band's live production (King Crimson for instance), but that cannot be considerated a lack in quality, it's simply not in the band style. Surely one of the best prog live album, it's very hard to find some defect. 5 stars, a classic.

Why can't all bands play this good live? Genesis sounds good whether they are in the studio or on the stage. They have good sound people, everything blends together, and they are truely professional. I really enjoyed listening to this one. It is better than the first live one, and that was still much better than many other bands I've heard live.

I am glad they played "Supper's Ready" on this album, but I still wished Peter Gabriel would have sung it. No complaints though, because Phil Collins did a super job on the vocals anyway. Another thing I would have liked to have heard is the whole of "Musical Box."

This recording is a must have and if you like anything by Genesis you will like this one also.

I give it 5 stars for essential listening.

Seeing this concert in Houston at the Sam Houston Colliseum was one of the hightlights of my early prog concerts. Then when they came out with the double album I had to buy it. First the sound. The vinyl was lush with deep bass, crystal highs and solid midrange. The live concert and vinyl were almost identical to each other. I could not believe they could capture that sound and record it. I too wish they would have put in more of W & W on the album but it still is a great. Robbery was tight with the keys just running up and down the register. Afterglow is just incomplete, but it is a nice sample. Firth is good and the guitars are just right along with the keys. Musical Box ended with some of the deepest bass I had ever experienced. What an ending that was.

Now Suppers Ready. Many people prefer Gabriel over Phil but in this setting it was just right. The dynamics of this song goes from 0 to 11, especially at the end. It is just overly bombastic with no compression what so ever. Cinema Show is not one of my favorites but it still comes off on the album played with great precision. Dance on a Volcano going into Los Endos was the perfect ending for one of the best recorded albums at that time. Wore that one out and bought 2 more. I have a CD version by Atlantic and it is just as good as the vinyl. Very little compression but nothing like the vinyl. Just wish they could find some film of this concert, synchronize the recording and come out with a full version of this. I would not care if the video was subpar, but the sound and music would be fantastic.

Of all the concerts I have been going to, this has to rank in the top 5 of all time. And with an album that conveys the sheer power of Genesis at the time this was recorded, I would have no problem rating this a 5.

Masterpiece. More than 5 stars

Could a live album be a masterpiece? I think that with Seconds Out, everything is possible. Many things converge here to make this album something different into the live albums universe. The band was pure energy at this time, beginning a new life. The set list was incredible. The live singer (Collins) sings better than the original singer (Gabriel), even better than the studio versions. Two monsters of the progressive rock (Banks and Hackett) sustain all this fantastic music. The sound is great. About the tracks:

Squonk: Not better than the studio version, but in the same level. The ending is great.

Carpet crawlers: A very polished version, in wich Phil sings in a very melodic way. The keyboard ? guitar base is fantastic.

Robbery, assault and battery: The live performance carry this song to an unexpected levels. A great version. The instrumental section is incredible.

Afterglow: Not as good as the Three sides live one, but great too. Much passion in the Phil's voice.

Firth of fifth: What can I say? That Tony ommited the piano intro? No problem, the track is the most, and this live version is superb too.

I know what I like: One of the best versions of this song. The "when the sun beats down?" verse and the subsequent instrumental (including parts of Stagnation) are great.

The lamb lies down on Broadway: The best version I ever heard of this song, by far.

Musical box (closing section): Of course I would like they played the complete track with Phil's voice. I can say that just because I was listened this closing section. Without words, just listen it.

Supper`s ready: The inclusion of this track in the album is a goal. The band job is superb, and Phil's voice is extremely great. Apocalypse in 9/8 sounds really powerful and mystical.

Cinema show: Far better than the original. Perfect version of this icon of the progressive rock.

Dance in a volcano: The only one that is in an inferior level than the studio version. It can`t reach the aggressiveness of the original, and of course has not the superb keyboard solo at the end. Good but not the best.

Los Endos: The best version ever. Tony was never repeated this keyboard sound that made here in this track. A perfect closing for a live masterpiece.

To me, this is thè best Genesis album. It is also the first one I had. On tape. Air drumming in the back of the class, sharing my walkman with a classmate. Memories! All of the Gabriel era songs are better here than on the studioalbums. I believe Collins is simply a better singer than Gabriel. And there are the parts where there are to drummers, I love them! To bad there is only one with Bruford drumming since I am a huge fan of him. But Thompson is also doing a fine job here. And even if it's only Phil drumming, you can hear he is is really enjoing himself. The sound of the album is also very good. It just really sounds great, esspeccialy of you play it loud. (Eventhough I have to admitt that since I have the Gabrielera Box the older ones alaso sound pretty good) Only negative point: Afterglow. I think i'ts a terrible song. I never understood why there is only one track of Wind and Wuthering on Seconds out, and why did they choose this one??? This is the one I still listen to after all these years.

This album is a historical one in a few respects. It was to prove to be Steve Hackett's swansong in a band to which he had given so much. It was absolutely deliberately intended to mark an epoch in the band's career by providing fans with a definitive handover from the "classic" era to a new, simpler, era under the direction of the three remaining members. It was, also, the tour (combined with Yes Going For The One) that finally persuaded the late John Peel that prog was, as an artistic force, dead and buried, and he went on to champion the emergent punk rock movement.

Wow, that's a lot of history associated with just one double live album. But, does it live up to this in terms of performance? The answer is a resounding yes. This is THE definitive Genesis live album, although I would here mention the one gripe that I have with this, and other official live releases by the band, and that this also has barely any interaction between Collins and the audience, in the same way as the interaction by Gabriel in Live is minimal. In truth, of course, Collins was an excellent frontman, always telling stories, jokes, and inviting the audience to participate.

This, though, is a minor quibble. The album features five tracks from Trick Of The Tail and Wind & Wuthering, including quite easily the finest version of Afterglow ever committed to tape, and seven from the Gabriel era. Thus, it features a live catalogue of the band's career from Trespass to W & W. Yes, Trespass is included - listen to the instrumental passage within I Know What I Like, and you will hear the instrumental from Stagnation. The last tour still featured this, by the way.

Given that Suppers Ready was acknowledged by Gabriel to be his early period masterpiece in terms of one track (The Lamb being the successor in album form), it was a mighty brave thing for Collins to throw himself into it with such aplomb, and it is pulled off fantastically well. In addition to this, the closing section of The Musical Box pulls off the almost impossible task of beating the original live album for sheer intensity, scope, and emotion.

There is not a weak moment here. This is the sound of a band who have sweated blood over years to arrive as probably the finest live band in the world. This is also, by the way, the sound of the band at the precise moment when I fell in love with them, a love affair that remains to this day.

A pleasure to listen to from start to finish, and fully worthy of the ultimate accolade. Five stars for the one live album every self respecting prog collection should include.

This is one of the best live albums ever made. It captures the essence of the 1976-77 tours so well! (I know: Those were the first tours I saw the band in concert!) It was so awesome to have them play so much of the "old stuff" (Peter Gabriel era songs) and still manage to blow people away with the new stuff. Having Chester Thompson up there duelling away with Phil--two masters at the top of their game, loving every minute of their performances--was such a gift! Too bad the beginning of the rift with Steve Hackett was so palpable. (He was front left--in his own territory--and he didn't really need it: physically mobility was not a part of Steve's shtick.) The recording truly captures some of emotional impact of some of the concert highlights: the theatrical genius of phil (sometimes a bit over the top), especially in "Robbery, Assault and Battery" and "Supper's Ready"; the amazing sound coming from Tony's keys washing and bathing the audience; the comedic moments (Phil's tambourine solo in "I Know What I Like"), great sound reproduction from the studio versions, and, of course, Phil and Chester's duels (especially in "Los Endos"). Awesome concert. Awesome album. Five of the greatest prog epics represented on one album, in one concert! Who could ask for anything more?!

This is definitely my favorite out of the official Genesis live album releases even though both As Good As Gold and The Lamb Lies Down On Broadway, from the Archive - Volume 1: 1967-1975, have been played more by me.

Not only does this recording sounds as a much cleaner production but it also shows that the quartet didn't loose any of their enthusiasm as a live band. Seconds Out has a fantastic set-list that picks up just where Genesis Live ended and gives us a mix of material that mainly comes from Selling England By The Pound, The Lamb Lies Down On Broadway plus the two new releases, A Trick Of The Tail and Wind And Wuthering. There are quite a few amazing moments on this release but my favorite would have to be the blow-out version of Cinema Show which actually sounds even better than the studio version that I'm so accustomed to.

I must admit that the classic quintet-era Genesis material overshadows most of the newly recorded tracks here. This is conclusion that I came to only after rating every performance individually on its own merits and then summing up the results. Maybe this has to do with the fact that the contrasts between the band's two eras are still highly distinguishable by this point in their career. Still it would have been interesting to see how the quartet would have progressed if Steve Hackett didn't leave the band right just around the time of the live album's release.

Seconds Out is undeniably a gem of the Genesis live performances. Anyone who is remotely familiar with the band's 70's output should recognize that this release is a strong one just by looking at the material featured here.

***** star songs: The Carpet Crawl (5:27) Firth Of Fifth (8:55) The Lamb Lies Down On Broadway (4:59) Cinema Show (10:58)

**** star songs: Squonk (6:36) Robbery, Assault & Battery (6:03) Afterglow (4:24) I Know What I Like (8:42) The Musical Box (Closing Section) (3:18) Supper's Ready (24:32) Dance On A Volcano (5:09) Los Endos (6:30)

With life style changes in the latter part of the 1970's - study at University, part time work, new friends - the time I had available for music was becoming limited. When I moved out of home I had no stereo system so it was only when I returned home could I play my old stuff and, occasionally, add some new stuff.

Seconds Out was an example of some new stuff.

The title is clever and continues the word play found in their music. Seconds Out is the second (official) live release but also means that there are no second rate songs.

The track listing for the double album is very strong and focuses on tracks from Foxtrot (Supper's Ready), Selling England by the Pound (Firth of Fifth, I Know What I like and Cinema Show), and A Trick of a Tale (Squonk, Robbery Assault and Battery, Dance on a Volcano/Los Endos). There also two tracks from the Lamb and the ending from the Musical Box. Only Afterglow is from the most recent studio release (Wind and Wuthering). It would have been good to have included a few more from W+W.

Over 80% of reviewers give Second Outs a four star rating or higher which is an accurate reflection of this album.

As we expect the standard of playing and the production is exceptionally high. If there is a fault it is that the tracks are too close to the studio release. Of course Gabriel's flute lines are replaced and there is an extended version of I Know What I Like that includes a reference to Stagnation from Trespass and a rather long interlude with Phil on Tamborine. I now know from YouTube this is Phil playing up to the audience with his short dance routine.

Seconds Out gives Collins renditions of the songs from the Gabriel period (we would need to wait for the Archive - Volume 1: 1967-1975 to hear Gabriel's versions).

Technically Seconds Out is superior to Genesis Live but to me Genesis Live is more dynamic. Perhaps this is due to the loss of intimacy with the audience as Genesis progresses from playing small halls to large stadiums.

4.6 stars

Over the next few years I would do post graduate studies, marry, get a mortgage, have children. Music takes a back seat over this period. I add a few vinyl through to about 1980 but do not add to my Genesis/Music collection until the late 1990's - almost 20 years later when I start building a 400+ CD collection.

Perhaps it is blasphemous to say, but I consider 'Trick of the Tail', the first album Genesis released after Peter Gabriel left the group, as their best ever; however, I consider the material with Peter Gabriel far better overall than the output Genesis released afterwards. An incongruous proposition, you say? Not in the least, I reply. For at least two albums after Gabriel went solo ('Trick of the Tail' and 'Winds and Wuthering'), Genesis maintained a semblance of one of the greatest progressive rock groups ever.

Their demise as innovators and their descent into pop mediocrity was only markedly noticeable after guitarist Steve Hackett left the group (after 'Winds and Wuthering'). And so, Genesis is captured on 'Seconds Out' after the release of 'Trick of the Tail', without Peter Gabriel, but before Steve Hackett quit. Got it? Good.

Phil Collins does a marvelous job covering Peter Gabriel's vocals from Genesis' earlier works (their voices are eerily alike at this point), and this is understandable, as Collins did harmony with Gabriel on many of Genesis' classic songs. In fact, Collins breathes new life into such songs as "Supper's Ready" and "I Know What I LIke (In My Wardrobe)". Also, The addition of drummers Chester Thompson and Bill Bruford alternately sharing drumming chores with Collins is a revelation (the double drum sections on the release are astounding).

As an aside to some reviewers complaints here, Tony Banks hardly ever played the piano intro to "Firth of Fifth" live, because he felt the electric keyboards he used on stage were insufficient in comparison to the grand piano he had used in studio. Also, the lack of songs from 'Winds and Wuthering' were due mainly to the fact that 'Seconds Out' was recorded prior to WInds and Wuthering's' release (they had just finished it in studio).

As far as "official" Genesis live albums, 'Seconds Out' is the best, certainly better than the 1973 release 'Genesis Live' (with Peter Gabriel). Four and 1/2 stars.

Worth the price of admission: "Firth of Fifth", "The Carpet Crawlers", "The Musical Box", "Squonk", "Los Endos".

The end of an era.

Peter Gabriel left Genesis in 1975. Many speculated that Genesis would not be able to survive without Gabriel's iconic figure on stage. However, Genesis rebounded with their drummer Phil Collins on vocals and released two successful studio albums the following year, each containing classic Genesis elements as well as a slight transition - this one to Genesis' most popular era, the pop era. In 1977, guitarist Steve Hackett departed from the band. Many say that Hackett took Genesis with him. Seconds Out is Hackett's last expose with Genesis, and it is, in my opinion, the last foray of Genesis as the symphonic giants that we love today.

Always known for their elaborate live performances, a Genesis show without Gabriel must have truly been a dulling experience, in relation to older shows. However, the band is able to preform effortlessly some of the classic songs of their discography, with a fervor and determination of a determined group of musicians. Each song is preformed fantastically, with symphonic atmospheres and instrumental prowess spot on. The production lacks a little, which is seen in many older live releases which lack the computerized enhancements available today. The mixing of classics such as Supper's Ready, The Musical Box, and Cinema Show with more modern (then) hits like Squonk, Afterglow, and Dance on a Volcano make for an especially dynamic set list and shows the slow transition to Genesis' more popularly leaning era. In the end, the live album is a superb display of Genesis' power, and the final outing of the classic Genesis sound. 4+ stars.

Steve Hackett's swansong with the band - not that you would necessarily know it, because unfortunately his guitar is rather low in the mix. Still, Seconds Out is an entertaining and well- recorded document of Genesis' Wind and Wuthering Tour (bar The Cinema Show, from the Trick of the Tail tour, which features Bill Bruford instead of Chester Thompson). The live renditions of Phil-era material are lovely, but the real treat is the chance to hear Phil try his hand at Gabriel-era stuff, including a complete rendition of Supper's Ready, and succeed admirably, taking to the theatrical stuff with just as much enthusiasm as Pete did.

Genesis best live album. Here, Steve is still there and we have Chester on drums (Cinema Show has Bill Burford) so we are still in progressive territory. It opens with Squonk which has a very powerful quality to it compared to the studio version. With Carpet Crawlers, Phil does a fantastic job singing this piece(Better than Peter IMHO). Robbery and Afterglow are both great as well. Firth of Fifth blew me away even though the piano intro is missed. I Know What I Like always a show stopper with the Phil-era. The Lamb kinda lacks. Musical Box not bad but does work better with Peter.

Supper's Ready. Yes earns a new paragraph. I was never a fan of the studio version but this version convinced me that this is a defining work not just for Genesis but Progressive Rock in general. The Cinema Show has a striking new arrangement with Bill Bruford on drums (only track he's on) really showed me that Bill is fantastic as always. This great live album ends with Dance on a Volcano/Los Endos and ends on a fantastic note and has the "book-end" feel like Trick of the Tail and Duke.

Overall, highly recommend this album if your new to Genesis or want a great live album. 5 stars. Highlights: Squonk, The Carpet Crawlers, Afterglow, Firth of Fifth, I Know What I Like, Musical Box (Closing Section), Supper's Ready, The Cinema Show, and Dance on a Volcano/Los Endos

Genesis - Seconds Out (live) (1977)

Genesis playing light and tight symphonic progressive rock in a big stadium.

This is Genesis' second live album, dating from the period of the 'A Trick of the Tail' & 'Wind and Wuthering' period. Strangely enough, the album hasn't a single track from the latter (except for the short 'Afterglow'). As many will already know, the mic was handed to Phil Collins and the drums we're done by good 'old Bill Bruford and the lesser know Chester Thompson.

Though it took me some time to get into this live album, I must admit it is actually quite good. The sound of the band in this phase is modern, professional and Phil Collins' vocals have always worked very well in the bombastic stadium-rock setting. I'm however glad he doesn't play drums too often, because his muddy and in-accurate drum style has always been my main complaint on most of Genesis albums (I do prefer the drums on Trespass). The synths are all very modern, but don't expect to hear a lot of (distorted) organs, mellotrons and moogs, because these are modern synths that have quite an impact on the sound of the band. The band's sound is lighter, just like on the 'Wind and Wuthering' album.

The recording of this live album lives up to what can be expected from this period. It's however a pity that both the guitars of Steve Hackett and the vocals of Collins could have been a bit louder in the mix. The stadium sound (big speakers, natural reverbs) works well for a lot (of more modern) songs of the band. Though this type of recording can be perceived as a bit blurry (the notes are less articulated and the louder parts can evoke the 'wall of sound' feel), it also sounds as a 'lager then life' concert. This of course gives us a feeling of being part of something big.

The set-list of the band has its ups and downs. Opening with 'Squonk' with a silent audience isn't the best entry into what will become a much anticipated live concert. Moreover, on side one you can hardly hear this is a live concert. 'The Carpet Crawl' benefits from live aesthetics, but 'Robbery, assault and battery' still doesn't impress me. On side two the band gains momentum with 'Firth of Filth', 'I know what I like' (extended with some crowd interaction) 'The Lamb' and the moving ending section of 'The musical box'. On side three the steam is still on pressure with the complete version of 'Supper's Ready'. This epic both suffers and benefits from the new sound of the band, but the end-result is very rewarding. Phil Collins might never be my favourite figure of prog history, but I have respect for how he manages to replace Peter Gabriel. On side four the band reaches its highest peak with the subtle 'Cinema Show' and the very impressive and energetic versions of 'Dance on a Volcano' and 'Los Endos'. The crowd now becomes a part of the music the sound of the band is fully in line with the songs played.

Conclusion. A well-deserved strong live album for fans of the band. Though I myself prefer the early progressive sound of the band, I must say I'm quite impressed by the 'light and tight' sound, the good (but not excellent) set-list and the stadium vocals by Phil Collins. Recommended to fans of the band. A solid four stars.

I am always content to sit back and listen to live Genesis but when it comes to their lineup of 1977, it is difficult to beat. Tony Banks shines on RMI electric piano, Hammond T. organ, APR Pro- Soloist, Mellotron 400, Epiphone, and 12 string guitar. This is a virtuoso performance from Banks with flawless organ phrases and huge soloing. Bill Bruford on percussion features on the classic Cinema Show. Phil Collins takes over on drums for the rest of the show and is terrific here on lead vocals before he turned to the syrupy ballads of the 80s. Steve Hackett is indispensable on lead guitars giving a powerhouse performance with some incredible breaks. Then there is the ever reliable Mike Rutherford who plays electric 12 string guitar, bass guitar, 8 string bass guitar, and bass pedals. Finally Chester Thompson helps out on percussion in places.

The album features some of the all time greatest Genesis treasures. Highlights include The Carpet Crawlers, Robbery, Assault & Battery, and the brilliant Firth Of Fifth clocking nine minutes. I Know What I Like is of course here as well as pieces from The Lamb Lies Down On Broadway. The Musical Box is limited to the 3 minute Closing Section but it is great to hear full versions of Cinema Show, and the massive finale of dance On A Volcano and Los Endos. I didn't mention that this album is essential also for featuring a full blown prog multi movement suite that is quintessential to the prog era; the astonishing Supper's Ready that journeys along for a full 24:32 running length.

This is the best early live album for Genesis proving that Collins can comfortably fit into the enormous shoes of Gabriel. He not only does this but also reinvents the classic Genesis tracks, providing a refreshing sound that carried the band along for decades to come.

An annoyingly mediocre live album. Looking at the song selection, it's hard to imagine that this couldn't be an extremely enjoyable experience, but sure enough, Phil and Co. managed to pull it off.

I've always found this album disappointing, but it wasn't until I acquired bootlegs from the Trick and Wind tours that I finally understood why. To start: if you're a Genesis fan and you ever have the chance to listen to a bootleg from the Trick tour with good sound quality, you need to jump at the chance. It's a different experience from the Gabriel era to be sure, but the band took on the tour with a chip on its shoulder, and the show I've heard has an awesome "WE'RE STILL ALIVE, MOTHERF*#&#$S" vibe to it. Phil's vocals don't stray much from the studio versions, but this is for the best, and there's a great combination of appropriate reverence for the old material (they do "White Mountain!") and enthusiasm in presenting the new. Of course, Phil can't quite do "Supper's Ready" proper justice, and his stories are kinda silly, but he sounds like a fine replacement for Peter, and one gets the sense the band would be in good hands for years to come.

The Wind show I've heard is nowhere near as enjoyable though (even if it has nice renditions of "Eleventh Earl of Mar" and the glorious rarity "Inside and Out"), and given that there's no indication that this was a weak show but rather a fairly typical one, this suggests to me that I'd have problems with pretty much any show from the tour. The main culprit is Phil; I've always considered Wind to have the weakest Phil vocals until We Can't Dance, and the tour was unfortunately not much different. He's trying to make his own mark on the material rather than functioning as Peter's replacement, but while he basically sounds ok on the Trick and Wind material (he sounds plenty amusing on "Robbery, Assault and Battery"), he kinda sounds like a fool on a lot of the other tracks. He hams up "I Know What I Like" so much that he nearly ruins it by himself (the others don't help either; more on that later); I mean, it was always kind of a silly song live, but it's almost as if he's mocking the material. "Supper's Ready" has all of the vocal problems it had on the '76 tour and then some; his only two modes in the song are his standard high-pitched "neutral" approach and his ultra-ham approach. "The Lamb Lies Down on Broadway" loses all of its intensity; in '76 he'd preserve some of the more dramatic moments, but here he tries to reinvent it as a standard pop song, without such treats as the "RAEL IMPERIAL AEROSOL KID" growling scream. The ending excerpt of "The Musical Box" becomes sing-song-y; while he does give some heated passion to the "TOUCH ME, TOUCH ME" parts, he destroys the creepy atmosphere of the verses. "Carpet Crawl" sounds worse than before simply by virtue of his voice being higher; the song is still beautiful, but it loses power without a lower pitch or some bite in the voice. "Firth of Fifth" sounds fine enough, but he sounds like somebody who really secretly dislikes the words and is only singing them because the song requries them. Point is, Phil just does not do anything to help the older material, which is a problem when there's so much of it.

The rest of the band isn't off the hook, though. The setlist has a weirdly haphazard feel that makes it seem less like a normal Genesis concert and more like a Genesis revue, and the effect isn't a good one. In '76 they did a shortened version of "The Carpet Crawlers," sure, but that's because it was the capstone of a medley that started with "The Lamb Lies Down on Broadway"; in '77, when it comes on after "Firth of Fifth," it doesn't feel like there's a good reason for it to be missing its introduction. In '76 they closed with a jaw-dropping medley of "it" dissolving into "Watcher of the Skies" (a version is found on Three Sides Live), leaving me wanting more; in '77 they closed with the largely punchless medley of "Lamb" and "Musical Box." And, worst of all (and setting a precedent for years to come), "I Know What I Like" turns into a lengthy boring jam in the middle, with Phil hitting himself in the head with a tambourine (seriously!) seemingly forever, and the rest of it is only interesting from a "name what song they're quoting" perspective (I appreciate the quotes of "Moonlit Knight" and "Stagnation").

Well, as you might have guessed, the bulk of this album comes from the '77 tour. The one exception is the '76 version of "The Cinema Show" (with Bill Bruford on drums!), but that weirdly sounds worse here than there because of placement. In context, it happened fairly early in the show, and while the song is much less of a tender moment between listener and band than it is an energetic show-stopper, it really worked as a way to boost up the intensity of the show (hearing Phil and Bill crashing about during the synth climax is really something). Here, though, it's stuck near the end, and somehow just that detail ends up making the show-stopping aspects of it sound pretty cheesy. Beyond that, though, the album rearranges the flow of the '77 show pretty significantly, and it ends up sounding even more haphazard and revue-like than in context. People who don't care about those aspects of live albums may not care, but for a band that had previously been so masterful in ordering its sets in a way that would maximize tension. I mean, I may not be the biggest fan of "In That Quiet Earth," but if you're going to have "Afterglow" you may as well have it as the climax to something; otherwise "Afterglow" goes back to sounding kinda tacky to me.

Still, for all of this moaning on my part, there's plenty of good to be found. The Trick material that starts and ends the album, in particular, conveys all of the best attributes of this era of the band as a live unit. "Squonk" has always been my favorite track from this era, and this doesn't change live, but the album-closing medley of "Dance on a Volcano" and "Los Endos" (on separate tracks, but the only good way to listen to them is ripped as a single track) reveals a potential in both that I'd never quite felt just from the studio versions. Yup, "Los Endos" might have been an interesting album capstone on Trick, but it becomes one of the band's main calling cards live, and it would be embarrassing to admit how many times I've played air-drums to the break (in this version and others) just after the crescendo coming out of Banks' synths and before the "Squonk" reprise.

All together, this is a very frustrating live album, and while there are many good attributes (for all of the weaknesses from Phil and the occasional lapses in taste from the band, it's a treat to hear the band plowing through this material with flair in a live setting), there are nearly as many bad. If Phil's vocals in this era don't bother you, then loving this is a definite possibility ... but as for me, I'm sticking to my boots.

This is one of the greatest live albums of all time as far as I'm concerned. Gabriel wasn't here however Hackett was still with the band adding his magic to the music. Collins still sounds a lot like Gabriel here and he does a stirling job with the vocals. "Squonk" is a really strong opening followed by the ethereal "Carpet Crawlers". "Robbery, Assault and Battery" is done here in a way that I quite like given that I didn't much enjoy the original studio release of the track. "Afterglow" is simply beautiful. "Firth of Fifth" with it's many nuances is exceptionally well done. I've always loved "I know what I like" and the short "The Lamb........" piece here is dramatic and a fine bit of music. From the "Musical Box" the excellent "She's a Lady................." section is covered - simply stunning. The gigantic "Supper's Ready" is perfectly carried out on this live album. No mean task. Sometimes I prefer to listen to the Gabriel original and sometimes I prefer to listen to this version. "The Cinema Show" is sublime here as is "Dance on a Volcano". A piece of "Los Endos" ends this live set perfectly. Relating to Genesis this is the only live album that I will be reviewing as I feel it is easily the best of the live recordings from the band. A 5 star rating from me as it is a giant of a live album.

Review Nº 61

"Seconds Out" is really the album that closes definitely the Steve Hackett cycle in Genesis. Hackett left the group in 1977 after this live album, while his fellow band mates were in the studio mixing together "Seconds Out". It becomes his final release with Genesis. And so, comes to an end what is usually called the end of the Hackett's era on Genesis. However, I need to mention a curious fact to our reflection. To be called the Hackett's era, it leads us to think that he was the main songwriter and the musician most influential in this musical period of Genesis. If it's partially true when we are talking about of one of the most influential musicians in the band, owner of an unmistakable sound with his guitar, in relation to the band's song writing, nothing is more wrong. Hackett had wanted to include a quarter of his own work on "Wind And Wuthering", and that wasn't possible because his colleagues in the group denied him that.

So, let's see it. "A Trick Of The Tail" has eight tracks. Tony Banks wrote two tracks and co-wrote six tracks. So, he participated in all the compositions of the album. Hackett co-wrote three tracks. Phil Collins co-wrote three tracks. Mike Rutherford co-wrote four tracks. "Wind And Wuthering" has nine tracks. Banks wrote three tracks and co- wrote three tracks. Hackett co-wrote four tracks. Collins co-wrote three tracks. Rutherford wrote one track and co- wrote three tracks. All this is to say that the vast majority of the band's compositions during this Genesis' musical period were mostly signed by Banks, while the remaining compositions of the other three band members are almost equal. I always considered that the two greatest composers of the band are Banks and Hackett, which are my favourite band's members, too. So, I always considered unfair that Hackett has had no more importance on the compositions of Genesis, which would be entirely fair. Surely, this was the main reason for his departure from Genesis.

"Seconds Out" is the Genesis' second live album and is also their debut double live album. It was released in 1977. The live performances were recorded in Paris in 1976 and 1977 on their live supporting tours of "A Trick Of The Tail" and "Wind And Wuthering", both albums released in 1976. As far as I can think, this is probably the last classic Genesis' album, because it still features Hackett and it still relies mostly on the old classic tracks. The diehard progressive fans usually don't even want to think of crossing the line between this and what followed. And as this is a live album, of course, it doesn't have Phil on the drums, in almost all of it. Bill Bruford plays on a track, "The Cinema Show", but for all of the rest of it, it's Chester Thompson, who'd previously played with none other than Frank Zappa himself. Needless to say he's really good. He'd played stuff thrice as complex and witty as Genesis' moderately tricky signatures. As an unpretentious drummer, he rules really very hard. It became a Genesis' member in their live shows.

As a double live album, "Seconds Out" concentrates heavily on the classics tracks which the band just didn't had a chance to record, or to release live, while Gabriel was still hanging around. I don't have many complaints about the song selection overall, this is a solid lot of songs. Of course, it's to be expected that the live versions of the songs are going to be inferior to their studio counterparts especially when the band is doing their best to recreate the original songs exactly. However, we can't feel it on this live album. Looking at the track listing, we can see "Firth Of Fifth", "I Know What I Like", "The Cinema Show", "The Lamb Lies Down On Broadway", "The Carpet Crawlers", and, of course, a whole side dedicated to "Supper's Ready". There's also a rather pointless, I must say, short excerpt of "The Musical Box", a closing section. We also have plus some of the newer material, like "Squonk", "Dance On A Volcano", "Robbery, Assault And Battery" and "Los Endos", which are all tracks from "A Trick Of The Tail". Strangely, there's only one number from "Wind And Wuthering", "Afterglow", a Banks tune, which closes the original studio album.

Conclusion: "Seconds Out" is clearly the best Genesis' live album and is also, in my humble opinion, one of their few live albums that deserve to be rated as a masterpiece. It's a very well balanced album with a great selection of songs to be played live. It's also very well representative of the group's repertoire at the time, and it has great and magical musical moments. It's without any doubt, one of the most fantastic live albums from the 70's. It sounds loud, powerful and energetic, which is exactly the way that a live release should sound. A Genesis' concert was a very powerful thing of beauty and real awe in the 70's, when Gabriel was still part of the group, and compared with those times, this release stands out, because it shows how the band unleashed their enthusiasm and energy to compensate for the loss of Gabriel. It represents also the definitive farewell of Hackett in Genesis. With his departure, Genesis turns to be a trio and unfortunately they began to lose their progressive references and they turned to be a very successful pop band.

Prog is my Ferrari. Jem Godfrey (Frost*)

It's unusual that my favorite album by a specific band would be a live album, but Seconds Out is an unusual album. Many have said this before, but what we have here is (most of) the best Gabriel/Hackett-era compositions sung by Phil Collins, with Chester Thompson replacing Collins on the drums. o state it negatively: pre-1976/1977 live performances were weaker, while post-1977 Genesis material was also weaker. To state it positively: this is the band's "sweet spot." To state it positively: this is the band's "sweet spot."

The studio albums on which these songs originated were very good - - take Foxtrot or A Trick of the Tail, for example. But almost every song on Seconds Out is better than its studio original, and none is worse. The song selection is also excellent. While I would've liked to have had "Entangled" on Seconds Out, I can't tell you what I'd remove to make room for it. And yeah, a triple album would've been been great.

Seconds Out does have some imperfections, and most are in the postproduction. The charge that's been leveled against the album from the start is that Hackett's guitar parts are too low in the mix. A couple of thoughts on this: first, the guitar parts are low in the mix, but not substantially lower than on some soundboard bootlegs from the same tour. Second, they're quite audible; their volume relative to, say, the synthesizers and other keyboards doesn't reduce the quality of the listening experience, at least for me. However, I totally get it: Hackett leaves the band during the mixing of Seconds Out, and guess whose parts wind up low in the mix?

For me, the bigger postproduction issue is the "fixed" vocal harmonies. Maybe it shouldn't, but it bugs me when I think I'm hearing two or three Phil Collinses singing at once on a "live" album. It makes me wonder what other parts were re-recorded. But compared to the overdubs on some live albums, these are mild annoyances.

In addition to some of Phil Collins's best singing (in the stead of Peter Gabriel), Seconds Out contains phenomenal drumming by Chester Thompson as the touring replacement for Collins. Collins is a very good drummer, and kudos to him for hiring an even better drummer for Genesis's live shows. Finally, I'll say that Seconds Out contains the seminal versions of two important Genesis songs: "I Know What I Like," and the band's magnum opus, "Supper's Ready."

Bottom line: as live albums go, this is a classic which I'd recommend to any fan of the genre, even those who generally dislike Phil Collins. Easily a five-star album.

I don't dare speculate if this is one of the best progressive rock live albums but it is the best live album by one of the best progressive rock bands of the 70's. Missing Gabrlel but still soldering on with Hackett and with extra two drummers (Bruford or Thompson), these two additions give an extra instrumental punch. Most fans will be very pleased with tracks selections from the classic Genesis era despite almost ignoring the latest "Wind and Wuthering" album with only the mediocre "Afterglow". The production , sound, charisma and performance are top. Collins shows great drumming abilities on "Robbery, Assault and Battery" but also in the tandem on "Firth of the fifth", "Cinema Show" and "Los Endos". The whole inclusion of "Supper's ready" is rare because they would stop performing this song in entirety after 1977. Drums, keyboards and bass guitar are well audible in the mix, I would have wished more space for the guitar. My only real complaint is the shortened "Dance on Volcano" missing the instrumental storm as in the studio version instead replacing it by parts of "Los Endos" which plagues the quality because "Los Endos" comes back again after 3 minutes. They should have played this excellent track as on the studio album.

If you want a best of prog by Genesis live compilation, then this is the one to get hold of.

'Seconds Out' in many ways, is the end of an era for Genesis. Some may say it's the end of their "progressive" era, though I would disagree as Genesis were always progressive, even in the eighties and onward. This is Steve Hackett's swansong in many ways. His guitar playing was an element that made the music of Genesis truly special. Unfortunately, his guitar is a bit low in the mix on 'Seconds Out', which I can only assume is caused by Tony Banks. After this album, the three-piece Genesis lineup would go in a more commercial direction musically. As much as I love most of the live material that was taken from classic albums such as "A Trick of the Tail" and "Wind & Wuthering," what makes this album interesting is to hear Phil Collins sing the Genesis songs that Peter Gabriel originally sang. Phil Collins has a very different voice from Peter Gabriel: his voice is higher and, for lack of a better word, natural, while Peter Gabriel's voice is raspy and has more of a soul edge. Both of them are incredible singers, but Phil Collins definitely sings many of those Peter Gabriel-era songs in his own style so that it suits his voice, which I appreciate. It would be odd for Phil Collins to try and sound like Peter Gabriel and dress up in the costumes that Gabriel would wear for certain songs. Chester Thompson plays drums on all the songs except on track ten, "The Cinema Show," which features Bill Bruford on drums. Phil Collins will also occasionally play drums during instrumental sections when he's not singing.

"Squonk" is a powerful start to the show. The 3-2 clave during the coda is, in my opinion, better than the original because rather than fading out (which a band can't really do in a live setting) they end the song on a grand chord. The intro to "The Carpet Crawl" is removed, but other than that, this song is also gorgeous when performed live. The only song on 'Seconds Out' that I don't care for is "Robbery, Assault and Batter," and even when played live, I don't gain anything from listening to it. The only song included on this album from 'Wind & Wuthering' is the beautiful "Afterglow," and I wish Genesis included more songs from that album on 'Seconds Out.' I would argue the live version is superior to the studio version. The song is more dynamic and because of that, the climax is even more powerful. The piano intro to "Firth of Fifth" is removed, and while it is a bit odd, the rest of the song that they included in the live performance is magnificent. Tony Banks plays Peter Gabriel's flute melody on synth. The drumming between Phil Collins and Chester Thompson is excellent. "I Know What I Like (In Your Wardrobe)" is elongated when performed live. The majestic "Stagnation" theme makes an appearance. Phil Collins plays a tambourine solo. Steve Hackett makes a musical reference to the "Dancing With the Moonlit Knight" guitar solo. There is a jam that includes interesting synth work from Tony Banks. This song is very fun, especially as a live number. "The Lamb Lies Down On Broadway" is faster and more energetic than the studio version. Mike Rutherford's distorted bass drives the song. The band then play the closing section to "The Musical Box," and while I wish that they played the full song, it's still an exciting way to close the first disc.

The "Apocalypse in 9/8" section of "Supper's Ready" is more eerie during the part where there are merely bass pedals and keyboards. The live version of "The Cinema Show" is, in my opinion, superior to the studio version. This version is more dynamic and thrilling. Steve Hackett creates sounds on his guitar that emulate the sound of birds. The dueling drums of Phil Collins and Bill Bruford are sublime, especially when Bruford is pounding the snare drum. This is my favorite live rendition on the album. "The Dance" section of "Dance On a Volcano" is omitted, which I would've liked to hear, but the band instead bleed the song right into "Los Endos." I love that this song closes the album, especially since "Squonk" opened the album and this song reprises the "Squonk" riff at the end. The song starts with a tight drum duet and then explodes into the song. The drum fill that transitions into the aformentioned "Squonk" riff is, for lack of a better word, orgasmic.

In conclusion, 'Seconds Out' is my favorite Genesis live album. It's more complete and doesn't leave you feeling unsatisfied when it's over like 'Genesis live' does. While I may not be a big fan of live albums, this is one that I return to more than any other live album. Phil Collins also does an excellent job with singing some of the Gabriel-era songs. 10/10