Depending upon your point of view,
Genesis
in 1976/1977 was either a band ascending toward its peak commercially, or a group crippled by the departure of a key member, and living on artistic borrowed time. In reality, they were sort of both, and fortunately for the members, their commerciality was more important than their artistic street cred, as their burgeoning record sales and huge audiences on tour during that period attested.
Seconds Out
caught the band straddling both ends of their history, their second concert album and this time out a double LP. Apart from capitalizing on a successful tour, the album's raison d'etre appears to have been to present the case to critics and longtime fans that post-
Peter Gabriel
, with
Phil Collins
as lead singer, was essentially the same band as
fronted by
. The original side one songs consisted of repertory from such post-
Gabriel
albums as
Trick of the Tail
and
Wind & Wuthering
, and most of those live versions, including
"Squonk,"
"The Carpet Crawl"
(positively ethereal), and
"Afterglow,"
are superior to the original studio renditions of the same songs. Indeed, part of the beauty of this album is the sheer flexibility of the band during this period -- in addition to superb vocals by
Collins
throughout, the drumming by
Chester Thompson
is at least a match for
' best playing. On that older repertory (which comprised sides two and three of the LP version), the results are more mixed, though still surprisingly enjoyable -- on
"The Lamb Lies Down on Broadway,"
despite the best efforts of
, backed by
Michael Rutherford
's and
Tony Banks
's singing, he really can't match the subtlety or expressiveness of
's singing, though he comes close; he actually fares slightly better on the closing section of
"The Musical Box,"
a piece that requires power as much as subtlety.
"Supper's Ready"
-- which, sung by
, missed making it onto 1973's live album -- holds up well, mostly by virtue of the playing; and in fairness, the band even extended itself to including
"Cinema Show,"
which is worth hearing just for
Bill Bruford
's transcendent drumming, over and above how well everything else works; as this track was never represented with
, even on the group's boxed set, it's difficult to complain too loudly about any weakness in
' singing. ~ Bruce Eder & William Ruhlmann