I play in a Genesis tribute band called The Genesis Show. I do the Steve Hackett parts. That 9/8 section is really interesting because the guitar, bass pedals, and 12 string electric are playing in 9/8. That pulsing rhythm is grouped as 4-3-2 with the accents on beats 4, 7, and 9. The keyboards play in 4/4 and the drums weave in and out of the two time signatures. This one is a beast to play.
I gotta ask, do you try to intentionally reproduce the signature string squeak at the 0:35 sec mark of horizon? Every time I've seen The Musical Box live and even Steve Hackett recently I'm disappointed to not hear it lol.
“And babe its gonna work out fine” That line the way Phil sings it always gets the tears in my eyes..the best song from the greatest album ever…these 5 musicians were all at the top of their game..the whole album is simply sensational 😎
Gabriel's performance on the original is more heartfelt, imo. That's the version that makes me tear up. So much raw emotion. Arguably Gabriel's greatest vocal moment.
I’ve probably heard this performance a thousand times. I still get choked up EVERY TIME Phil gets to “To take them to the new JERUSALEM!!” Just so much tension and anticipation pays off at that point. Absolute masterpiece of both composition and performance!
The same thing happened to me... I’ve already lost count of how many thousands of times I listened to this glorious song. The emotion is so great that many times I get to tears... I’ve been listening to them uninterruptedly for 50 years. They gave me great happiness throughout my life...
The end section to Supper's Ready on Seconds Out is devastating. The greatest ending to the greatest song...and Steves' haunting bends on the end section really pull my soul, so emotional
It's strange but because I visited Jerusalem some years ago as inspired by Genesis. The city is unique and my favourite site was Gathsemine. The heat was like a electric blanket but the atmosphere was tremendous and my ambition was complete. Very crowded place but Gathsemine was cool and as I watched the lizards scurry around the olive trees 🌳 I received instruction to leave my job to begin a soup kitchen from my home to provide food and laundry washing to local addicts who had nothing. Apologies for going on. All this inspiration came from Genesis.
Well said. I saw Genesis play this Masterpiece in 1973 when I was 17...It transported me to another dimension. Foxtrot has always been a mystical expression for me...
@@MrKennyBones Ah, no, Bill Bruford is on "Cinema Show" only (the only track from the "Trick" tour; everything else - including "Supper's Ready" - is from the "Wind" tour with Chester Thompson). Both are fantastic drummers, but very different.
Their best live album ever. BUT... Genesis live with original members including Peter, is gold and should be in everyone's collection. So sad to see bands of this stature fade away into history. Thanks for sharing.
I saw Steve Hackett live recently playing the whole Foxtrot-Album. I just had to. It's almost 20 Years since I first heard Supper's Ready. I l always wanted to hear it live and it was the experience that I hoped for. Great and magical and perfect.
"Can she be late for her Cinema Show? Cinema Show?" Phil's voice at this point on Seconds Out is some of the finest singing he ever did. His voice is absolutely pure there.
For way too many years, "For Absent Friends" from Nursery Cryme was one of my favourite Peter Gabriel vocals... and then one day I realized it was Phil Collins... his voice is so soft and pure.
I find Steve Hackett's guitar performance on this album to be the top guitar performance of all times with regard to guitar pedals. He is a fantastic guitarist. Though, combined with his ability to mesh with guitar pedals, places him in a league of his own.
He had an amazing tone on this album. I prefer Seconds Out version of Firth of Fifth over the studio track any day of the year. By a HUGE margin. It's sad that no one ever reacts to it.
@@dom128uk Oh, I did not know they mixed him out. To make you aware, I see the band Genesis in three eras. 1. Peter Gabriel era Genesis 2. Phil Collins era Genesis 3. Steve Hackett era Genesis.
Really can't overstate just how important Mike Rutherford's bass pedal playing is to this era of Genesis; adding that glorious low end, the end of S.R being the prime example; when you listen carefully you realise the lines he plays are actually quite complicated, for saying he's either playing bass or 12 string at the same time...amazing musician.
The 9/8 section. I read Tony talking about this. The 9/8 is most clearly heard in the bass rhythm with guitar stab accents: one two THREE four FIVE six seven eight NINE... which is pretty much continuous under the whole section. Then Tony soloed over the top in different time signatures (a lot of straight 4/4). It only synced up with the 9/8 at certain points. This is the soundtrack of my loner teenage years, mid to late 70's. First Trick and then this. SO this version of the band with Phil singing, and still with Steve Hackett in the band is definitive for me. Listening to (mainly) Tony's chord structures was my main source of musical influence. No one does things like he did. Great video, I enjoyed watching it.
Steve Hackett and his band are now touring playing Foxtrot in its entirety, including Supper's Ready. Will be here in Boston in the Fall - I've got my tickets and can't wait to here it live!
The sheer quality of the musicianship on this album is outstanding! Everyone I think was at their peak, and always focused on giving their best to the audience. Phil would record pretty much every gig and play it back looking for errors to fix, ways to improve etc. My favourite versions of Supper's Ready and Firth of Fifth, too.
Your going to love side four. Listen to all three tracks together. Cinema show, dance on a volcano, drum duet,los endos. The musicianship is extraordinary.
This Phil Collins version of suppers ready is a absolute masterpiece no disrespect to Peter Gabriel but Phil sings this live on this seconds out album heavenly
Its virtually a perfect vocal performance. I saw Phil and the boys perform SR live on the 82 3SLive Encore Tour for the last time ever, and its probably the peak musical performance I've ever seen.
Best live recording I have listened to. The majority of the album was recorded in June 1977 at the Palais des Sports in Paris during the Wind & Wuthering Tour. One track, "The Cinema Show", was recorded in 1976 at the Pavilion de Paris during their A Trick of the Tail Tour.
I'm glad they included the earlier recording of "Cinema Show" because it features Bruford, who really jazzed it up with Phil during the instrumental sections.
This is a great episode of the DD. Those early Genesis albums have always been amazing, and a staple in music history for sure, if only you can understand why. Thankful to those like Doug who can explain the how and why. ;)
Great video! Some nerdy trivia. The flute on this version is played by Tony Banks on the Mellotron. Along with Hackett's guitar work Rutherford is playing 12 string electric most of the time and a lot of bass pedal work plus occasional bass (using a 12 string/bass double neck guitar). Phil is playing drums along with Chester Thompson during the "...9/8" section and I think one of the other instrumental sections. A listening suggestion: Next time pay attention to all of the guitar work. Many guitar parts during, for example, the quieter bits might be assumed to be Hackett when in fact it is Rutherford on the 12 string. You might notice some nice rhythms (by Rutherford) when Hackett is playing some atmospheric passages. The more you listen to this music the more you can discover. I never get tired of this version. Genesis ended up playing this again in 1983 during the "Three Sides Live" tour at selected shows. I was fortunate to see them perform this is Michigan on the '83 tour. It was amazing. For me, seeing them perform Supper's Ready was worth the price of admission alone. You can find on YT an example of them performing this from 1983 and Daryl Stuermer does a great job and sounds great.
I've heard other Phil 'Supper's' performances on bootlegs and Genesis replicated this level of musicianship and vocals every time, even when some idiots in the crowd shouted out and whistled in the quiet mid section. By this stage the group had played the track dozens of times live with Phil, so it's not surprising they're so good. The Seconds Out version is in great stereo too.
By far? You're nuts. That's absurd. I love the Seconds Out version but Phil sounds like he's singing someone else's words, which he is, whereas Gabriel in the original really sounds like it's coming from the heart, like it's life or death.
@@nectarinedreams7208 Yes...and that's what Peter said years ago ("Phil sings them (the songs) better than I do, but he doesn't sing them like I do."). And while I certainly agree with that sentiment - and prefer the PG era much more than the PC era - the Seconds Out version of SR is stellar. It's one of only a few PG era songs that I prefer Phil's version from Seconds Out (the other being Carpet Crawlers). But, of course, to each his own. Cheers.
I was 16 when I saw this live on the Wind and Wuthering tour in January 1977. It was my very first gig - can you imagine? I couldn't believe what I was seeing and hearing. 😮
Supper’s Ready is a musical masterpiece and one of the highest examples of artistic genius on every level. Performance-wise, Seconds Out has always been the definitive version for me. I love the album version but it always sounded like a demo version next to the fullness of the live sound by the Seconds Out era. Artists almost never tell you the meaning of anything they create so Peter’s program notes add to the fun on the textual level but don’t offer much on the subtextual level. For that, you need to focus on the *contextual* level (lol) factoring in the story Peter introduced the song with in concert as well as the entire Foxtrot album. First the album. While only The Lamb is technically a concept album, Selling England and Foxtrot can both be seen as presenting their own consistent statements and themes. Whereas The Lamb tells one long story to illustrate that an individual is only real if their identity is authentic rather than put upon them from outside (society, culture, sexual partners, etc), Selling England puts forth its theme of the deterioration and commodification of “Britishness” from different angles via the various songs, thereby examining the issue through different lenses. Foxtrot does much the same, with Watcher of the Skies describing humanity’s self-annihilation, Time Table illustrating how ultimately pointless are all the things humanity pretends are important enough to kill each other over, and both Get Em Out By Friday and Can-Utility illustrate the tendency of people to be gullible or manipulated by the machinations of others who see people as means to their own ends. These themes are capstoned by Supper’s Ready. I won’t do a line by line annotation here but I’ll outline a lot of the key clues. Peter’s live intro story told about worms in a park who go to the surface for the pleasure of bathing and mating in the rain but end up being “supper” for the birds. The rest of the song shows how, in the metaphor of the Biblical Armageddon story in Revelations, whether you found yourself on the side of Christ or Anti-Christ, it would be the same thing. There are constant parallelisms in the song to show the battle is between two sides of the same coin. The image of the romantic couple at the beginning is echoed at the end with the return of Christ for his “bride.” The followers of Christ are wooed by love. The other side is introduced by setting up the parallel between the “farmer” and the “fireman” - the nurturer and the tender of flames are ultimately equivalent. The Anti-Christ fools those who are lost in life by comforting promises that appeal to community (“hand in hand”), our hormonal impulses (“gland in gland”), our desire for awe (“a spoonful of miracle”) and our desire for safety (“eternal sanctuary”). If you offer the needy hope for solutions to their needs through simple means (potions and prayer capsules), they will do the work of sustaining your lies because they want desperately to believe (thus, keeping the Edenic snake snug and warm). You may appear to triumph in a battle against the enemy but in the end, everyone who has fought on either side has become fodder (human bacon for supper) for those who sent them into battle; it’s true of both sides (“He is you”). What has made you vulnerable to this? The narcissism of those manipulating you is the same that lies behind your willingness to be manipulated for the hopes of self-satisfaction. Willow Farm shows that, when life is confusing or full of change, we just seek the comfort of the mundane (dad diddley office, mum diddley washing) and the nurturing (“Momma I want you now”), even if it’s all based on lies (“Let me hear your lies…”). The voices you’ll listen to appeal to your desire for secret knowledge (hidden doors), simple narratives as a foundation for keeping your beliefs stable (tidy floors), or your need for feeling special (more applause). It’s always been the same, and people have always been susceptible to it, and like the worms we’re all “deep in the soil” waiting to come out to be eaten. The Anti-Christ is a “Pied Piper” but so, ultimately, is the one who comes to you as a “guardian”, pure of soul (“eyes so blue”), and your eternal true love. Christ’s promises are using the same tricks and appealing to the same needs as the Anti-Christ. It’s all going to work out fine, you’re freed to get back home… both sides are children of a master manipulator and both sides are worms to be devoured. Whatever your narrative, you’re still human bacon for “the supper of the mighty one.” So the entire Foxtrot album as a whole works together to convey the theme that the emotional narratives that have always manipulated people and led them to believe that fighting epic battles to destroy each other, even though it only benefits those liars who do the manipulating and involve things that will prove meaningless once we’ve all killed ourselves off, will be the means of our ultimate species-wide suicide. Because that’s what we’ve always been and it’s inevitably our fate. Supper’s Ready is *the* work of artistic genius. It doesn’t get more brilliant than this.
Unless one is a Genesis connoisseur, one will have no idea that the master Maestro of the Genesis Soundscape is Anthony George Banks, not to take anything from the other superb musical talents...The core of Genesis writing in the quintet format were mainly Banks, Gabriel, and Rutherford, and Banks was the indisputable musical leader of the band...Like Collins said with a chuckle in a recent interview: "It (Genesis) is a democracy as long one agrees with Tony" 😁 Supper's Ready, IMO, the No. 1 PROG Rock masterpiece of all time, and the 2nd out version the best Live version
@@dariodipietropaolo3557 While I agree about the tour (I was there too), I'm sure Hackett was still playing with them at that point...though I must be mistaken...it wouldn't be the 'then there were three' tour I guess :) ...too many years have gone by. I know I saw Steve (with his brother) and Peter (with Tom Robinson) in their first solo concerts the same year.
@@kevinroche3334 At Knebworth they premiered the "The there were three album" - "Burning Rope" had been released a couple of weeks prior and Steurmer was on guitar. I saw Steve at Leicester University shortly after the Knebworth gig when he was doing his "Spectral Mornings" tour. He stopped outside the Uni to chat with us and was a genuinely nice guy. Steve leaving was the real turning point for Genesis because even after Pete's departure their two successive Albums, TOTT and WaW were both excellent IMHO.
I still get Goosebumps listening to this! Thanks Doug! My friend Its all flooding back! I think Tony Banks is so underrated keyboardist, to me, he is a genius Chester Thompson is under appreciated, world class drumming. The reprise at the end is so triumphant! My favourite album of all time is And Then There Were Three I've seen Peter live, So, tour. need to see Steve
Saw them this tour. They did awesome versions of all their old songs. In many ways more clarity of structure than their original album pieces. At their absolute prime. Oh, and Phil is singing while drumming in 9/8… 13/8 time, whatever, was superhuman. The dynamics between soft and loud passages was mind blowing. Will never see such richness & creative abandon in songwriting & performance again. It literally transported you to somewhere else other worldly. Little did I know this would be sort of a swan song of Prog rock as the genre dissipated quickly. Yes held the torch a bit longer but it all went away far too quickly as everyone moved toward more radio friendly songwriting styles. Which they all did successfully. But with something gained was something lost as well. The sheer magic that Prog rock evoked is hard to describe.
This album was my first introduction before I was 12yrs old. (Born in 1964). My brother at Sunderland poly studying religion said listen to this. WOW. ?? Can you remember BBC Nationwide in 80' s showing this tour and their Edwin Shirley Trucking entourage ?
Phil isn’t actually drumming here, it’s all Chester Thompson. For the Trick of the Tail tour, the year before this, Bill Bruford did the drumming, which you can see here: th-cam.com/video/CJ-PkthyG-c/w-d-xo.html
@@KurtColville Phil and Chester playing together in the apocalypse part. Chester playing the 9\8 beat and Phil soloing on top and mirroring a lot of the keyboard parts. Love it when they both play the sinchronized rolling toms fill leading to the final phrases right before the 666 part.
I've got the instrumental backing track of this for the last 2 sections of Supper's Ready (Apocalypse in 9/8 & As Eggs is Eggs). No vocals, just instruments. I think it was meant to be used only for sound checks for the band. Either for the Second's Out release or during the Trick of The Tail tour. I can't tell who's playing drums with Phil, tbh.
Now that you've listened to the remix/remaster version, listen to the vinyl. The quietest parts aren't as quiet, the remix changes some of the instrumental timbres and place in the mix as well. I think Phil's vocal sounds better in the original vinyl mix, too. OTOH Bank's keyboards seem to open up, spatially, and the acoustic guitars are cleaner. See what you think, Doug!
The DEFINITIVE version! Phil absolutely nailed this and this album does mark the end of the classic period as, it is well known, Steve left during the mixing of this album. Yes Doug a mix of 9/8 and 4/4 in Apocalypse. Mike and Steve are playing 1-2, 1, 1-2-3 in 9 with Phil and Chester in 4, whilst Tony plays the greatest keyboard solo ever recorded by anyone. This will never be equalled. ❤
The rhythm section including drums are playing the 9/8 section as - 3/4, 2/4 and 4/4 with the accent on the last beat of each measure... 1,2,3 - 1,2 - 1,2,3,4 and Tony's solo is in 4/4
His volume for the music was way too low imo, but yes, of all the Prog bands, no band understood how to create drama with soft/loud contrasts and dynamics, especially live, more than Genesis. They were masters at it. The Knife, Watcher, Musical Box, Firth of Fifth, Cinema Show, Earl of Mar, One for the Vine, and on and on.
I've seen Supper's Ready live three times. Once with Gabriel at the six of the best concert in Milton Keynes, once with Collins on vocals and once on Hacket's recent tour.
Steve does a great job with the old Genesis stuff. Peter never sings one on tour. I saw him one or two years ago on a video with Sting singing an excerpt of "Dancing with the Moonlit Knight".
I saw the “Lamb” with Peter and the “Seconds Out” tours in Cleveland. Bill Bruford actually sat in for Phil before Chester came on. Check out the video of “Supper’s Ready” (2 parts) and you’ll see Bill and when Phil jumps in and out of the drums. Both concerts were AMAZING and unforgettable - the “Seconds Out” album is one of my favorite live albums ever. If you want a bit more obscure prog-rock band, check out Camel and the albums “The Snow Goose” and “Nude” - another remarkable band!
This was the first album I ever bought at just nine years. I listen to it the very day, I can recall every note of every instrument... This taught me to really listen and to not just accept music as background noise.
What a great comment! So many do not know how to listen. Genesis music is so complicated and grand that you must listen intently. I was fortunate to have a HS band director who taught us how to listen to music. It was all classical, but transfers to great Rock music like Yes, Genesis, Pink Floyd, King Crimson and so many others!
What's throwing you Doug is that Tony is essentially soloing in 4/4 to a 9/8 accompaniment. If you ignore Tony & follow just the backing you'll hear the 9/8 riff kind in ostinato from bass & guitar. What's really cool is the drums meander from following the 9/8 & 4/4, and they come down together at certain points. The counterpoint is just brilliant.
Genesis is my favorite band (up to Duke at least). I think if I read between the lines of Dougs reviews of prog rock he has a deep appreciation for these long songs when they give us all room to breathe. Genesis, Yes, King Crimson, ELP, Gentle Giant etc. all created wonderful almost classically arranged musical pieces with memorable passages that we look forward to hearing again and again because of the musical foreplay they were all so adept at creating. The music draws you in with highs and extended lows ( or vis versa) just long enough to then bring things up again, instead of hitting you over the head from start to finish just to show how skilled they are on their instruments. I have a great appreciation for bands like Dream Theater for example. John Patrucci , Mike Portnoy etc. are absolute masters of their instruments, geez they can burn it up with laser like precision. But for me when I've listened to them I'm in awe of the musicianship but I can't say I can remember much of the music, especially the instrumentals. Lyrically I can find myself wanting to hear a certain part but musically I'm just not given enough space for me to lean in emotionally. The music for me, and I stress for me, is mind-bogglingly pristine when it come to the playing, but ultimately feels clinical. These 70's prog bands were much more connected to the structure of classical music as Doug has mentioned in the past and my ears and mind appreciate it. PS: my cousin and I have this talk often, he's a Dream Theater fan and we often share music together. He got me listening to them and he has heard the early Genesis songs from me. Through our music sharing we've come to find out that the members of Dream Theater themselves are Genesis fans and vis versa. As a matter of fact Mike Portnoy on a tour with Transatlantic had Steve Hacket come out and they played "The Return of The Giant Hogweed" with Steve showing his finger tapping (see video link below) These guys know that Steve was the first guitarist of the rock era to record finger tapping. My long winded point is we can and should have appreciation for all this music, it after all is connected and it's ok to have our own personal favorites. Be well and thanks Doug for doing this. Here is a link to the video th-cam.com/video/2ZBaphpcAjE/w-d-xo.html
Hey Doug! I think if you want the full experience, have a listen to One For The Vine on Three Sides live, i know you listened to it on the album, but i think youd like it on the live release.
I was lucky enough to see them on this tour. I saw Steve Hackett perform this earlier this year on th Foxtrot at 50 tour. It sounded just as good as it does here on Seconds Out.
Most have not heard Hacket's band. Rob Townsend is terrific on the clarinet, flute, recorder, saxophone and backing vocals. Roger King is a great pianist. Ned has great vocals. The drummer is actually a music professor and fabulous too. One version of Suppers Ready is accompanied by an orchestra.
The subtle minor-major shifts and multiple key changes during and especially after that masterful keyboard solo (the last ten minutes of the song) are so powerfully atmospehric, it really feels like the Last day arriving, heavy clouds parting in the morning and then a New Earth arriving, a vast landscape of clouds, hills and angels - things like that...There's a really baroque vibe to it but the band are quite in control of this complex form. I'm a huge fan of the band and, of course, of this album.
This powerhouse version makes the studio version sound wooden and cobbled together by comparison. They finally mastered how it all flows together. A sublime album, and one of the best live albums of all.
I also think that this live version is better than the original mainly because of the bombastic sound of the Taurus I moog bass pedals which Rutherford used in this version. That instrument was invented in 1975 so it wasn´t in the original version.
this is for me the definitive version of this song. Between Phil's version and interpretation and Chester's groove smooth out the original version. Phil's '666' and vocal ending remain to me one of his finest ever recorded on record. I have never not bee in the car and blasted this song when it appears on my 'ApplePlay' or before. And staying on Phil for a minute, this simply reveals the depth, varied and never to repeated career, His musical landscape and what he has accomplished is breath-taking. Thank God the R&R HOF has seen fit to honor him as an individua....oh no, they haven't. Madonna is more important. I forget. Other facts: Phil wanted to play this song in it's entirety on both the 'Invisible touch Tour' of 1986-87 and the 'We Can't Dance' Tour of 1992. He was vetoed both times by Mike & Tony. this kills the false notion that Phil was somehow exclusively responsible for the "sell out" Genesis period of the mid '80's and beyond. They played Supper's Ready for a portion of the Invisible Touch Tour as part of their medley for awhile but replaced it with 'Afterglow' as it was so tough on his voice. Phil remains very proud of this song.
I only saw Genesis twice, but both were in that "Classic" period, and both times they played "Supper's Ready". The first time, with Peter Gabriel was magnificent, with him doing costumes and acting out the various parts. If you look at the cover of their first live album "Genesis Live" that's exactly what our view of that concert in Cincinnati in 1973 looked like to us--we could literally look into Peter's eyes. (I rate it Number 1 on my list of all-time favorite concerts.) The second time was on the tour from the "Seconds Out" album. Both times, they did indeed fade out the ending of the song, and both times, the lead singer held up his microphone stand as high as possible, then slowly lowered it as the music faded out. This must have been much harder to accomplish in the club where we saw them in '73, than in the big sports building in '77. Also, Chester plays all of the drums throughout the song, but Phil joins him (doing the fancy stuff in your right ear while Chester keeps the steady beat in your left) during the instrumental in "Apocalypse". They both play the climactic fill together, then trade off on the fills at the end of the instrumental (you can hear them bouncing back and forth between your right and left ears). As always, thanks so damn much, Doug. This was a blast, as always!
Yes, Peter liked to wear the elaborate costumes but Phil decided not to try and copy him. Probably a good decision as Phil had more freedom to move, didn't have to rush off stage to change costumes and his singing was unaffected. When Peter sang the in the Slipperman costume the audience could hardly hear a word!
This song means different things to different people on many levels. Experiencing it live is like living a Stephen King movie, and in the finale` you are delivered out of Tribulation with feelings of pure euphoria, with an Angel standing in the sun heralding the Triumph and the new age. I was lucky enough to witness it live on two tours. Both delivered amazingly powerful experiences.
"I can't believe this is live" - surely you saw it live when you saw Steve Hackett. His band's performance is incredible, and his extended solo at the end is eye-wateringly beautiful.
If you want to really get an air drum workout, Dance on a Volcano/Los Endos from this live album 'Seconds Out' is amazing. For the Los Endos part both Phil and Chester drum in such great unison it's hard to describe how great it really is. Looking forward to when you get to side 4!
In 1983 I needed a background sound to let me study chemistry and physics without distraction from family noises. I saw a double album on cassette for about $10. Seconds out took a year to soak into my consciousness and 40 years later it is still my favorite sound of all. I love Yes, Kansas, and many other Prog music.
Nice that you are hearing both featured singers on this classic. Genesis prided themselves in playing things exactly each time. Many prefer Phil's version. I am looking forward to your discussion. Your review of Peter's original performance was brilliant and you were stunned with it (as we all were on first listen). It would be good to hear more of Phil from his albums of the 1970s. And 'Duke' is certainly worth a listen. I must say Scotch is a nice choice. Perhaps you will re-listen with a little puff. I highly recommend it.
Also, the title, "How Dare I Be So Beautiful?" was inspired by the fact that their first producer, Jonathan King, used to say this about himself ironically.
David Hentchel (sp?) and produced this live album, my favorite live album of all time! I first saw them at 17yo on the aAnd Then There Were Three tour in ‘78, was so blown away. Only had a few bucks when i went to buy a Genesis album after seeing then, and I opted to buy THIS record, Seconds Out, so that I might reexperience the show from the night before. I wore this record OUT!
I´ve heard and seen so much music during these years of mine. But nothing compares (RIP Sinead) to early Genesis to my ears and emotions hearing them. Absolutely fantastic music. Mindblowing it is to know that they were all in the early 20´s writing/doing this. It´s almost Mozart-class! I´m glad you visited Steves consert with Megan Doug. I´m sure You thought it was worth it!. But. There is allways a downside to stuff... NEVER have ice in a fine single malt Doug! It´s a sacrilege.
I saw this very recording live at Earl's Court in 77. Supper's ready was a religious experience and, yes, they faded out to end it in a huge venue, and you could hear a pin drop. The audience were out of breath by the end of it like we've been through a long wild journey. I'll never forget it. Phil Collins stole the show with his singing and drumming and sense of humor.
Es, literalmente, como abrir una caja de música. Versión bastante más dinámica, igual que la de "Cinema Show", brevemente acortada respecto de la original, pero absolutamente emocionante. La parte de 9/8 es, sencillamente, magistral. Un saludo, Doug.
PS: if the farmer with "clear water" isn't Christ, and the fireman stoking the fires of hell isn't Satan, I will eat my entire concert tshirt collection!😊
I was at the Montreal venue of this tour in march '77. At $7.50 the ticket was still affordable for the college student that I was. Sad I never saw Peter G with Genesis live but three weeks later he was in Montreal for the venue of his first album. I got to see him do 'Back in N.Y.C' (edit) in the encore which was cool. Still have the ticket stubs.
I was 12 when my brother introduced me to this masterpiece. He said: 'Tom, you'll need to listen 7 times to this one before you really get into it.' During the third listen I was already in love with this song and the same day with the entire album, untill today! Doug, side four will blow you away. Thank you so much. - Cheers from Belgium
Great stuff Doug - Supper's Ready and Port Charlotte whisky! I've been following Genesis from day 1 and this was undoubtedly a massive high in their career - what an incredible piece Supper's Ready is. Not only that, I live quite close to Port Charlotte, so great to see a famous Islay whisky getting a mention 🙂
Nice one, Doug. However I would take Gabriel’s “lyric notes” with a large pinch of salt. I have always considered the “story” to be a stream of consciousness constructed upon vaguely Classical Mythological and Religious themes. Gabriel ascribing any sort of meaning to all this is playful post-event rationalisation on his part - or, in other terms, taking the piss out of anyone asking the dumb question, ‘Well, yeah, but what’s it about, Peter?’
This is still my favorite recording and yes, it was astonishing live. It was far more powerful than I had pre imagined. They performed it in full in 1982, the year they did the one off benefit show. Thanks for doing this.
The Suppers Ready album was my introduction to Genesis and was bought on a whim. It remains my favourite Genesis album to date, what zn incredible live performance, shame there is no video / dvd to accompany it !!
One of the ten best progressive rock songs of all time. The immense, unrepeatable and brilliant Supper's Ready, an epic piece with apocalyptic overtones that also reflects love concerns and to which nothing can do justice more than herself. Praise falls short of this enormously complex 23-minute suite where the band reaches its pinnacle. MONUMENTAL !!!!!!!
Chester Thompson is no slouch on the drums - he played with Frank Zappa and Weather Report before this and did all the drumming on Suppers Ready apart from the duet with Phil during the apocalypse. That fill after Jerusalem is a stunner!
Ty for the breakdown. Above and beyond the call D. It definitely helps to follow the dramatics. I helped Chester with his web site. A truly good guy in a mean ole world in Nashville.
This is much more sophisticated than the original raw version I heard live in 1972 which blew mime and every other 17 yo's minds away. You can't beat Pete's unique voice and the more basic sound which they were perfecting as they went along. The original still brings shivers to my spine more than 50 years later. I feel so lucky I was there at that time. .
I'm a recent subscriber to your channel and found my way here through trawling Genesis on TH-cam. As someone who grew up in the 70s and someone who loved them so much back then I find myself listening more and more into my 60s. Its fascinating to listen to your analysis even though much of it means nothing to me. Seconds Out remains for me the greatest live album and is very close to being the greatest full stop. That accolade might well go to Trick Of The Tail. Regards from London.
I've been listening to Supper's Ready since I was about 12 yrs old (when it came out) and have never heard this level of analysis. Nice job Doug. Opened my eyes. Mind if I ask what the framed writing is just above your (well-earned) TH-cam award? I framed the Desiderata, but always looking for inspiration. 😏
The version of this masterpiece you are listening to sounds a bit muddy and off balance like some processing has been done on it. It should be much clearer and the vocals and soft bits more defined. Both the original version of seconds out and the new masters sound fantastic but this sounds weird to my ears. Epic music though. :)
Thank for posting this! I just learned about Supper's Ready last week & have been listening to it ever since. Also thanks for figuring out the 9/8 time signature section. I knew it wasn't 3/4 time but it wasn't 6/8 either, lol.
When you reviewed the original recording of "Supper's Ready" from Foxtrot, you neglected to mention that in addition to being a singer and musician, Peter Gabriel was very much a performance artist, and wore very elaborate costumes and makeup. There are many high quality videos of early Genesis on TH-cam, and you need to check them out. Peter Gabriel was also very much ahead of his time with songs like "Get em Out by Friday", which reflects our volatile times today, 50 years later...
Close To The Edge and Supper’s Ready are the two songs that definitively exemplify 70’s Prog.
"Close to the Edge" is great but I would prefer "Gates of Delirium", the song that made Chris Squire my favourite bass player.
@@eikestolze9109 “Gates” is a great song, but it’s not “Close To The Edge “.
The aforementioned songs are definitely up there, but I prefer “Starless”.
@@Beachgirl1 Starless yes.
Tarkus?
Steve Hackett’s siren guitar as the voice of the Angel is sublime. ❤
I play in a Genesis tribute band called The Genesis Show. I do the Steve Hackett parts. That 9/8 section is really interesting because the guitar, bass pedals, and 12 string electric are playing in 9/8. That pulsing rhythm is grouped as 4-3-2 with the accents on beats 4, 7, and 9. The keyboards play in 4/4 and the drums weave in and out of the two time signatures. This one is a beast to play.
Well described! Whenever I try to explain the pattern to someone, I count "one two three AND one two AND one AND" with the accent on AND.
I gotta ask, do you try to intentionally reproduce the signature string squeak at the 0:35 sec mark of horizon? Every time I've seen The Musical Box live and even Steve Hackett recently I'm disappointed to not hear it lol.
@@utubercorin Great description, best way to count it when you listen this masterpiece
Agree just that it start with the 3 part. So 3-2-4 for me. And accents on 3,5 and 9.
“And babe its gonna work out fine” That line the way Phil sings it always gets the tears in my eyes..the best song from the greatest album ever…these 5 musicians were all at the top of their game..the whole album is simply sensational 😎
Gabriel's performance on the original is more heartfelt, imo. That's the version that makes me tear up. So much raw emotion. Arguably Gabriel's greatest vocal moment.
Lord Jesus will bring us home !
@@nectarinedreams7208 The way Gabriel pronounced fine on the original album maybe my favourite word ever
I’ve probably heard this performance a thousand times. I still get choked up EVERY TIME Phil gets to “To take them to the new JERUSALEM!!” Just so much tension and anticipation pays off at that point. Absolute masterpiece of both composition and performance!
The same thing happened to me... I’ve already lost count of how many thousands of times I listened to this glorious song.
The emotion is so great that many times I get to tears... I’ve been listening to them uninterruptedly for 50 years. They gave me great happiness throughout my life...
The end section to Supper's Ready on Seconds Out is devastating. The greatest ending to the greatest song...and Steves' haunting bends on the end section really pull my soul, so emotional
You should listen to Peter Gabriel on Archives I live if you want emotion.
It's strange but because I visited Jerusalem some years ago as inspired by Genesis. The city is unique and my favourite site was Gathsemine. The heat was like a electric blanket but the atmosphere was tremendous and my ambition was complete. Very crowded place but Gathsemine was cool and as I watched the lizards scurry around the olive trees 🌳 I received instruction to leave my job to begin a soup kitchen from my home to provide food and laundry washing to local addicts who had nothing. Apologies for going on. All this inspiration came from Genesis.
@@juanfernandovalenzuela9919 You're not alone 🙂
I saw them on this tour. The end of Supper’s Ready was almost a religious experience. One of the best concerts I’ve ever seen.
That’s one of the greatest things somebody could ever experience! They were at their peak here, and Bill Bruford, holy shit
Well said. I saw Genesis play this Masterpiece in 1973 when I was 17...It transported me to another dimension. Foxtrot has always been a mystical expression for me...
@@MrKennyBones Yes, Bill's playing on Cinema Show is...perfect.
i cry at the end every time
@@MrKennyBones Ah, no, Bill Bruford is on "Cinema Show" only (the only track from the "Trick" tour; everything else - including "Supper's Ready" - is from the "Wind" tour with Chester Thompson). Both are fantastic drummers, but very different.
Simply the best live album ever produced.
Their best live album ever. BUT... Genesis live with original members including Peter, is gold and should be in everyone's collection. So sad to see bands of this stature fade away into history. Thanks for sharing.
I saw Steve Hackett live recently playing the whole Foxtrot-Album. I just had to. It's almost 20 Years since I first heard Supper's Ready. I l always wanted to hear it live and it was the experience that I hoped for. Great and magical and perfect.
Me too! Saw him in Toronto 2 weeks ago. Nad is awesome.
oh yes, he really is@@chrisdawson8767
"Can she be late for her Cinema Show? Cinema Show?" Phil's voice at this point on Seconds Out is some of the finest singing he ever did. His voice is absolutely pure there.
it's an incredible job by him......he has a different voice..but still retained the spirit....amazing..
For way too many years, "For Absent Friends" from Nursery Cryme was one of my favourite Peter Gabriel vocals... and then one day I realized it was Phil Collins... his voice is so soft and pure.
Gabriel did this better.
That version is my favourite song.
the best live album ever!
Im 63 now. I have 4 sons. When they were born this was the 1st song i played to all of them. Fantastic piece of music.
I find Steve Hackett's guitar performance on this album to be the top guitar performance of all times with regard to guitar pedals. He is a fantastic guitarist. Though, combined with his ability to mesh with guitar pedals, places him in a league of his own.
The blend Steve Hackett does in this album is so atmospheric. There is no guitarist of whom could compare.
He had an amazing tone on this album. I prefer Seconds Out version of Firth of Fifth over the studio track any day of the year. By a HUGE margin. It's sad that no one ever reacts to it.
Totally agree
They never really recovered when Steve left and they shouldn’t have mixed him out on seconds out , crying shame
@@dom128uk Oh, I did not know they mixed him out. To make you aware, I see the band Genesis in three eras. 1. Peter Gabriel era Genesis 2. Phil Collins era Genesis 3. Steve Hackett era Genesis.
Really can't overstate just how important Mike Rutherford's bass pedal playing is to this era of Genesis; adding that glorious low end, the end of S.R being the prime example; when you listen carefully you realise the lines he plays are actually quite complicated, for saying he's either playing bass or 12 string at the same time...amazing musician.
The 9/8 section. I read Tony talking about this. The 9/8 is most clearly heard in the bass rhythm with guitar stab accents: one two THREE four FIVE six seven eight NINE... which is pretty much continuous under the whole section. Then Tony soloed over the top in different time signatures (a lot of straight 4/4). It only synced up with the 9/8 at certain points. This is the soundtrack of my loner teenage years, mid to late 70's. First Trick and then this. SO this version of the band with Phil singing, and still with Steve Hackett in the band is definitive for me. Listening to (mainly) Tony's chord structures was my main source of musical influence. No one does things like he did. Great video, I enjoyed watching it.
So glad to see someone react to this. Ever since buying the album back in '77 I've considered this to be by far the best version of "Supper's Ready."
Mikes work on this song is really great. Double neck, bass pedals soo good
Steve Hackett and his band are now touring playing Foxtrot in its entirety, including Supper's Ready. Will be here in Boston in the Fall - I've got my tickets and can't wait to here it live!
I saw the tour last year, you won’t be disappointed
I'm going to see them in Los Angeles. Hacket is a virtuoso, surrounded by virtuosos.
I guess I've seen Steve live since the 80's for about 15 times now. Most recently in May this year in Utrecht, Netherlands.
The sheer quality of the musicianship on this album is outstanding! Everyone I think was at their peak, and always focused on giving their best to the audience. Phil would record pretty much every gig and play it back looking for errors to fix, ways to improve etc. My favourite versions of Supper's Ready and Firth of Fifth, too.
Your going to love side four. Listen to all three tracks together. Cinema show, dance on a volcano, drum duet,los endos. The musicianship is extraordinary.
Side four is as close to musical perfection as any one can get. Spine tingling epicness.
One of THE best live albums of all time with this absolutely magnificent version of Supper. Phils vocal is superb and the band are on full groove.
Seconds Out, probably THE greatest live album of all time.
Why probably?
It just is 😏
Great sound quality too!
Absobloodylutely.
Yes, Seconds Out and Renaissance live at Carnegie Hall. Masterpieces both.
This Phil Collins version of suppers ready is a absolute masterpiece no disrespect to Peter Gabriel but Phil sings this live on this seconds out album heavenly
I am in overwhelming agreeance with you on this my friend.
Chills...
Its virtually a perfect vocal performance. I saw Phil and the boys perform SR live on the 82 3SLive Encore Tour for the last time ever, and its probably the peak musical performance I've ever seen.
Yeah, I think Phil absolutely nails this song here. It's better than the original.
Totally agree! This version transports me to the Heavens.
Well, now we arrived! Those bands always warned us! So did the writers, we are there!
Best live recording I have listened to. The majority of the album was recorded in June 1977 at the Palais des Sports in Paris during the Wind & Wuthering Tour. One track, "The Cinema Show", was recorded in 1976 at the Pavilion de Paris during their A Trick of the Tail Tour.
In Paris Genesis and Phil's solo work seems to radiate. They loved France and France loved them. (The French always had good taste, lol)
I agree with you
There is a train of thought that "cinema show" was from the multi track tapes from Glasgow 76..
@@andydan3053it is
I'm glad they included the earlier recording of "Cinema Show" because it features Bruford, who really jazzed it up with Phil during the instrumental sections.
This is a great episode of the DD. Those early Genesis albums have always been amazing, and a staple in music history for sure, if only you can understand why. Thankful to those like Doug who can explain the how and why. ;)
Agree with you
Please do the last two tracks of this album, los endos is a masterpiece here
Without any doubt! So many miles out in the Sun, with *Los Endos* as the tempo. Genesis helped me win a few races. 🥰
Great video! Some nerdy trivia. The flute on this version is played by Tony Banks on the Mellotron. Along with Hackett's guitar work Rutherford is playing 12 string electric most of the time and a lot of bass pedal work plus occasional bass (using a 12 string/bass double neck guitar). Phil is playing drums along with Chester Thompson during the "...9/8" section and I think one of the other instrumental sections.
A listening suggestion: Next time pay attention to all of the guitar work. Many guitar parts during, for example, the quieter bits might be assumed to be Hackett when in fact it is Rutherford on the 12 string. You might notice some nice rhythms (by Rutherford) when Hackett is playing some atmospheric passages. The more you listen to this music the more you can discover. I never get tired of this version.
Genesis ended up playing this again in 1983 during the "Three Sides Live" tour at selected shows. I was fortunate to see them perform this is Michigan on the '83 tour. It was amazing. For me, seeing them perform Supper's Ready was worth the price of admission alone. You can find on YT an example of them performing this from 1983 and Daryl Stuermer does a great job and sounds great.
I love the Foxtrot version with Peter. But this is by far the best recording ever of this song. Genesis never sounded better
Totally agree
I've heard other Phil 'Supper's' performances on bootlegs and Genesis replicated this level of musicianship and vocals every time, even when some idiots in the crowd shouted out and whistled in the quiet mid section. By this stage the group had played the track dozens of times live with Phil, so it's not surprising they're so good. The Seconds Out version is in great stereo too.
By far? You're nuts. That's absurd. I love the Seconds Out version but Phil sounds like he's singing someone else's words, which he is, whereas Gabriel in the original really sounds like it's coming from the heart, like it's life or death.
@@nectarinedreams7208 Yes...and that's what Peter said years ago ("Phil sings them (the songs) better than I do, but he doesn't sing them like I do."). And while I certainly agree with that sentiment - and prefer the PG era much more than the PC era - the Seconds Out version of SR is stellar. It's one of only a few PG era songs that I prefer Phil's version from Seconds Out (the other being Carpet Crawlers). But, of course, to each his own. Cheers.
The Foxtrot version is Peter AND Phil. What this version lacks, good as it is, is a second voice.
This recording of this song may be one of the finest pieces of music ever written and recorded.
still like better peter voice and intense way of being on stage
The opening line... WALKING across the SITTING room is already weird 🦊
I was 16 when I saw this live on the Wind and Wuthering tour in January 1977. It was my very first gig - can you imagine?
I couldn't believe what I was seeing and hearing. 😮
Supper’s Ready is a musical masterpiece and one of the highest examples of artistic genius on every level. Performance-wise, Seconds Out has always been the definitive version for me. I love the album version but it always sounded like a demo version next to the fullness of the live sound by the Seconds Out era. Artists almost never tell you the meaning of anything they create so Peter’s program notes add to the fun on the textual level but don’t offer much on the subtextual level. For that, you need to focus on the *contextual* level (lol) factoring in the story Peter introduced the song with in concert as well as the entire Foxtrot album.
First the album. While only The Lamb is technically a concept album, Selling England and Foxtrot can both be seen as presenting their own consistent statements and themes. Whereas The Lamb tells one long story to illustrate that an individual is only real if their identity is authentic rather than put upon them from outside (society, culture, sexual partners, etc), Selling England puts forth its theme of the deterioration and commodification of “Britishness” from different angles via the various songs, thereby examining the issue through different lenses. Foxtrot does much the same, with Watcher of the Skies describing humanity’s self-annihilation, Time Table illustrating how ultimately pointless are all the things humanity pretends are important enough to kill each other over, and both Get Em Out By Friday and Can-Utility illustrate the tendency of people to be gullible or manipulated by the machinations of others who see people as means to their own ends. These themes are capstoned by Supper’s Ready.
I won’t do a line by line annotation here but I’ll outline a lot of the key clues. Peter’s live intro story told about worms in a park who go to the surface for the pleasure of bathing and mating in the rain but end up being “supper” for the birds. The rest of the song shows how, in the metaphor of the Biblical Armageddon story in Revelations, whether you found yourself on the side of Christ or Anti-Christ, it would be the same thing. There are constant parallelisms in the song to show the battle is between two sides of the same coin. The image of the romantic couple at the beginning is echoed at the end with the return of Christ for his “bride.” The followers of Christ are wooed by love. The other side is introduced by setting up the parallel between the “farmer” and the “fireman” - the nurturer and the tender of flames are ultimately equivalent. The Anti-Christ fools those who are lost in life by comforting promises that appeal to community (“hand in hand”), our hormonal impulses (“gland in gland”), our desire for awe (“a spoonful of miracle”) and our desire for safety (“eternal sanctuary”). If you offer the needy hope for solutions to their needs through simple means (potions and prayer capsules), they will do the work of sustaining your lies because they want desperately to believe (thus, keeping the Edenic snake snug and warm).
You may appear to triumph in a battle against the enemy but in the end, everyone who has fought on either side has become fodder (human bacon for supper) for those who sent them into battle; it’s true of both sides (“He is you”). What has made you vulnerable to this? The narcissism of those manipulating you is the same that lies behind your willingness to be manipulated for the hopes of self-satisfaction. Willow Farm shows that, when life is confusing or full of change, we just seek the comfort of the mundane (dad diddley office, mum diddley washing) and the nurturing (“Momma I want you now”), even if it’s all based on lies (“Let me hear your lies…”). The voices you’ll listen to appeal to your desire for secret knowledge (hidden doors), simple narratives as a foundation for keeping your beliefs stable (tidy floors), or your need for feeling special (more applause). It’s always been the same, and people have always been susceptible to it, and like the worms we’re all “deep in the soil” waiting to come out to be eaten.
The Anti-Christ is a “Pied Piper” but so, ultimately, is the one who comes to you as a “guardian”, pure of soul (“eyes so blue”), and your eternal true love. Christ’s promises are using the same tricks and appealing to the same needs as the Anti-Christ. It’s all going to work out fine, you’re freed to get back home… both sides are children of a master manipulator and both sides are worms to be devoured. Whatever your narrative, you’re still human bacon for “the supper of the mighty one.”
So the entire Foxtrot album as a whole works together to convey the theme that the emotional narratives that have always manipulated people and led them to believe that fighting epic battles to destroy each other, even though it only benefits those liars who do the manipulating and involve things that will prove meaningless once we’ve all killed ourselves off, will be the means of our ultimate species-wide suicide. Because that’s what we’ve always been and it’s inevitably our fate.
Supper’s Ready is *the* work of artistic genius. It doesn’t get more brilliant than this.
OUTSTANDING analysis ! Having listened to the song hundreds of times, all of your inferences make so much sense ! Thank you !!!!
truly an iconic monster of a song, performed live to perfection!
THE ULTIMATE VERSION! In my humble opinion...
Unless one is a Genesis connoisseur, one will have no idea that the master Maestro of the Genesis Soundscape is Anthony George Banks, not to take anything from the other superb musical talents...The core of Genesis writing in the quintet format were mainly Banks, Gabriel, and Rutherford, and Banks was the indisputable musical leader of the band...Like Collins said with a chuckle in a recent interview: "It (Genesis) is a democracy as long one agrees with Tony" 😁 Supper's Ready, IMO, the No. 1 PROG Rock masterpiece of all time, and the 2nd out version the best Live version
th-cam.com/video/0FrFytItybk/w-d-xo.html
9/8 section but with Bill Bruford on drums, my personal favorite
The original Supper’s Ready is a masterpiece !!
‘Seconds Out’ carried it to another level !!!
❤❤❤❤❤❤❤❤
better the original . peter gabriel was so intense and his voice is unique
Made my eyes leak. Stunning. I saw them live at Knebworth on this tour. Memories
No you didn't. Seconds Out is the Wind & W. tour, they did Knebworth in '78 for the Then There Were Three tour. I was there too.
@@dariodipietropaolo3557 While I agree about the tour (I was there too), I'm sure Hackett was still playing with them at that point...though I must be mistaken...it wouldn't be the 'then there were three' tour I guess :) ...too many years have gone by. I know I saw Steve (with his brother) and Peter (with Tom Robinson) in their first solo concerts the same year.
@@kevinroche3334 At Knebworth they premiered the "The there were three album" - "Burning Rope" had been released a couple of weeks prior and Steurmer was on guitar.
I saw Steve at Leicester University shortly after the Knebworth gig when he was doing his "Spectral Mornings" tour. He stopped outside the Uni to chat with us and was a genuinely nice guy.
Steve leaving was the real turning point for Genesis because even after Pete's departure their two successive Albums, TOTT and WaW were both excellent IMHO.
I still get Goosebumps listening to this!
Thanks Doug! My friend
Its all flooding back!
I think Tony Banks is so underrated keyboardist, to me, he is a genius
Chester Thompson is under appreciated, world class drumming.
The reprise at the end is so triumphant!
My favourite album of all time is And Then There Were Three
I've seen Peter live, So, tour. need to see Steve
Saw them this tour. They did awesome versions of all their old songs. In many ways more clarity of structure than their original album pieces. At their absolute prime. Oh, and Phil is singing while drumming in 9/8… 13/8 time, whatever, was superhuman. The dynamics between soft and loud passages was mind blowing. Will never see such richness & creative abandon in songwriting & performance again. It literally transported you to somewhere else other worldly. Little did I know this would be sort of a swan song of Prog rock as the genre dissipated quickly. Yes held the torch a bit longer but it all went away far too quickly as everyone moved toward more radio friendly songwriting styles. Which they all did successfully. But with something gained was something lost as well. The sheer magic that Prog rock evoked is hard to describe.
This album was my first introduction before I was 12yrs old. (Born in 1964). My brother at Sunderland poly studying religion said listen to this. WOW. ?? Can you remember BBC Nationwide in 80' s showing this tour and their Edwin Shirley Trucking entourage ?
No way, he was singing that bit? He is insanely good. To think he is derided by so many.
Phil isn’t actually drumming here, it’s all Chester Thompson. For the Trick of the Tail tour, the year before this, Bill Bruford did the drumming, which you can see here: th-cam.com/video/CJ-PkthyG-c/w-d-xo.html
@@KurtColville Phil and Chester playing together in the apocalypse part. Chester playing the 9\8 beat and Phil soloing on top and mirroring a lot of the
keyboard parts. Love it when they both play the sinchronized rolling toms fill
leading to the final phrases right before the 666 part.
@@jamesschumacher7762 So Phil got back behind the kit between the vocal parts?
I've got the instrumental backing track of this for the last 2 sections of Supper's Ready (Apocalypse in 9/8 & As Eggs is Eggs). No vocals, just instruments. I think it was meant to be used only for sound checks for the band. Either for the Second's Out release or during the Trick of The Tail tour. I can't tell who's playing drums with Phil, tbh.
Now that you've listened to the remix/remaster version, listen to the vinyl. The quietest parts aren't as quiet, the remix changes some of the instrumental timbres and place in the mix as well. I think Phil's vocal sounds better in the original vinyl mix, too. OTOH Bank's keyboards seem to open up, spatially, and the acoustic guitars are cleaner. See what you think, Doug!
The DEFINITIVE version! Phil absolutely nailed this and this album does mark the end of the classic period as, it is well known, Steve left during the mixing of this album. Yes Doug a mix of 9/8 and 4/4 in Apocalypse. Mike and Steve are playing 1-2, 1, 1-2-3 in 9 with Phil and Chester in 4, whilst Tony plays the greatest keyboard solo ever recorded by anyone. This will never be equalled. ❤
The rhythm section including drums are playing the 9/8 section as - 3/4, 2/4 and 4/4 with the accent on the last beat of each measure... 1,2,3 - 1,2 - 1,2,3,4 and Tony's solo is in 4/4
As far as I know, Chester hadn't joined at this point. Bill Bruford was on drums while Phil was out front.
"the soft sections are really soft". Unlike modern bands/producers, Genesis were not afraid of dynamic range.
His volume for the music was way too low imo, but yes, of all the Prog bands, no band understood how to create drama with soft/loud contrasts and dynamics, especially live, more than Genesis. They were masters at it. The Knife, Watcher, Musical Box, Firth of Fifth, Cinema Show, Earl of Mar, One for the Vine, and on and on.
'How amazing would it be to see this live'
Sadly Genesis refused to perform it for so many years, but...Steve Hackett is still playing it
I've seen Supper's Ready live three times. Once with Gabriel at the six of the best concert in Milton Keynes, once with Collins on vocals and once on Hacket's recent tour.
Lucky fellow. I was 14 in 1982 and not able to go to those gigs :( @@chrisbateman3687
@@chrisbateman3687 Me too! But a couple more times with Phil and Steve.
Steve does a great job with the old Genesis stuff. Peter never sings one on tour. I saw him one or two years ago on a video with Sting singing an excerpt of "Dancing with the Moonlit Knight".
I saw the “Lamb” with Peter and the “Seconds Out” tours in Cleveland. Bill Bruford actually sat in for Phil before Chester came on. Check out the video of “Supper’s Ready” (2 parts) and you’ll see Bill and when Phil jumps in and out of the drums. Both concerts were AMAZING and unforgettable - the “Seconds Out” album is one of my favorite live albums ever. If you want a bit more obscure prog-rock band, check out Camel and the albums “The Snow Goose” and “Nude” - another remarkable band!
This was the first album I ever bought at just nine years. I listen to it the very day, I can recall every note of every instrument... This taught me to really listen and to not just accept music as background noise.
Wow I discovered this live version I was also about nine years old. After that, I've Nevers Heard music like I Heard before!
What a great comment! So many do not know how to listen. Genesis music is so complicated and grand that you must listen intently. I was fortunate to have a HS band director who taught us how to listen to music. It was all classical, but transfers to great Rock music like Yes, Genesis, Pink Floyd, King Crimson and so many others!
I congratulate you. The same thing happened to me!
What's throwing you Doug is that Tony is essentially soloing in 4/4 to a 9/8 accompaniment. If you ignore Tony & follow just the backing you'll hear the 9/8 riff kind in ostinato from bass & guitar.
What's really cool is the drums meander from following the 9/8 & 4/4, and they come down together at certain points.
The counterpoint is just brilliant.
Genesis is my favorite band (up to Duke at least). I think if I read between the lines of Dougs reviews of prog rock he has a deep appreciation for these long songs when they give us all room to breathe. Genesis, Yes, King Crimson, ELP, Gentle Giant etc. all created wonderful almost classically arranged musical pieces with memorable passages that we look forward to hearing again and again because of the musical foreplay they were all so adept at creating. The music draws you in with highs and extended lows ( or vis versa) just long enough to then bring things up again, instead of hitting you over the head from start to finish just to show how skilled they are on their instruments. I have a great appreciation for bands like Dream Theater for example. John Patrucci , Mike Portnoy etc. are absolute masters of their instruments, geez they can burn it up with laser like precision. But for me when I've listened to them I'm in awe of the musicianship but I can't say I can remember much of the music, especially the instrumentals. Lyrically I can find myself wanting to hear a certain part but musically I'm just not given enough space for me to lean in emotionally. The music for me, and I stress for me, is mind-bogglingly pristine when it come to the playing, but ultimately feels clinical. These 70's prog bands were much more connected to the structure of classical music as Doug has mentioned in the past and my ears and mind appreciate it. PS: my cousin and I have this talk often, he's a Dream Theater fan and we often share music together. He got me listening to them and he has heard the early Genesis songs from me. Through our music sharing we've come to find out that the members of Dream Theater themselves are Genesis fans and vis versa. As a matter of fact Mike Portnoy on a tour with Transatlantic had Steve Hacket come out and they played "The Return of The Giant Hogweed" with Steve showing his finger tapping (see video link below) These guys know that Steve was the first guitarist of the rock era to record finger tapping. My long winded point is we can and should have appreciation for all this music, it after all is connected and it's ok to have our own personal favorites. Be well and thanks Doug for doing this. Here is a link to the video th-cam.com/video/2ZBaphpcAjE/w-d-xo.html
Thank you very much for your contribution
Been waiting for you to tackle this. Apocalypse in 9/8 is in straight 8, not 3 groups of 3. Took me forever to count it!
The whole album is one of their best releases.
Hey Doug! I think if you want the full experience, have a listen to One For The Vine on Three Sides live, i know you listened to it on the album, but i think youd like it on the live release.
Great suggestion- superb performance...
A second drummer allowed for double time signatures in the 9/8 section. One in 9 with the guitar and bass; the other in 4 with the organ.
Being a drummer myself, this is interesting! Thanks !😊
I was lucky enough to see them on this tour. I saw Steve Hackett perform this earlier this year on th Foxtrot at 50 tour. It sounded just as good as it does here on Seconds Out.
Congratulations
I also saw them on this tour in Atlanta, and it remains the greatest live performance I've ever seen, before or since!!
Most have not heard Hacket's band. Rob Townsend is terrific on the clarinet, flute, recorder, saxophone and backing vocals. Roger King is a great pianist. Ned has great vocals. The drummer is actually a music professor and fabulous too. One version of Suppers Ready is accompanied by an orchestra.
This song gives me chills every time I hear it. I think I actually like this version better than the studio version...."just a bit". 🦊✌️
I agree. I think the same.
Yes way better. This is one of the greatest things ever.
The subtle minor-major shifts and multiple key changes during and especially after that masterful keyboard solo (the last ten minutes of the song) are so powerfully atmospehric, it really feels like the Last day arriving, heavy clouds parting in the morning and then a New Earth arriving, a vast landscape of clouds, hills and angels - things like that...There's a really baroque vibe to it but the band are quite in control of this complex form. I'm a huge fan of the band and, of course, of this album.
This powerhouse version makes the studio version sound wooden and cobbled together by comparison. They finally mastered how it all flows together. A sublime album, and one of the best live albums of all.
wow! what a superb comment......exactly what i wanted to say..
I also think that this live version is better than the original mainly because of the bombastic sound of the Taurus I moog bass pedals which Rutherford used in this version. That instrument was invented in 1975 so it wasn´t in the original version.
@@davehall8584 Very kind, thank you! Such ear candy this song and album, start to finish.
@@eikestolze9109 No idea, thanks! Wall o sound. Taurus I Moog bass pedals. Moog was genius. Gonna look into.
@@eikestolze9109 Interesting about the bass pedals. Now I must re-listen to the original. (I love them both)
this is for me the definitive version of this song. Between Phil's version and interpretation and Chester's groove smooth out the original version. Phil's '666' and vocal ending remain to me one of his finest ever recorded on record. I have never not bee in the car and blasted this song when it appears on my 'ApplePlay' or before. And staying on Phil for a minute, this simply reveals the depth, varied and never to repeated career, His musical landscape and what he has accomplished is breath-taking. Thank God the R&R HOF has seen fit to honor him as an individua....oh no, they haven't. Madonna is more important. I forget.
Other facts:
Phil wanted to play this song in it's entirety on both the 'Invisible touch Tour' of 1986-87 and the 'We Can't Dance' Tour of 1992. He was vetoed both times by Mike & Tony. this kills the false notion that Phil was somehow exclusively responsible for the "sell out" Genesis period of the mid '80's and beyond.
They played Supper's Ready for a portion of the Invisible Touch Tour as part of their medley for awhile but replaced it with 'Afterglow' as it was so tough on his voice. Phil remains very proud of this song.
I congratulate you Steve for this great review and for your words about it.
@@juanfernandovalenzuela9919 : I can talk about this version of the song forever. Thanks very much for the kind words.
I only saw Genesis twice, but both were in that "Classic" period, and both times they played "Supper's Ready". The first time, with Peter Gabriel was magnificent, with him doing costumes and acting out the various parts. If you look at the cover of their first live album "Genesis Live" that's exactly what our view of that concert in Cincinnati in 1973 looked like to us--we could literally look into Peter's eyes. (I rate it Number 1 on my list of all-time favorite concerts.) The second time was on the tour from the "Seconds Out" album. Both times, they did indeed fade out the ending of the song, and both times, the lead singer held up his microphone stand as high as possible, then slowly lowered it as the music faded out. This must have been much harder to accomplish in the club where we saw them in '73, than in the big sports building in '77. Also, Chester plays all of the drums throughout the song, but Phil joins him (doing the fancy stuff in your right ear while Chester keeps the steady beat in your left) during the instrumental in "Apocalypse". They both play the climactic fill together, then trade off on the fills at the end of the instrumental (you can hear them bouncing back and forth between your right and left ears). As always, thanks so damn much, Doug. This was a blast, as always!
Yes, Peter liked to wear the elaborate costumes but Phil decided not to try and copy him. Probably a good decision as Phil had more freedom to move, didn't have to rush off stage to change costumes and his singing was unaffected. When Peter sang the in the Slipperman costume the audience could hardly hear a word!
Thanks I really enjoyed that.
hi, doug. is "the guaranteed eternal sanctuary man"'s last name "fauci" by any chance? jus' askin'.😇
This song means different things to different people on many levels. Experiencing it live is like living a Stephen King movie, and in the finale` you are delivered out of Tribulation with feelings of pure euphoria, with an Angel standing in the sun heralding the Triumph and the new age. I was lucky enough to witness it live on two tours. Both delivered amazingly powerful experiences.
Phil did a great job singing this song. Some of the Gabriel stuff didn't suit him, but this one did.
I really enjoyed Phil's version of Cinema Show.
"I can't believe this is live" - surely you saw it live when you saw Steve Hackett. His band's performance is incredible, and his extended solo at the end is eye-wateringly beautiful.
If you want to really get an air drum workout, Dance on a Volcano/Los Endos from this live album 'Seconds Out' is amazing. For the Los Endos part both Phil and Chester drum in such great unison it's hard to describe how great it really is. Looking forward to when you get to side 4!
Never to be repeated. Generational drumming talents are Chester and Phil. I wish I could go back in time:)
In 1983 I needed a background sound to let me study chemistry and physics without distraction from family noises. I saw a double album on cassette for about $10. Seconds out took a year to soak into my consciousness and 40 years later it is still my favorite sound of all.
I love Yes, Kansas, and many other Prog music.
Nice that you are hearing both featured singers on this classic. Genesis prided themselves in playing things exactly each time. Many prefer Phil's version. I am looking forward to your discussion. Your review of Peter's original performance was brilliant and you were stunned with it (as we all were on first listen). It would be good to hear more of Phil from his albums of the 1970s. And 'Duke' is certainly worth a listen. I must say Scotch is a nice choice. Perhaps you will re-listen with a little puff. I highly recommend it.
Also, the title, "How Dare I Be So Beautiful?" was inspired by the fact that their first producer, Jonathan King, used to say this about himself ironically.
David Hentchel (sp?) and produced this live album, my favorite live album of all time! I first saw them at 17yo on the aAnd Then There Were Three tour in ‘78, was so blown away. Only had a few bucks when i went to buy a Genesis album after seeing then, and I opted to buy THIS record, Seconds Out, so that I might reexperience the show from the night before. I wore this record OUT!
Congratulations
I was at the Forrest Hills in NYC 1982...we were all in tears at the end...Darril Stuermer play guitar...
You should also check out the album: "Trick of the Tail", my personal favorite Genesis album. Love your work, Doug!
Whole ATOTT would be amazing!
When exposition becomes art. Magnificent, lucid , inspired and good natured curation, Bless you Doug.
I congratulate you on your report
I´ve heard and seen so much music during these years of mine. But nothing compares (RIP Sinead) to early Genesis to my ears and emotions hearing them. Absolutely fantastic music. Mindblowing it is to know that they were all in the early 20´s writing/doing this. It´s almost Mozart-class! I´m glad you visited Steves consert with Megan Doug. I´m sure You thought it was worth it!. But. There is allways a downside to stuff... NEVER have ice in a fine single malt Doug! It´s a sacrilege.
Syracuse in the early 80s I was there, stage looked exactly like the album cover. Magic.
I saw this very recording live at Earl's Court in 77. Supper's ready was a religious experience and, yes, they faded out to end it in a huge venue, and you could hear a pin drop. The audience were out of breath by the end of it like we've been through a long wild journey. I'll never forget it. Phil Collins stole the show with his singing and drumming and sense of humor.
Es, literalmente, como abrir una caja de música. Versión bastante más dinámica, igual que la de "Cinema Show", brevemente acortada respecto de la original, pero absolutamente emocionante. La parte de 9/8 es, sencillamente, magistral. Un saludo, Doug.
PS: if the farmer with "clear water" isn't Christ, and the fireman stoking the fires of hell isn't Satan, I will eat my entire concert tshirt collection!😊
Seconds Out. My favouriteAlbum of all Time. For me the definitive Genesis Record
28:00 The beat is 9/8, but it's also kinda feels like three bars (4/8 + 3/8 + 2/8) that repeat to give 9/8 in total.
I was at the Montreal venue of this tour in march '77. At $7.50 the ticket was still affordable for the college student that I was. Sad I never saw Peter G with Genesis live but three weeks later he was in Montreal for the venue of his first album. I got to see him do 'Back in N.Y.C' (edit) in the encore which was cool. Still have the ticket stubs.
I have my tickets stubs as well. We all freaked out when concerts went to $9.50! 😂
I was 12 when my brother introduced me to this masterpiece.
He said: 'Tom, you'll need to listen 7 times to this one before you really get into it.'
During the third listen I was already in love with this song and the same day with the entire album, untill today!
Doug, side four will blow you away. Thank you so much. - Cheers from Belgium
Great stuff Doug - Supper's Ready and Port Charlotte whisky! I've been following Genesis from day 1 and this was undoubtedly a massive high in their career - what an incredible piece Supper's Ready is. Not only that, I live quite close to Port Charlotte, so great to see a famous Islay whisky getting a mention 🙂
Nice one, Doug. However I would take Gabriel’s “lyric notes” with a large pinch of salt. I have always considered the “story” to be a stream of consciousness constructed upon vaguely Classical Mythological and Religious themes. Gabriel ascribing any sort of meaning to all this is playful post-event rationalisation on his part - or, in other terms, taking the piss out of anyone asking the dumb question, ‘Well, yeah, but what’s it about, Peter?’
One of the finest Tracks ever written
Without a doubt
This is still my favorite recording and yes, it was astonishing live. It was far more powerful than I had pre imagined. They performed it in full in 1982, the year they did the one off benefit show. Thanks for doing this.
I was there in Milton Keynes. I remember being very soggy by the end. It was pi**ing down all day.
The Suppers Ready album was my introduction to Genesis and was bought on a whim. It remains my favourite Genesis album to date, what zn incredible live performance, shame there is no video / dvd to accompany it !!
One of the ten best progressive rock songs of all time. The immense, unrepeatable and brilliant Supper's Ready, an epic piece with apocalyptic overtones that also reflects love concerns and to which nothing can do justice more than herself. Praise falls short of this enormously complex 23-minute suite where the band reaches its pinnacle. MONUMENTAL !!!!!!!
I congratulate you on this great and complete review
People won’t go see Steve, Hackett unless he does early Genesis.
Chester Thompson is no slouch on the drums - he played with Frank Zappa and Weather Report before this and did all the drumming on Suppers Ready apart from the duet with Phil during the apocalypse. That fill after Jerusalem is a stunner!
Ty for the breakdown. Above and beyond the call D. It definitely helps to follow the dramatics. I helped Chester with his web site. A truly good guy in a mean ole world in Nashville.
This is much more sophisticated than the original raw version I heard live in 1972 which blew mime and every other 17 yo's minds away. You can't beat Pete's unique voice and the more basic sound which they were perfecting as they went along. The original still brings shivers to my spine more than 50 years later. I feel so lucky I was there at that time.
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Been a Genesis fan since 1981, heard this one so many times.. Still waiting as it was my first time.. Best Regards from Sweden!
High quality analysis. Thanks for a great post.
I'm a recent subscriber to your channel and found my way here through trawling Genesis on TH-cam. As someone who grew up in the 70s and someone who loved them so much back then I find myself listening more and more into my 60s. Its fascinating to listen to your analysis even though much of it means nothing to me. Seconds Out remains for me the greatest live album and is very close to being the greatest full stop. That accolade might well go to Trick Of The Tail. Regards from London.
I've been listening to Supper's Ready since I was about 12 yrs old (when it came out) and have never heard this level of analysis. Nice job Doug. Opened my eyes. Mind if I ask what the framed writing is just above your (well-earned) TH-cam award? I framed the Desiderata, but always looking for inspiration. 😏
The version of this masterpiece you are listening to sounds a bit muddy and off balance like some processing has been done on it. It should be much clearer and the vocals and soft bits more defined. Both the original version of seconds out and the new masters sound fantastic but this sounds weird to my ears. Epic music though. :)
Thank for posting this! I just learned about Supper's Ready last week & have been listening to it ever since. Also thanks for figuring out the 9/8 time signature section. I knew it wasn't 3/4 time but it wasn't 6/8 either, lol.
Wow. It's great to listen with you. Like a new experience of music that I've heard 100's (well, maybe 10s) of times.
When you reviewed the original recording of "Supper's Ready" from Foxtrot, you neglected to mention that in addition to being a singer and musician, Peter Gabriel was very much a performance artist, and wore very elaborate costumes and makeup. There are many high quality videos of early Genesis on TH-cam, and you need to check them out. Peter Gabriel was also very much ahead of his time with songs like "Get em Out by Friday", which reflects our volatile times today, 50 years later...
I prefer this to the album and that is rare. It’s the echo effect. Phil knocked it out of the park.
Tony Banks completely ignores the 9/8 time signature in Apocalypse in 9/8 for his keyboard solo, which is played in 4/4.