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DISCID=df11ff0f
DTITLE=Genesis / Platinum Collection - Disc 2 of 3
DYEAR=2005
DGENRE=Progressive Rock
TTITLE0=Abacab (New Remix)
TTITLE1=Keep It Dark (New Remix)
TTITLE2=Turn It On Again (New Remix)
TTITLE3=Behind The Lines
TTITLE4=Duchess (New Remix)
TTITLE5=Misunderstanding (New Remix)
TTITLE6=Many Too Many (New Remix)
TTITLE7=Follow You Follow Me (New Remix)
TTITLE8=Undertow (New Remix)
TTITLE9=In That Quiet Earth (New Remix)
TTITLE10=Afterglow (New Remix)
TTITLE11=Your Own Special Way
TTITLE12=A Trick Of The Tail (New Remix)
TTITLE13=Ripples (New Remix)
TTITLE14=Los Endos (New Remix)
EXTD=Platinum Collection - Disc 2 of 3\n2005 Atlantic Recording Copora
EXTD=tion/Rhino\n\nOriginally Released November 16, 2004\n\nAMG EXPERT
EXTD= REVIEW: Platinum Collection is a triple-disc covering the bigges
EXTD=t hits and anthems from Genesis' career. Not a bad idea for a set
EXTD=, especially because it does contain the relatively rare non-LP s
EXTD=ingle "Paperlate," but it's not necessarily executed as well as i
EXTD=t could be. First off, there are the inevitable omissions, highli
EXTD=ghted by such Genesis standards as "Man on the Corner" and "No Re
EXTD=ply at All," but also extending to such smaller '80s hits as "Jus
EXTD=t a Job to Do" and "Anything She Does," not to mention various al
EXTD=bum tracks, particularly from the Peter Gabriel era. Nevertheless
EXTD=, Platinum Collection handles the Gabriel years better than 1999'
EXTD=s Turn It on Again: The Hits, primarily because it has the space 
EXTD=to stretch out and serve up a full disc of early Genesis, and whi
EXTD=le "Watcher of the Skies" is missed, it's hard to argue with any 
EXTD=Gabriel comp that includes "The Lamb Lies Down on Broadway," "Cou
EXTD=nting out Time," "Carpet Crawlers," "Firth of Fifth," "The Musica
EXTD=l Box," "I Know What I Like (In Your Wardrobe)," and a full-lengt
EXTD=h "Supper's Ready." Actually, that's not entirely true -- there i
EXTD=s one complaint that can be lodged against the Gabriel disc and t
EXTD=hat can be lodged against Platinum Collection as a whole: it's se
EXTD=quenced in reverse chronological order (with the notable exceptio
EXTD=n of the post-Phil Collins cut "Calling All Sections" being tucke
EXTD=d away at the end of the first disc, since there's absolutely no 
EXTD=way that even the most devoted Genesis fan would stick with rest 
EXTD=of the comp if it began with that tune). While it's not a fatal b
EXTD=low to the value of the compilation -- this does, after all, cont
EXTD=ain most of the songs casual fans would want in one handy little 
EXTD=set -- starting with We Can't Dance and slowly rolling back over 
EXTD=the years makes for some uneasy listening, since the reverse orde
EXTD=r not only prevents the album from gaining momentum, it doesn't p
EXTD=rovide any new insights to the band's work, the way that Jimmy Pa
EXTD=ge's non-chronological sequencing on the Led Zeppelin box did. If
EXTD= the entire set was flipped around, beginning with "The Knife" an
EXTD=d ending with "No Son of Mine," it would be a better listen as an
EXTD= album, but as a clearing-house for most, but not all, of the big
EXTD= Genesis songs, Platinum Collection is worthwhile for casual fans
EXTD=.  -- Stephen Thomas Erlewine\n\nAmazon.com Product Description\n
EXTD=Founded in the late '60s in Surrey, England, Genesis rose out of 
EXTD=the ashes of earlier bands formed by schoolmates Peter Gabriel, T
EXTD=ony Banks, Michael Rutherford, and Anthony Phillips (who departed
EXTD= after 1969's Trespass, the album providing the final track on th
EXTD=is stellar retrospective). Guitarist Steve Hackett soon signed on
EXTD=, as did drummer/vocalist Phil Collins, who'd later emerge (as wo
EXTD=uld Gabriel) as a solo superstar. Following Gabriel's 1975 depart
EXTD=ure, Genesis grew from a progressive art-rock outfit into one of 
EXTD=the biggest arena rock acts ever, with a long string of platinum-
EXTD=sellers and chart smashes. On this, their most comprehensive care
EXTD=er-spanning collection to date, Genesis' remarkable evolution is 
EXTD=revealed. \n\n\nAMAZON.COM CUSTOMER REVIEW\nAn Almost-Perfect Gen
EXTD=esis Retrospective, August 13, 2006\nReviewer: Alan Caylow (USA)\n
EXTD=         \nGenesis are my favorite band in the whole universe, so
EXTD= naturally I'm thrilled to see my boys finally get a 3-CD retrosp
EXTD=ective set. "The Platinum Collection" greatly honors the band by 
EXTD=choosing a vast array of songs from almost all of their studio al
EXTD=bums, from 1997's "Calling All Stations" all the way back to 1970
EXTD='s "Trespass." I also appreciate that the tracks progress *backwa
EXTD=rds* in time, starting with the Phil Collins era and ending with 
EXTD=the Peter Gabriel era (although Ray Wilson is still allowed a cam
EXTD=eo track from his brief 1997 sojourn as the group's frontman). No
EXTD=t only that, but many of the tracks have been remixed by Genesis 
EXTD=producer Nick Davis, who worked with the band on their albums "We
EXTD= Can't Dance" and "Calling All Stations." To Davis' credit, he re
EXTD=ally does strengthen the sound of the songs, and you can hear not
EXTD=es played that you couldn't hear before. Also, some of the vocals
EXTD=, both lead and background, also sound much clearer than ever bef
EXTD=ore (such as on "Illegal Alien," "The Lamb Lies Down On Broadway,
EXTD=" and "Counting Out Time"). Davis' impressive remix work on "The 
EXTD=Platinum Collection" also serves as an excellent sneak preview to
EXTD= the upcoming re-release of the band's catalog, remixed and remas
EXTD=tered, now presumably scheduled for sometime in 2007 (but don't q
EXTD=uote me on that!). I'd love to give "The Platinum Collection" a p
EXTD=erfect 5-star rating, but I can't quite do it for two reasons. On
EXTD=e, there's the remix of "Misunderstanding." Sounds great for the 
EXTD=most part, but for some reason, Nick Davis removed a brief guitar
EXTD= part that Mike Rutherford plays towards the end of the song. Why
EXTD=? What was wrong with it? It's not like Rutherford was playing an
EXTD=y bum notes. I don't get it. Also, nothing from the band's 1969 d
EXTD=ebut, "From Genesis To Revelation," is featured. I realise this i
EXTD=s most likely because Atlantic/Rhino Records don't own the rights
EXTD= to the first Genesis album, but still, *something* should've bee
EXTD=n included from it, like "In The Beginning," "The Serpent," and t
EXTD=he very first Genesis single, "The Silent Sun." It's a very regre
EXTD=ttable omission. But other than those two criticisms, I am still 
EXTD=very satisfied with this 3-CD set. "The Platinum Collection" is, 
EXTD=for the most part, a marvelous retrospective & history lesson abo
EXTD=ut my favorite band. \n\n\nAMAZON.COM CUSTOMER REVIEW\nGood Colle
EXTD=ction, Bad "Remixing", June 19, 2006\nReviewer: General Breadbask
EXTD=et (Melbourne, Australia)\n"Genesis: The Platinum Collection" is 
EXTD=a great value best of. Across three discs, the listener goes back
EXTD=wards through the hits of the 1990s and 1980s all the way back to
EXTD= the band's second album, "Trespass" of 1970. I bought it in a sa
EXTD=le, so it was more than worth it for me, but it is a collection f
EXTD=lawed in more ways than one. \n\nThe first disc spans the hits fr
EXTD=om the albums "We Can't Dance" (1991), "Invisible Touch" (1986) a
EXTD=nd "Genesis" (1983). Basically, you could call it "The Best of Ph
EXTD=il Collins' Genesis". They're very catchy, very poppy songs. The 
EXTD=newcomer will have heard many songs from this disc on the radio. 
EXTD=In addition, this disc also contains the horn powered title track
EXTD= of the Paperlate EP (which apparently is pretty rare) and the gu
EXTD=itar heavy title track of 1997's "Calling All Stations", with voc
EXTD=als by Ray Wilson. For this era of Genesis, I couldn't be happier
EXTD= with the selection. \n\nThe second disc gathers various tracks f
EXTD=rom "ABACAB" (1981) "Duke" (1980), "And Then There Were Three" (1
EXTD=978), "Wind and Wuthering" (1976) and "Trick of the Tail" (1976).
EXTD= You could call this disc "The Rise of Phil Collins". If you play
EXTD= the tracks in chronological order (the track order backwards) yo
EXTD=u'll hear Phil's first tracks as official lead singer of the band
EXTD=, and then hear him grow more confident (and commercial sounding)
EXTD= as time goes on, eventually writing song or two all by himself (
EXTD=Misunderstanding being the first). Tracks newcomers may recognise
EXTD= include "ABACAB" and "Follow You, Follow Me". It's a very curiou
EXTD=s, transitional era. There were a couple of songs from this time 
EXTD=that I would have liked to have had included here on this disc, b
EXTD=ut no matter. \n\nThe third disc covers Genesis' classic lineup, 
EXTD=that of Peter Gabriel on vocals, Phil Collins on backup vocals an
EXTD=d drums, Steve Hackett on guitar, Mike Rutherford on bass and Ton
EXTD=y Banks on keyboards, covering the albums "The Lamb Lies Down On 
EXTD=Broadway" (1974), "Selling England By the Pound" (1973), "Foxtrot
EXTD=" (1972), "Nursery Cryme" (1971) and "Trespass" (1970, though Phi
EXTD=l Collins isn't drummer and Steve Hackett isn't guitarist here) I
EXTD=t could be practically called "The Best of Peter Gabriel's Genesi
EXTD=s". This era is pure progressive rock, and an era that many fans 
EXTD=(including myself) are very passionate about. If you listen to tr
EXTD=acks like "The Musical Box", you'll soon see why. It's a fairly g
EXTD=ood selection, including classics like "The Knife", "Supper's Rea
EXTD=dy" and "Carpet Crawlers", though I did find the inclusion of "Co
EXTD=unting Out Time", a "Lamb Lies Down on Broadway" song all about t
EXTD=hose 1970s sex self help books rather odd. Its an amusing song, b
EXTD=ut I would have preferred a whole bunch of songs on that album in
EXTD=stead of that (like "The Cage", "The Lamia", "Lilywhite Lilith", 
EXTD=etc). I'm also partial to "Harold the Barrel" from "Nursery Cryme
EXTD=", which also isn't here, but anyway, everyone will have their fa
EXTD=vourites. It's good to see this era properly recognized on a Gene
EXTD=sis compilation. \n\nI've got one major gripe, and that's the rem
EXTD=ixing (not remastering) of many of the tracks in the collection b
EXTD=y a chap called Nick Davis, the producer of many of the original 
EXTD=Genesis albums. By "remixing", I don't mean he's gone and added a
EXTD= techno beat to "Cinema Show" or anything like that (now there's 
EXTD=a disturbing thought!). No, by "remixing" I mean he's gone and tw
EXTD=eaked the original volume levels and EQ of the instruments, and h
EXTD=e's put a rather heavy audio compression over everything, meaning
EXTD= that everything in the songs is a level volume. Now, I don't kno
EXTD=w about you, but one thing I like about progressive rock is the d
EXTD=ynamic range of the songs, and the way certain instruments sound,
EXTD= the way it was originally released, the levels as they were on t
EXTD=he vinyl. Maybe it's just me, but I like the original way the tra
EXTD=cks were mixed just as much as I like the melodies and lyrics. On
EXTD= the original "Carpet Crawlers", Peter Gabriel sings the verses a
EXTD=nd Phil does the chorus, with Peter quitely speaking what Phil is
EXTD= singing. Here, Mr Davis has turned down Phil's chorus a bit, and
EXTD= now Peter is louder, which isn't half as melodic, as he's only s
EXTD=peaking, it kind of clashes with the song. There's a few other in
EXTD=stances like this and it annoyed me. Plus, with all the compressi
EXTD=on, the heavier songs don't sound nearly as good turned up in the
EXTD= car. I was quite disappointed, I was. Why do it, Mr Davis? Why? 
EXTD=\n\nMind you, I listened to a few of the tracks on my MP3 player 
EXTD=(through the tinny sound you get on those little white earphones 
EXTD=that come with the MP3 players) and I couldn't tell the differenc
EXTD=e between the original and remixed versions, so if you're an port
EXTD=able MP3 kinda person, you're not going to notice much. \n\nInclu
EXTD=ded with the CD is a great little booklet with pictures of all th
EXTD=e albums, and liner notes by Hugh Fielder which include comments 
EXTD=by Phil Collins about why the band went pop, which I found fascin
EXTD=ating. \n\nA good introduction for those new to Genesis, though i
EXTD=t's definitely not perfect. If you're curious, do check it out, t
EXTD=hough a better buy may be "The Lamb Lies Down on Broadway" (for t
EXTD=he progressive era) and "Turn it On Again: The Hits" (for the pop
EXTD= hit era).\n\n\nAMAZON.COM CUSTOMER REVIEW\nGenesis for Fans with
EXTD= Arrested Development, April 29, 2006\nReviewer: Daniel Rutkowski
EXTD= (Wernersville, PA USA)\n     \nPlatinum Collection, released in 
EXTD=2005, presents an opportunity for old Genesis fans to connect wit
EXTD=h new fans and vice versa. With the exception of Tony Banks and M
EXTD=ike Rutherford, Genesis at the close of the 20th Century was not 
EXTD=the same band that began the late sixties charting a course inten
EXTD=t on setting themselves apart from the rest of a big crowd. In a 
EXTD=class of progressive, art-rock bands that included Emerson, Lake 
EXTD=and Palmer, King Crimson and Yes, Genesis was certainly influence
EXTD=d by the success of power-bands like the Who and Led Zeppelin. So
EXTD=on, the Genesis experience became its fans waiting in anticipatio
EXTD=n of another new album and then trekking to the nearest rock pala
EXTD=ce (such as the Spectrum in Philadelphia) for their outstanding l
EXTD=ive shows that melded theatre, story telling and complex instrume
EXTD=ntal orchestration. \n\nWhen Peter Gabriel left the band in 1975,
EXTD= some would say that it was the beginning of the end for Genesis;
EXTD= it was soon to be the end for many fans. After "searching" for a
EXTD= new lead singer, Phil Collins came out from behind the drum set 
EXTD=and became the frontman. Genesis, anchored by Banks and Rutherfor
EXTD=d plus other fine musicians such as the outstanding guitarist Ste
EXTD=ve Hackett, went on for 22 years to become a popular, mainstream 
EXTD=rock band while Peter Gabriel enjoyed a successful solo career. A
EXTD=long the way, the band was joined on tour by Bill Bruford (former
EXTD=ly of Yes) on drums, Chester Thompson on drums and Daryl Stuermer
EXTD= on guitar. At its end Genesis finished without Phil Collins, and
EXTD=, on their final studio album released in 1997, Banks and Rutherf
EXTD=ord attempted to return to their progressive rock roots with Call
EXTD=ing All Stations and found listeners lacking an appreciation for 
EXTD=the dynamics of their "new" sound and lineup. \n\nPlatinum Collec
EXTD=tion is nothing less than the best of the best songs that Genesis
EXTD= fashioned over a little more than three decades of existence. Wi
EXTD=th forty songs spanning almost four hours, the collection does wh
EXTD=at most compilations set out to do by allowing listeners with an 
EXTD=incomplete experience in Genesis fandom to connect the dots betwe
EXTD=en the present and the past. \n\nThe songs are arranged across th
EXTD=ree discs from the most recent output to the oldest except that "
EXTD=Calling All Stations" from the album of the same name finishes Di
EXTD=sc 1 rather than leading off. In its efficiency, Platinum Collect
EXTD=ion becomes a great value for the listener who wants simply to ap
EXTD=preciate Genesis for the creativity that embodied their best musi
EXTD=cal efforts. More than a history lesson, Disc 3 contains the earl
EXTD=iest work of the band and besides Gabriel's lead vocals demonstra
EXTD=tes the keyboard mastery of Tony Banks, a genius on synthesizers 
EXTD=and the Mellotron MkII and M400 that generated a huge orchestral 
EXTD=sound from an electronic keyboard. \n\n\nAMAZON.COM CUSTOMER REVI
EXTD=EW\nDo you like Phil Collins?, February 17, 2006\nReviewer: Turki
EXTD=sh (Quote from ''American Psycho'')\nDo you like Phil Collins? I'
EXTD=ve been a big Genesis fan ever since the release of their 1980 al
EXTD=bum, Duke. Before that, I really didn't understand any of their w
EXTD=ork. Too artsy, too intellectual. It was on Duke where Phil Colli
EXTD=ns' presence became more apparent. I think Invisible Touch was th
EXTD=e group's undisputed masterpiece. It's an epic meditation on inta
EXTD=ngibility. At the same time, it deepens and enriches the meaning 
EXTD=of the preceding three albums. Listen to the brilliant ensemble p
EXTD=laying of Banks, Collins and Rutherford. You can practically hear
EXTD= every nuance of every instrument. In terms of lyrical craftsmans
EXTD=hip, the sheer songwriting, this album hits a new peak of profess
EXTD=ionalism. Take the lyrics to Land of Confusion. In this song, Phi
EXTD=l Collins addresses the problems of abusive political authority. 
EXTD=In Too Deep is the most moving pop song of the 1980s, about monog
EXTD=amy and commitment. The song is extremely uplifting. Their lyrics
EXTD= are as positive and affirmative as anything I've heard in rock. 
EXTD=Phil Collins' solo career seems to be more commercial and therefo
EXTD=re more satisfying, in a narrower way. Especially songs like In t
EXTD=he Air Tonight and Against All Odds. But I also think Phil Collin
EXTD=s works best within the confines of the group, than as a solo art
EXTD=ist, and I stress the word artist. I highly suggest anyone who is
EXTD= a fan of Phil Collins or Genesis to purchase this album.\n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nA Good Story Told Backwards, October 3,
EXTD= 2005\nReviewer: B. Niedt (Cherry Hill, NJ United States) \n\nThi
EXTD=s is a pretty generous three-disc collection of the whole of Gene
EXTD=sis' career, about as comprehensive a collection of their release
EXTD=d repertoire as one can get, shy of a full-blown box set. There a
EXTD=re no real rarities, except the hard-to-find "Paperlate", which h
EXTD=as had enough radio airplay to be familiar anyway. The reverse ch
EXTD=ronology of the songs is a rather odd, and to me, annoying choice
EXTD=. Genesis is one of those venerable bands that evolved into somet
EXTD=hing completely different than their original incarnation, like J
EXTD=efferson Airplane/Starship and Fleetwood Mac, so it would have ma
EXTD=de more sense to show their evolution than their devolution. Need
EXTD=less to say, there will be fans out there who will enjoy the firs
EXTD=t half of this collection more than the second, or vice versa. An
EXTD=d of course some fans will quibble with omissions (like "No Reply
EXTD= at All" and "Man on the Corner" from the "Abacab" album). But ov
EXTD=erall it's a fair and equitable collection, including the long ea
EXTD=rly classic "Supper's Ready" as well as a track from their post-P
EXTD=hil Collins release "Calling all Stations." If you're a diehard f
EXTD=an, you probably already have everything contained here. But for 
EXTD=the more casual fan like me, this is a convenient and reasonably-
EXTD=priced way to add them to your CD collection. \n\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nMust-Have For Fans Of Any Period Of Genesis!, Sept
EXTD=ember 22, 2005\nReviewer: K. Gress "CD Lover" (Pennsylvania, Unit
EXTD=ed States)\n     \nRegardless of which period of Genesis' history
EXTD= you prefer, this collection is definitely required listening. He
EXTD=re are 3 reasons why: Sequencing, Sound, Price. \n\nSome have com
EXTD=plained about it being sequenced chronologically backwards, but t
EXTD=hat works for me for two reasons: 1) I like to save the best for 
EXTD=last; 2) the Gabriel years are my favorite. Collections that go f
EXTD=rom oldest to newest often get tiresome towards the end, because 
EXTD=the best music was on the first few disks. I must say, however, t
EXTD=hat there's very little weak material here. Even the newest songs
EXTD= are solid. \n\nThe remastered/remixed sound was the biggest shoc
EXTD=k to me. When I started listening to the first disk with the song
EXTD=s from We Can't Dance, Invisible Touch, and Genesis, I didn't exp
EXTD=ect much improvement over the original cd's. Wow! Was I wrong! I 
EXTD=heard details and depth in those tracks that I've never heard bef
EXTD=ore. And those are only the remastered ones! When you get to the 
EXTD=remixed tracks, it's like hearing them for the first time. Most o
EXTD=f the mixes are very true to the original, but the clarity and se
EXTD=paration bring a whole new experience to the songs. Maybe the rem
EXTD=ixer, Nick Davis, and I have similar audio tastes, because I feel
EXTD= the frequency range is very well balanced. I can't wait for the 
EXTD=full albums to released with the new mixes. \n\nAnd finally the p
EXTD=rice - less than $20 for 3 full disks?? That's a steal. For someo
EXTD=ne like myself who has all the Genesis cd's and box sets and a bo
EXTD=ot or two, I didn't think I'd want to spend any money on this set
EXTD=. But after I read other reviews about the sound quality and the 
EXTD=USA price was so low, I went for it. Am I ever glad I did! \n\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nto remix, or not to remix?,, Septembe
EXTD=r 15, 2005\nReviewer: Cesar "juliomontoya2000" (San Jos, Costa R
EXTD=ica)\nI bought this collection because something called my attent
EXTD=ion: more than 50 % of the songs were indicated as "Newly Remixed
EXTD= by Nick Davis". "Newly remixed?" I thought..."did they do to oth
EXTD=er songs what they did to 'Carpet Crawlers' in the last collectio
EXTD=n?" I asked myself. Then I remembered that 'Carpet Crawlers' was 
EXTD=then RE-RECORDED, not just remixed, so this new collection would 
EXTD=possibly retain the spirit of the original songs, making them mor
EXTD=e polished. So I took the risk. \n(The remixed songs are, from th
EXTD=e first CD, Illegal Alien and Paperlate; from the second CD, ALL 
EXTD=except Behind the lines and Your own special way; and from the th
EXTD=ird CD, ALL except Supper's Ready). \n\nOverall, I was pleased to
EXTD= hear that most of the original sound was respected, in the sense
EXTD= that you don't hear different rhytms or shortened or extended pa
EXTD=rts. And my expectations were met about the better sound: in most
EXTD= remixes, you hear a clearer voice (specially in "Follow you foll
EXTD=ow me" and "Carpet crawlers"), and from there you have more clari
EXTD=ty in all the instrumentation. \n\nOf course, any remix have the 
EXTD=risk of enhancing instruments that were not as sharp in the origi
EXTD=nal mix, and lower some others that were more present before. So 
EXTD=there might be a possibility that for those very familiar with th
EXTD=e original songs, you will identify something that was not origin
EXTD=ally clear, while miss something that originally was. \n\nThat wo
EXTD=uld be the reason why purists will reject "remixes". Why change t
EXTD=hings? Why not to leave the sound alone, as part of the history? 
EXTD=A classic old painting might look dark to some, but nobody will e
EXTD=ver dare to suggest to release it with enhanced colors and contra
EXTD=sts just to make it "look better". \n\nAnd the remixing proccess 
EXTD=has another consequence: the sound of the songs is kind of levele
EXTD=d, very alike. But if you are familiar with a group, you know tha
EXTD=t part of its history is not only the style, but also the recordi
EXTD=ng sound of the time in which the songs were recorded. If you tak
EXTD=e a song like "The musical box" from the early 70's, and remix it
EXTD= now, no matter how close to the original sound you stay, there's
EXTD= no doubt that you are "modernizing" it. \n\nIs that allright for
EXTD= you? If so, you would like this collection. It didn't bother me 
EXTD=a lot: in a time in which songs and complete CDs are remixed in f
EXTD=ive channels for DVD audio, SACD, DVD video and others, I'm more 
EXTD=than used to rediscover, through a new mix, the sound of a song o
EXTD=r cd that I knew. And I'm disappointed when they sound almost the
EXTD= same. \n\nWhen you hear the oldest songs, like "Musical Box", "T
EXTD=he Knife" of "Firth of fifth", you have to admit that the clarity
EXTD= provided by the new mix really does them a favor. But there are 
EXTD=exceptions of course: "A trick of the tail" and "Ripples" come fr
EXTD=om the CD "A trick of the tail" from 1976. If you hear the REMAST
EXTD=ERED version of that cd, you have to say that there's nothing wro
EXTD=ng with the sound, it couldn't be better. So, why remix those son
EXTD=gs for this collection?. The truth is that in these two cases, an
EXTD=d "Illegal alien", the sound is "overloaded": instead of give cle
EXTD=arity to the sound and instruments, everything is in a high level
EXTD= (in the case of Ripples, the piano gets lost). That "overloading
EXTD=" is more favorable to a song like "Los Endos" because of its roc
EXTD=kish sound. \n\nBut as I said, I was overall pleased with this co
EXTD=llection of alternate sound songs. At least, they provide somethi
EXTD=ng different. If you don't like it, just stick to the originals, 
EXTD=or better, the remastered versions. I've got nothing against them
EXTD=, for nostalgia's sake. \n\nI give only 4 stars because of the "I
EXTD=llegal-Trick-Ripples" flaw, and also beacause songs like "Man on 
EXTD=the corner" "Robbery assault and Battery", "In the cage" or "Danc
EXTD=e with the Moonlit knight" are missing. \n\nNOTE: of course the i
EXTD=deal companion of this collection would be the simultaneously rel
EXTD=eased DVD "The video show". Both of this items were available in 
EXTD=England since almost a year ago. About time!!!. \n\n\nHalf.com De
EXTD=tails \nProducer: David Hentschel, Hugh Padgham, Nick Davis \n\nA
EXTD=lbum Notes\nGenesis: Phil Collins (vocals, drums); Ray Wilson (vo
EXTD=cals); Michael Rutherford (guitar, bass guitar); Anthony Phillips
EXTD=, Steve Hackett (guitar); Tony Banks (keyboards); John Matthew (d
EXTD=rums, percussion); Nir Zidkyahu (drums); Peter Gabriel.\n\nLiner 
EXTD=Note Author: Hugh Fielder.\nRecording information: 1971 - 1997.\n
EXTD=\nFrom the prog-rock majesty of its Peter Gabriel-fronted era to 
EXTD=the smooth pop of its later Phil Collins-helmed years, Genesis cr
EXTD=eated a fascinating catalog that spanned decades. The British gro
EXTD=up's finest tracks are compiled on this three-disc PLATINUM COLLE
EXTD=CTION, which proceeds in (roughly) reverse-chronological order. W
EXTD=hile the hits are plenty (and mostly featured on the first disc),
EXTD= this thorough set also includes many revered album tracks from G
EXTD=abriel's wonderfully quirky tenure with the ensemble (see the epi
EXTD=c "Supper's Ready" and the lilting "Carpet Crawlers"). Although G
EXTD=enesis fans often fall into distinct Gabriel and Collins camps, t
EXTD=his comprehensive set provides a solid bridge across the two nota
EXTD=bly different periods.
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