Audiophiles savaged the first batch quicker than you can say “all CDs produced after 1993 suck,” due to compression used in mixing and mastering. I empathize with this crowd to a degree, because a lot of modern discs do sound awful, or at least far less dynamic than they could or should. (And don’t get me started on companies mastering music that will sound good as computer files or in the car or whatever. Nowadays, I’m really starting to mourn vinyl LPs.) But I’m also a “take what I can get” listener, as life’s too short for me to nitpick mastering jobs to death. If I embarked on that particular crusade, I wouldn’t have a CD collection to listen to. Anyway, I bought the standard CD/DVD versions, and this page will run down the differences between the new mixes and those of the 1994 “Definitive Edition” Genesis CDs. I’ll also cover the content of the DVDs. My main concern is the stereo mixes; I only have periodic access to a really good surround system, so my observations about the 5.1 mixes will have to wait, if I even write about them at all. (I know the surround versions are the main attraction to a lot of people, but surely they are reviewed elsewhere in e-land.)

For reviews of the actual music, you can go to my Genesis review page. Any references there to mixing and recording refer to the original versions of the albums.

You can get the new editions of Trick thru Abacab individually or you can get all five of them in one box, which also includes a hardbound booklet and a bonus disc/DVD of non-album tracks. I plumped for the full set.

It’s interesting how a mix can trigger emotional dynamics within a track. Not just the loud/soft contrast, but also the relationships of the individual parts, and which instruments “carry” the transitions within an arrangement. I’ve known the original Genesis mixes for about fifteen years, and right away, I noticed all sorts of differences in the new editions, both subtle and glaring. I’ll probably repeat myself, but here are some general observations:

The sound is much brighter all around. Whether or not this translates to harshness could depend on your speakers and/or EQ.

The majority of the lead vocal tracks are louder than before, and some of the vox sound a little hot. I A/B’ed these with the originals and noticed some imperfections (crusty sibilants, etc) on the old vocal tracks. I guess the new mixes magnify things, for better or worse.

The CD levels are loud – maybe not with a capital L, but close. There’s some breathing room for quiet moments, but a lot of the time, the soundstage is swamped. I don’t necessarily find this fatiguing to listen to.


Trick of the Tail

Stereo remix: We’re off to an iffy start, as the original mix had a warm character that didn’t require much tampering. This version clarifies and evens out a lot of the instruments, but not always for the good. “Squonk”, for example, sounds sharper but no longer feels as tight and springy as it did before. Same goes for the new “Dance on a Volcano”. “Ripples” overloads the final chorus, and similar squashiness is heard in the climactic middle section of “Mad Man Moon”. “Entangled” pulls back the bass pedals in the outro segment, to my mild dismay. I dig the new perspective on “Los Endos”, but some of the original peaks and valleys have disappeared. The only two tracks I’d rate better than the original mixes are “Trick of the Tail” and “Robbery Assault and Battery”. Anyway, aficionados might appreciate the new slant on some tracks, but don’t dispose of the old CD, because its magic has now mostly been computed out.

DVD visuals: Audio disc aside, the new Trick is worth acquiring for the 1976 In Concert performance segment. With Bill Bruford in the drum chair, the band tackles the climactic sections of “Cinema Show”, “Supper’s Ready”, some Lamb tunes, and more. The occasional extra visual effects aren’t too bad, and besides, it’s cool to see and hear Bruford with Genesis. The three music videos from Trick aren’t quite as cool, shall we say. As with each of these DVDs, you also get a band interview, where they (separately) reminisce about certain songs and the circumstances surrounding the album. Nothing the devoted Genesis fan hasn’t heard before, but still enjoyable to watch. All of the DVDs also have onscreen tour programs, but since the pages are not photographed up close, they’re pretty useless.


Wind and Wuthering

Stereo remix: This never sounded all that great to begin with, and there aren’t many improvements to the irrevocably bulky synthesizers – see “Eleventh Earl of Mar” and “Mouse’s Night”. Davis does caress the keyboards and warm the drums to some degree, but the overall chill remains. Nice piano and percussion tones, though. I’m happy that the dynamic romanticism of “Blood on the Rooftops” survives, and I think the “Unquiet Slumbers” instrumental tops the original mix, even though the bass parts are less evident in places. The “nasty” section at the end sounds better, mainly because Tony’s synth lead isn’t quite so abrasive. Another good point is the softening of the sappy background vocals in “Afterglow”. “Wot Gorilla” sounds like a brand new tune. Apart from all that, the high end is bothersome throughout most of the album, particularly on the lead vocals and cymbals. Since I didn’t like the original mix much, this wins by default.

DVD visuals: The two bootleg TV “performances” (mimed) are of such wretched quality that I can’t even crack a joke about seeing Genesis on the Mike Douglas show. That leaves the band interview. No promo videos for this album, hardly a loss.


And Then There Were Three

Stereo remix: The new version is just as overbearing as ATTW3’s original wall of sound, but at least you can distinctly hear the components now. The drums are clearer, the keys and guitars more defined, and the all-encasing reverb no longer there. “Down and Out” comes across with a more visceral attack, as it should, and I even found myself enjoying parts of “Deep in the Motherlode”, which I’d never done before. “Snowbound” misses some original dynamics but compensates with more detail. I can’t tell you how many minor changes exist, because the original mix was so jumbled to my ears, so in a sense, it’s all “new” to me. Artistically, this album still has its problems, but sonically, I consider the new edition a full replacement for my old CD.

DVD visuals: The band interview covers Steve Hackett’s departure, among other things. Interesting to hear Tony Banks refer to Hackett as a departed ally, since they both liked the “weird” stuff. The “Three Dates with Genesis” 1978 documentary follows the group on tour, and it’s a minor hoot, thanks to the earnestness of the narrator as he describes the lights ‘n lasers, the trucking logistics, and how many feet of urinal are at the Knebworth festival. You may recognize parts of this documentary that were excerpted in 1990’s “Genesis: A History” video. The quality is shoddy, but it provides cackle or two, and the musicians come across as normal blokes. Rutherford, amused by the question, says that no, they aren’t millionaires. You also get videos for “Follow You” and “Many Too Many”. I bet Phil got tired of these video shoots where he had to be filmed at the front microphone and also back at the drums. I wonder if anyone watching ever got confused. “Are they twins? Is that Rael and his brother John?”


Duke

Stereo remix: Duke originally had sort of a bright yet cloudy mix, if that makes any sense – you could hear what was going on, but it seemed a little distant. Remixed, the elements are crisper and more present, particularly the drums. This is exactly what I would have wanted from a remix. “Man of Our Times”, “Heathaze”, and the first few minutes of “Duke’s Travels” are among the remarkable improvements. On the down side, the mega fortissimo moments of “Behind the Lines”, “Cul De Sac”, and the climax of “Duke’s Travels” and “Duke’s End” are all horribly crunched. The keyboards dominate the mix, and when you add big bass pedals and crashing kick/cymbal hits, you can actually hear the levels kick back from the ceiling. Ugh. One might notice the same thing on the original versions, but it’s much more pronounced on the remix. So I give the new Duke a 90% success rate with 10% serious reservations.

DVD visuals: In the longest band interview, Tony calls Duke his favorite. There are three ho-hum videos of the album’s songs. The real treat is the Live at the Lyceum 1980 video, where the band (plus Stuermer and Thompson) rolls through several selections. The quality’s not perfect, but as a freebie, it’s pretty nice.


Abacab

Stereo remix: Like Trick, the original Abacab mix – despite some shadowy bits – had perfect character that is mysteriously altered in the new version. I think that’s because Nick Davis’ goal was to de-Padghamize things – dial back the gated reverb drums (my favorite snare burst in “Who Dunnit” is minimized), sharpen the keyboard sounds, and fill space. Thankfully, one can still hear the stark new style the band achieved with this record, but part of that effect came from the original mix. There isn’t much for me to complain about, though. The finale of “Dodo/Lurker” sounds crunched up, but so did the first version. I miss the original balance of subtle details in “Me and Sarah Jane”, yet interesting counterlines emerge this time out. The title track undergoes a few tweaks but is largely true to the original. I heard a newly emphasized keyboard part in the middle of “Keep It Dark”. Eh, another tough call. The original is undeniably special, but I enjoy the revamp, too.

DVD visuals: More promo videos, plus the band interview, and that’s all. Hey Tony, I like “Who Dunnit” too. Maybe it’s just too bad-ass for all the naysayers to understand. Anyway, I suppose they didn’t include any live footage because the Three Sides Live video will eventually be released on its own.


Bonus Disc

Remixes: Here are the B-sides and EPs of the day, including “Me and Virgil” and “Match of the Day”, whose exclusion from 2000’s Archive #2 box I bitched about. I don’t see what’s so embarrassing about the cute throwaway “Match of the Day”; I’d rather hear that than ever listen to “Alone Tonight” or “In Too Deep” again. All of the other eleven tracks did appear on the second Archive box. Most of them sound cleaner here (“Evidence of Autumn”, “Submarine”), and you get some significant differences in the mixes, too (“Naminanu”, “Pigeons”). Nevertheless, I prefer the earlier versions of “You Might Recall” and “Naminanu”, and what “The Day the Light Went Out” gains from a clearer vocal, it loses in an overly crispy top end. “Paperlate” makes a good case study: the original had some murkiness but sat just right, while the new mix is crisper yet loses the concise punch. This disc is definitely a nice bonus for the box set, but in no way does it tempt me to ditch Archive #2.

DVD visuals: A mimed “Paperlate” video - blah. I’m not into videos, sorry. The band interview discusses the remixing project in general. Tony Banks was the most involved and thus has the most commentary to offer. He says that the original mixes up through Duke were rushed; well, that might be true for the middle three records, but I’d say that original producer David Hentschel did an effective job on Trick of the Tail, at least.


Overall verdict: There’s no way I wasn’t going to acquire this, even though I’m only a part-time Genesis listener. I’m happy I did, despite a few reservations about the loud and bright sound. (Then again, I used to think the DE discs were too dark and quiet, so there’s a happy medium in my imagination.) Of course, these CD stereo mixes will make true audiophiles see red. Perhaps the SACDs are better? Perhaps the DVD 5.1 mixes are where the real action is? In any case, I’ve pitched my two cents.

I’m not gung ho on Invisible Touch, We Can’t Dance, or Calling All Stations, and hearing their remixes wasn’t high on my list of priorities, but the collector in me had to snag this box. Turned out to be worthwhile. These recordings (plus the self-titled 1983 album) were much clearer to begin with than those of the 1976-81 period, thus there are fewer questionable moments of “did this distortion occur in the mastering or was it on the original tapes?” You’ll encounter the opinions of folks who are determined to not like Nick Davis’ remixing, but I was never attached to the previous mixes of these particular albums, so I enjoy the new versions for what they are. They don’t really change my evaluations of the music, though.

As before, you can buy the titles individually or all together in one box with a booklet and bonus disc of rarities.


Genesis

Stereo remix: This album always sounded a little flat to me, especially in comparison to Abacab. Perhaps that was due to the influx of digital instruments (and recording techniques) the band was using. The remix adds more life and depth without changing things radically. For those concerned about excessive volume on these remasters, I actually had to turn the volume UP on some tracks. “Mama” builds in much the same way as the original, although the drums are thinner at the end. Rutherford’s guitar is more prominent in the rise and fall of “Second Home by the Sea”. I’m not a fan of “Taking It All Too Hard” by any means, but the remix is very colorful and sounds less like a robotic Collins single now. My only complaint would be that the bass guitar gets buried in “Silver Rainbow”; I prefer the original version of that one. (And maybe “That’s All” has less bounce than before, but it’s not an important song to me, so I don’t care.) Despite this minor carping, I give the remix a happy thumbs-up.

DVD visuals: Here are the usual array of regulars – promo videos, useless tour program screenshots, and a band interview, which in this case is pretty thorough. The Mama Tour Rehearsal is a single-camera video of the group running through a variety of tunes (including “Eleventh Earl of Mar”!) for about an hour on stage. The sound and picture are not very good, but I suppose the G-Fan will find it interesting, especially if they’re desperate for footage they’ve never seen before. I like it just enough to wish that it had been better recorded.


Invisible Touch

Stereo remix: I thought the original recording/mix was distractingly busy. It’s still a “digital ‘80s” jungle in here, but not quite so frigid. By spreading out the perspective on some of the tracks, the remix makes the music breathe a bit more (for me, anyhow). This is best heard in the longer pieces “Tonight Tonight Tonight” and “Domino”; while not High Art, they do let the band stretch out. I truly enjoyed listening to both of them. “The Brazilian” sounds good, too, despite the clattering electro-percussion loopiness. As for the Top 40 hits, I never studied them much in the first place, so I can’t say how much has changed. (Except for an echo on the “Invisible Touch” vocal that I don’t think existed before, but I could be wrong. I’m doing no further research on the matter.) “Land of Confusion” already sounded like postmodern cyber pop two decades ago, and it’s still meaty beaty big ‘n bouncy. This disc gets another thumbs-up, though you must note that I never put the original mix on any pedestal.

DVD visuals: Thanks in part to Phil’s pop infamy, Genesis circa 1986 had acquired a rather unbearable demeanor; witness the corny bonhomie of the “Invisible Touch” video, which makes me want to barf into my socks. The mugging doesn’t get much better in the Visible Touch tour documentary, which has almost zero real content (and was thus perfect for MTV, I guess). The Old Grey Whistle Test doc attempts to be slightly more informative, concerning Phil’s entry into the band, Pete’s departure, etc., on up to the symphonic wonderments of “In Too Deep”, et al. As you can tell, this isn’t my favorite page in the G book.


We Can’t Dance

Stereo remix: Nick Davis originally produced this one, and he doesn’t do much second-guessing. Seems to me he just tweaked a few elements and gave the album a “bigger” (but not squashed) feel. This is a nice sounding record – too bad at least half the songs are so banal. Again, I think the long-form pieces benefit most. “Driving the Last Spike” and “Fading Lights” are both pleasurable and build their emotional heights as well as before, if not better. “Dreaming While You Sleep” doesn’t have the same scope as the original when it comes to the final section, but it sounds fine nonetheless. Most of the rest of the songs have such vanilla arrangements that the remix makes little difference. I still had the original CD squirreled away, and after some A/B comparing, I don’t think I’ll need it anymore.

DVD visuals: Promo videos (I chuckle at Tony’s sedate performance in “Jesus”) and a band interview that possibly makes the album appear even duller. The “No Admittance” doc goes behind the scenes into the studio sessions, where the group comes across with less smugness than they did in the mid-80s, and there are some candid recording moments, even if they are within nondescript songs. (Do I really care how “Never a Time” went down? No.) Lighthearted, yet worth a look.


Calling All Stations

Stereo remix: Perhaps because the album was tepidly received the first time, the remix is more aggressive than the original, far as I remember. The second half of “Alien Afternoon”, for example, cranks up the guitars and loses the shimmering atmosphere it used to have. Similarly, the title track sounds “tougher” if less spacious. Not everything is changed, but brittleness settles over several tracks, and up close, you’ll notice slight distortion on a few of the loudest peaks. This unfortunately includes Nir Zidkyahu’s awesome drumming on “The Dividing Line”. My original CD is long gone, so I don’t know if these blurred bits were there before. And when I say distorted, I don’t mean the whole track is jacked up and ruined, just some individual elements in the mix. (I didn’t really notice it until I listened in headphones. And strangely enough, the outtakes on the bonus disc don’t share these imperfections.) Anyway, the much maligned CAS has handful of worthy Genesis moments, and it might have been a positive album had some of the execution been different. And if they’d spent more than ten minutes on the lyrics.

DVD visuals: Ray Wilson and Nir Z add insightful comments to the band interview, in which Mike and Tony are otherwise perched between nitpicky endorsement and dismissal. I enjoy the promotional featurette (EPK) for the album, and the three live performances are okay – observe the contrast between Ray’s subdued yet focused stage persona and Phil’s smarmy ‘80s antics. I like Ray’s voice in certain songs, and he seems like a nice enough person, but it was nearly impossible for Banks and Rutherford to reinvent Genesis from the top down, even if they were the main songwriters all along. This is their Drama tangent, if you like.


Bonus Disc

Stereo remix: The first five tracks are also found on the second Archive box. “On the Shoreline” remains a minor treasure; I think it should have replaced “Tell Me Why” on Dance, just as “Feeding the Fire” should have booted something stinky-poo from Touch. You’ll notice a few changes in the instrumental “Do the Neurotic”, along with louder backing vocals in “Shoreline”, but for the most part, these selections are not much different from the way they sounded before. The last three tracks are outtakes from Calling All Stations. “Anything Now” has a cool groove, a couple of hooks, a little “jam” section, etc., while “Run Out of Time” is an unusual ballad with nice vocal leaps from Ray and a lush synth-string crescendo. These two would have given CAS a lift. “Sign Your Life Away” has one good vocal hook but is otherwise forgettable.

DVD visuals: A generous program here. There’s a Knebworth performance from the Dance tour (including the “Old Medley”, but abruptly aborting “Second Home by the Sea”), an electronic press kit for the Archive #2 box, and a short acoustic set from 2000. I wouldn’t go out of my way to find these - and I likely won’t watch them often - but they make acceptable bonus goodies.


Overall verdict: For me, the 1976-81 box had many more changes to assimilate, whereas these later albums weren’t really gospel (to repeat myself yet again). Somebody who adored Invisible Touch back in the day might feel differently and would notice more changes than I do. All I can say as an innocent bystander to this era is that I’ve found the whole package fairly entertaining, and the handful of songs I do like sound fine enough to me. Now bring on the Gabriel years, please.

Back to Rock

Back to Jazz Shelf home page