Customer Reviews

Three Sides Live

5 star:		(8)
4 star:		(3)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

I loved this album dearly. I was so disappointed to find out that when it was remastered that the original 4th side of the US album which were the studio tracks (and the reason for the title of the album) were replaced with the UK version of different live material. My favorite "You Might Recall" was removed and is not available on any other album. Also gone is Paperlate, Me And Virgil, Evidence Of Autumn and Open Door.
The live performances are incredible and bring a new dimension to each song, but I feel the fans lose out when a song is pretty much deleted from a band's catalog.
I hope that one day Genesis will release this classic album in its original intended form.

A lot of people divide Genesis up into two periods, the Gabriel era and the Collins era. And many fans are divided over which version was better. Personally, I prefer the Gabriel era, but the Collins era was really good for awhile there. In fact the albums with Steve Hackett were just as good as the ones that came before in my opinion.

What you have here is a collection of live recordings from the Collins era, spanning from 1976-1982. And they are very good selections. The first CD focuses more on "the hits" so to speak, but it's a good selection of their more progressive and energetic rock songs. Dodo-Lurker, Me and Sara Jane, and Duchess are great songs.

CD two begins with one of the biggest hits in North America at least, Misunderstanding, which doesn't work as well live as the other tracks, but it quickly kicks into a high gear with an awesome rendition of In the Cage from The Lamb Lies Down on Broadway. The end of the song morphs into a lightning fast version of The Cinema Show instrumental section with snippets of The Colony of Slippermen and Riding The Scree sprinkled in for good measure. The song eventually becomes Afterglow, a great song that works well after long instrumental passages.

You know you have the remastered version if the next track is One For the Vine, an incredible prog mini-epic off of their Wind and Wuthering album, but the real highlight is Fountain of Salmacis, another Gabriel era song from Nursery Cryme. This was an unexpected surprise, and they do a great job with it, although I wish they included a version with Steve Hackett playing guitar, as I think he handles this song better than Stuermer. Hackett is present, however, on the next track, it., also from The Lamb Lies Down on Broadway, which merges into an awesome instrumental excerpt of Watcher of the Skies from Foxtrot.

What I like about this album is mainly the energy of these performances. While I didn't like a lot of the poppier more electronic they were writing at the time, they still could put on a killer show at the time, as is evidenced by this live album. In many ways I like it more than it's predecessor, Seconds Out, which could have been a better album if it wasn't for the first CD, which I felt had a weak song selection and ordering.

Incidently, the other version of this album, pre-remaster, has Five studio tracks instead of One For the Vine, Fountain of Salmacis and it. / Watcher of the Skies. On the record, these songs took up the entire fourth side, hence the title "Three Sides Live". I prefer this remastered version because I feel those live tracks omitted were the highlight of the album, and the studio tracks are more in the vein of 80's pop rather than prog. Still, if you want those tracks, I believe they are available on the Archive 2 box set in addition to the original pressing of this CD.

How was Genesis able to fill huge arenas and concert halls across the world in the 70s without the benefit of a hit single? It's because they were awesome in person and this collection is proof positive. They weren't content to just attempt to reproduce their album cuts, they wanted to improve them and let them grow on their own volition. The fact that most of the songs featured two of the best rock drummers in the world (Phil with Bill or Chester) made them instantly different from the recorded versions. I still consider Seconds Out a fine live record but this one is just as good, if not more dynamic with the remastering job. Turn it on, Abacab, Follow You and Misunderstanding got lots of airplay but in concert the band took them to new heights. Abacab sizzles with the two drummers kicking butt throughout. Dodo is like a whole different song. But the In the Cage mdeley is beyond belief. It transcends even Suppers Ready on Seconds Out. I've been listening to it since it came out on vinyl in 82 and it still sends chills up my spine. And Phil's emotional vocal on Afterflow justifies its repeat from that same album. The inclusion of the songs with Bill Bruford on drums make this a true must-have for any Genesis fan. The songs were their creations even though PG had departed and they were still very proud to perform them for their audience and the raw enthusiasm comes charging right through the speakers on every cut. I know there were studio songs on the original US version but they pale in comparison to these live gems. Get this before it's gone as it may be one of the most overlooked collections in the entire history of the band.

somehow the 4th side of the LP containing the hit "Paperlate"
and many other songs have been replaced with live cuts from the Secconds Out "period
I'm told the LP appeared this way in the UK and that the "Studio tracks"
were releseds as an EP

well it's 4 sides live now!
Good in that it features Steve Hackett and Bill Bruford
Bad in that those studio tracks were excellent.

Genesis' 14th album Three Sides Live was released in June of 1982.
The album comprises of songs from the band's 1981 Abacab tour and one from 1980's Duke tour.
On this album, singer/drummer Phil collins, guitarist Mike Rutherford and keyboard player Tony Banks were augmented by guitarist/bass player Daryl Stuermer and the returning Chester Thompson on drums for the live material here. In fact, there were two versions of Three Sides Live released (one for the US, Canada and Germany which the previous review pertains to and the other for the UK, Japan, Europe which is in this review here).
The first disc kicks off with technically seven songs from the 1981 Abacab tour including a spirited "Turn it On Again" (which was played before the Dance on a Volcano/Los Endos medley at the end on the abacab tour itself), an excellent medley of "Dodo/Lurker" (which followed "The Lamb Lies Down on Broadway" on the 1981 tour's setlist) and an excellent reading of Abacab's title cut (the later live versions trumped this but played with more passion than the classic studio version).
The second side of the album begins with the tour's actual opening tracks "Behind the Lines" and "Duchess" which are performed with more fire than the studio version ("Duchess" was faded as the song segued into "The Lamb Lies Down on Broadway" during the performances on the Abacab tour). Next is another Abacab track "Me and Sarah Jane" which trumps the studio version. We close disc one with "Follow You Follow Me" which was actually recorded on the 1980 Duke Tour at the Lyceum Ballroom in London (it was not played on the 1981 tour). (The 1981 tracks were from Nassau Coliseum, The Savoy Club and Wembley Arena respectively).
Side three kicks off with a superb version of "Misunderstanding" (which trumps the studio version and when played live segued into "No Reply at All (not included on TSL). Next is the reason to own TSL which is "In the Cage" which is arguably the best live version with Phil on vocals then it segues into "The Cinema Show"/"Slippermen" medley with superb drumming by Collins and Thompson and Banks' keyboards on fire here. We close the third side with "Afterglow" which trumps the studio version and arguably the Seconds Out versions by a longshot.
Now the remainder of Europe and Japan (and excluding the US, Canada and Germany until the 1994 remastered version which is the one available the world over today) got a FOURTH live side containing three superb performanced from 1980, 1978 and 1976 respectively instead of the outtakes from Abacab and Duke that the US, Canada and Germany got. First is an awesome version of "One For the Vine" which was recorded in May of 1980 at the Lyceum in London and this version trumps the studio version by a longshot (shame that the CD tracking splits it as two tracks when it is really one long song). Next, we go back to Knebworth in 1978 for a stellar version of the Nursery Cryme classic "The Fountain of Salmacis" which is just as good, if not better, than the studio version and Daryl Stuermer's solo at the end could give Steve Hacket''s a run for the money plus Phil adding some tympani and gong at the end is a nice touch. Then we go back to 1976 for a medley of "It/Watcher of the Skies" with Bill Bruford on drums and Steve Hackett on guitar. It was superb although it was shorter than the live version eventually released on 1998's Genesis Archive 1967-75 box and then Phil goes to the kit to help segue It to the masterpiece Watcher of the Skies' finale which was an awesome way to close the UK version of this live album.
The UK version of Three Sides Live reached #2 and was not until November of 1994 that it got a Stateside release.
RECOMMENDED!

I have about everything that Genesis has released (and more). While different than the other live releases, 3 Sides Live fits the Genesis live album structure of showcasing current material. This album sounds beautiful; crystal clear while sounding live. The perfomances are spot-on and give added depth and emotion to the original releases.

To those who miss One Side Studio. The second Archive Set contains most of the songs from the original US release. It also contains (disk 2) live performances that you will want to hear the instant It/Watcher of the Skies ends.

I stopped listening to Genesis for 16 years. Can you blame me? Phil Collins didn't do much for their memory. I picked this up again yesterday, and remembered everything I loved about them. There's never a song that just has one thing going on in it (perhaps Follow you, follow me - good but cheesy - that's why it made the radio!). Dodo has two melody motifs worthy of a 7 minute song, just great. Abacab, so wierd and poppy at the same time. Me and Sarah Jane wanders through about four or five different melodic areas that combine and reinforce each other in a majestic parading away at the end. This is the Genesis that I'd really liked, poppy but not commercial (is that possible, ask the Velvet Underground). There are a lot of complaints here about the neglect of the back catalogue, but if this was your favorite era of Genesis, this will make you very happy. The back catalogue is covered on Seconds Out, so you have an option. It's also a good introduction to Genesis for someone that isn't comfortable diving into paeans to Persian war gods.

Ok, I have not heard all Genesis' concerts, but I have heard a great many, and none of them surpass the 1981 concerts, which deliver the majority of the material for this live release. Granted, the songs might not be as good as those included on the 1977 'Seconds Out' release, but then again, they might be - more justice might be done by saying that these are just a different kind of songs. Because songs like 'Behind The Lines', 'Duchess', 'Abacab', 'Dodo/Lurker' and 'Me And Sarah Jane' are masterpieces in their own right, as they are delivered here.

The change that has come to songs like 'Abacab', 'Me And Sarah Jane', and 'Dodo', as compaired to the studio versions, is none less than incredible. Frankly, the Abacab album was a rather miserable experience in my oppinion, with the title track containing an absolutely pointless and longwinded instrumental outtro and the nearly off-tune keyboards of Dodo/Lurker [not to mention that this album spawned everybody's most hated Genesis song, 'Who Dunnit?'!].

But in this live recording, thesse songs are completely transformed. The band plays with all the energy they lacked on the studio recordings, 'Abacab' roaring into it's completion (which was faded out on the album version!), delivering master double-guitar work as well as keaybord play and drumming. Suddenly the keabord parts of 'Dodo' swings like nothing else. 'Me And Sarah Jane' suddenly grooves along with reagae feel and a charm and at the same time loneliness the album version was completely devoid of.

Similarly, 'Behind The Lines' is delivered with an energy that leaves you quite breathless once it fades into 'Duchess', which is delivered with an intensity that is impressive. On both tracks Phil delivers his very best vocal performance, and even though both tracks were great on the Duke album, these versions outrank them in any way. Also the version of 'Turn It On Again' is very impressive - somewhat different than the album version in arrangement, Phil's vocal isn't perfect, but this is compensated by the explosiveness of this performance of the track. Also 'Misunderstanding', never a favorite, is presented in a version better than the album version. Also, the only song from ... And Then There Were Three ..., 'Follow You Follow Me' is played in a lovely version (recorded in 1980).

The only older song on the regular set of this recording is the medley featuring 'In The Cage' and keyboard solos from 'Cinema Show', 'Riding The Scree', 'The Colony Of Slippermen (Raven)' and finally a complete version of 'Afterglow'. This is by many considered on of the best live performances from the entire Gensis career, and not without reason. 'In The Cage' is one of Phil's trademark vocal performances, from the frantic, panicked sound of the main part of the song, to the soaring mid section. Anyone who have watched the concert video from the 1983/84 tour (sadly deleted) will remember the stage at this point being covered in a bright white light, focusing on Phil standing on a glass platform above the scene - most spectacular, and performed with a power and intensity I have experienced from no other band. The instrumental medley is crafted with and incredible skill, one breathtaking solo flow into the next, and you won't notice the transition if you fon't know the tracks. Finally, the frantic 'Raven' solo fades into the beautiful 'Afterglow', here delivered in probably the most beautiful version ever. Phil's vocal is beyond believe, and the musical outro is much more powerfull than the old version. I would give almost anything to have experienced this myself!

A note on the track-list. The show has been partly re-mixed, as the original set-list was as follows: Behind The Lines / Duchess / The Lamb Lies Down On Boadway - Dodo/Lurker - Abacab - Carpet Crawlers - Me And Sarah Jane - Misunderstanding - No Reply At All - Firth Of Fifth - Man On The Corner - Who Dunnit? - In The Cage / Cinema Show/Riding The Scree/Raven / Afterglow - Turn It On Again - Dance On A Volcano/Drum Sole/Los Endos - I Know What I Like.

Sadly, they've left out so many highlights from the show. 'Firth Of Fifth' and 'Dance On A Volcano/Los Endos' from this show are among the best versions ever (the former available on the somewhat rare compilation 'Turn It On Again - best of 1981-83' (NOT the new compilation, an old release, CD from 1991)). 'Man On The Corner' has become available on the Archive 2 (and is stunning), 'No Reply At All' is available from the Savoy show the following night on the same boxset (and is superb). 'The Lamb Lies Down On Broadway' was played in probably the best version ever on this tour, but is not available, the same is sadly true for 'Carpet Crawlers' and 'I Know What I Like'.

A note on the recording dates. The major set is taken from the Nassau Colliseum november 29 show. 'Follow You, Follow Me' is probably recorded in the Lyceum, London, may 7 1980, and 'Turn It On Again' might be recorded in Birmingham, december 23 1981.

There exist two versions of this recording, one with a fourth side containing 5 B-sides, and one with a "fourth side live", as listed here. I can recommend both versions, but the remaster includes a stunning recording of 'One For The Vine' (from Drury Lane, London, may 5 1980), a fantastic recording of 'The Fountain Of Salmacis' (from 1978, possibly from Houston) and a medley of 'It' and the instrumental parts of 'Watcher Of The Skies'. All live recordings I wouldn't miss.

I first heard Three Sides Live in the early 80's, when I had moved to the Chicago area, from new friends that I had made.
I can't tell how listening to this now brings back SO many good memories and fun times that I had back then. My friends, Tony and Betz had played this so many times, that I demanded that someone, anyone get this album for me for Christmas!! I did get it for Christmas, and it was one of my cherised possessions.
Tony died some years ago, but those memories are as strong as ever today.
If you like Genesis you will LOVE this, I promise! My fav is The Cage

I've always been a fan of live music. The energy, the interaction with the crowd, the extended play on songs the audience is in love with. Three Sides Live is Genesis at their peak! Following this time in their history, Genesis - Genesis and Invisible Touch, their 2 most commercially successful albums, were launched. But as is often the case, the most creative, and in my humble opinion, best work was laid down prior to the commercially successful work. Three Sides Live showcases their earlier work.

Turn It On Again still plays in my head from this live recording. In fact, I think all of the songs on this recording are superior to the studio versions. Follow You, Follow Me is a stand out.

If you are a Genesis fan, you are certainly missing out if you do not have this in your collection. For those who only came to know Genesis after the commercial hits on Genesis, the album, and Invisible Touch, this is a great way to introduce yourself to some of the earlier stuff!