It is Here, It is NOOOOW !!! - The Genesis 1970-1975 Box Set - U2 Feedback

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Old 07-19-2008, 12:50 PM   #1
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It is Here, It is NOOOOW !!! - The Genesis 1970-1975 Box Set

TRESSPASS
CD/SACD
1. Looking for Someone - 7:02
2. White Mountain - 6:44
3. Visions of Angels - 6:51
4. Stagnation - 8:46
5. Dusk - 4:11
6. The Knife - 8:53

CD/SACD TOTAL: 42:27

DVD
1. Looking for Someone - 7:02
2. White Mountain - 6:44
3. Visions of Angels - 6:51
4. Stagnation - 8:46
5. Dusk - 4:11
6. The Knife - 8:53

1. Reissues Interview 2007 - 42:35


NURSERY CRYME
CD/SACD
1. Musical Box - 10:31
2. For Absent Friends - 1:48
3. Return of the Giant Hogweed - 8:09
4. Seven Stones - 5:09
5. Harold the Barrel - 3:00
6. Harlequin - 2:56
7. The Fountain of Salmacis - 8:00

CD/SACD TOTAL: 39:33

DVD
1. Musical Box - 10:31
2. For Absent Friends - 1:48
3. Return of the Giant Hogweed - 8:09
4. Seven Stones - 5:09
5. Harold the Barrel - 3:00
6. Harlequin - 2:56
7. The Fountain of Salmacis - 8:00

DVD EXTRAS
1. Reissues Interview 2007 - 36:19



FOXTROT
CD/SACD
1. Watcher of the Skies - 7:22
2. Time Table - 4:46
3. Get 'em out by Friday - 8:36
4. Can-Utility and the Coastliners - 5:45
5. Horizons - 1:41
6. Supper's Ready - 23:04

CD/SACD TOTAL: 51:14

DVD
1. Watcher of the Skies - 7:22
2. Time Table - 4:46
3. Get 'em out by Friday - 8:36
4. Can-Utility and the Coastliners - 5:45
5. Horizons - 1:41
6. Supper's Ready - 23:04

DVD EXTRAS
1. Reissues Interview 2007 - 34:18
2. Brussels, Belgium - Rock of the 70's 1972 - 29:22
3. Rome, Italy - Piper Club 1972 - 4:07


SELLING ENGLAND BY THE POUND
CD/SACD
1. Dancing with the Moonlit Knight - 8:02
2. I Know What I Like (In your Wardrobe) - 4:10
3. Firth of Fifth - 9:35
4. More Fool Me - 3:10
5. Battle of Epping Forest - 11:44
6. After the Ordeal - 4:15
7. The Cinema Show - 10:41
8. Aisle of Plenty - 1:56

CD/SACD TOTAL: 53:33

DVD
1. Dancing with the Moonlit Knight - 8:02
2. I Know What I Like (In your Wardrobe) - 4:10
3. Firth of Fifth - 9:35
4. More Fool Me - 3:10
5. Battle of Epping Forest - 11:44
6. After the Ordeal - 4:15
7. The Cinema Show - 10:41
8. Aisle of Plenty - 1:56


DVD EXTRAS
1. Reissues Interview2007 - 32:38
2. Shepperton Studios, Italian TV 1973 - 1:00:50
3. Bataclan, France 1973 - 33:52



THE LAMB LIES DOWN ON BROADWAY
CD/SACD
1. The Lamb Lies Down on Broadway - 4:51
2. Fly on a Windshield - 2:44
3. Broadway Melody of 1974 - 2:11
4. Cuckoo Cocoon - 2:13
5. In the Cage - 8:09
6. The Grand Parade of Lifeless Packaging - 2:44
7. Back in N.Y.C. - 5:36
8. Hairless Heart - 2:06
9. Counting Out Time - 4:12
10. The Carpet Crawlers - 5:11
11. The Chamber of 32 Doors - 5:39
12. Lilywhite Lilith - 2:48
13. The Waiting Room - 5:15
14. Anyway - 3:08
15. Here Comes the Supernatural Anaesthetist - 2:56
16. The Lamia - 6:56
17. Silent Sorrow in Empty Boats - 2:58
18. The Colony of Slippermen - 8:11
19. Ravine - 2:06
20. The Light Dies Down on Broadway - 3:32
21. Riding the Scree - 4:06
22. In the Rapids - 2:18
23. It - 4:17

CD/SACD TOTAL: 1:34:07

DVD
1. The Lamb Lies Down on Broadway - 4:51
2. Fly on a Windshield - 2:44
3. Broadway Melody of 1974 - 2:11
4. Cuckoo Cocoon - 2:13
5. In the Cage - 8:09
6. The Grand Parade of Lifeless Packaging - 2:44
7. Back in N.Y.C. - 5:36
8. Hairless Heart - 2:06
9. Counting Out Time - 4:12
10. The Carpet Crawlers - 5:11
11. The Chamber of 32 Doors - 5:39
12. Lilywhite Lilith - 2:48
13. The Waiting Room - 5:15
14. Anyway - 3:08
15. Here Comes the Supernatural Anaesthetist - 2:56
16. The Lamia - 6:56
17. Silent Sorrow in Empty Boats - 2:58
18. The Colony of Slippermen - 8:11
19. Ravine - 2:06
20. The Light Dies Down on Broadway - 3:32
21. Riding the Scree - 4:06
22. In the Rapids - 2:18
23. It - 4:17

DVD EXTRAS
1. Reissues Interview 2007 - 50:00
2. Melody - French TV 1974 - 30:25





EXTRA TRACKS 1970 TO 1975

CD/SACD
1. Happy the Man (7" single) - 3:10
2. Twilight Alehouse (B-side - I Know What I Like) - 7:48
3. Going out to get You (Demo) - 4:55
4. Shepherd (BBC Nightride) - 4:04
5. Pacidy (BBC Nightride) - 5:44
6. Let us now make Love (BBC Nightride) - 6:16
7. Provocation (Genesis plays Jackson) - 4:10
8. Frustration (Genesis plays Jackson) - 3:42
9. Manipulation (Genesis plays Jackson) - 3:49
10. Resignation (Genesis plays Jackson) - 3:01

CD/SACD TOTAL: 46:39

DVD
1. Happy the Man (7" single) - 3:10
2. Twilight Alehouse (B-side - I Know What I Like) - 7:48
3. Going out to get You (Demo) - 4:55
4. Shepherd (BBC Nightride) - 4:04
5. Pacidy (BBC Nightride) - 5:44
6. Let us now make Love (BBC Nightride) - 6:16
7. Provocation (Genesis plays Jackson) - 4:10
8. Frustration (Genesis plays Jackson) - 3:42
9. Manipulation (Genesis plays Jackson) - 3:49
10. Resignation (Genesis plays Jackson) - 3:01

DVD EXTRAS
1. Reissues Interview 2007 - 6:00
2. Box Set 1967 - 1975 VH1 Special - (tbc)










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Old 07-19-2008, 12:52 PM   #2
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Old 07-19-2008, 04:15 PM   #3
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Old 07-20-2008, 02:22 PM   #4
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Music WOW -- Shop CD and DVD with pleasure.

Best price so far for the UK (SACD/DVD) version

Genesis 1970-1975 7 DVD: Musique: Amazon.fr

Amazon france has it for EUR 107,64

Amazon.de: Genesis: 1970-1975 [UK-Import]: Genesis: Musik

Amazon Germany for EUR 111,99

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Old 07-20-2008, 02:24 PM   #5
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Genesis - Shepperton, The 16mm film
Shepperton Studios, Borehamwood, UK: 30th-31st October 1973


1. Opening Credits

2. Watcher of the Skies

3. Dancing with the Moonlit Knight

4. I Know What I Like

5. The Musical Box

6. Supper's Ready

7. Closing Credits



Plus Easter Egg!
Pro-shot film, footage digitised frame by frame direct from 16mm master reel to PAL 25fps. (See below for exact details!)


Credits:
Source: King Lerch and the members of MeeksGenesis

Video Transfer, Source Clean Up, DVD Authoring and other general extreme hard work : King Lerch

Audio Remastering: SAB (DanLore)

Artwork: RH Productions



Adam's Production Notes on "Genesis @ Shepperton - the 16mm film":


Summary
I originally thought I should not create an essay like this as it is rather pretentious and long-winded. I certainly don’t expect most people to read or even be interested in it. But I know that if I don’t write down the process when I am able to remember it, I most likely won’t be able to remember it at all when someone does ask something about it.

As a quick summary, this source was not perfect and suffered from some damage. Also, this is a dark 16mm film not Hollywood film quality. I did the best I could, learned a lot about the process, and never took shortcuts. A big thanks to Gunnar Thalin, the Swedish video expert who helped with great information. Several times I went back to the first step all over again to compare and get the best possible final product.

Test versions were sent to 4 testers in different parts of the world. Their suggestions were some of the best I’ve ever received and I was able to incorporate almost all of them. As one of the testers said, “This may not be the holy grail…but it is his older brother.”



Auction
It was over 6 months ago when I noticed a 16mm Genesis film was being auctioned from a NY estate sale. There was no way to be sure of the contents, quality, authenticity, or value. After discussing it with some collectors I know, I was prepared to make a high bid. But adding the costs to do a proper transfer, I didn’t know if my bid would be high enough to win.

Then I read that a small group wanted to pitch in and buy this film. Rather than bid against each other, we thought it was much better to join resources. We were able to come up with enough to make a substantial bid and help pay for the transfer as well.

It was explained that no one had any idea of the film’s condition. It could be damaged, worse than existing copies, untransferable, etc. We all took a risk in hopes we could benefit from a great film, or reduce the losses if it was not good. We won the auction, sent a huge money order, received the film, packed it up again, sent it fully insured to the lab, and hoped for the best.



Source
The source was a 16mm film shot at 25 frames per second. It is Kodak date coded with a triangle and plus which indicates 1973. This is significant in that it is not a recent production or a copy of a copy. However, there are old Kodak films that suffer from “red shift” where the organic parts of the film change over time leaving extra amounts of red. This film was no exception.

Although I don’t remember where I got this information, I remember hearing that several copies of this concert were printed on 16mm film for distribution to schools or small theatres. It is unknown how many of these films exist or where they were used. There is no doubt in my mind that these are a professional production, and a distinct “Charisma Reel One” can be heard at the very beginning of the film.

[UPDATE: I spoke with a friend about this film and he only recently mentioned that he saw this film not just on video but in the spring of 1974 on 16mm. He is the only one I have spoken to who has actually seen this film in regular use. It was at an Atlantic Records hotel suite at a national college radio convention in NYC. They dimmed the lights, wheeled out a 16mm projector, and showed the film on the wall. Everyone thought it was amazing. More amazing is that our print from "a NY estate sale of someone in the music business" is possibly the exact same print.]

Also, there are artifacts in the film like spots, marks, etc that are on all copies of the film. These are not removable or cleanable, just a clue that all of these films have the same “parent”. Another clue that these 16mm film(s) have the same source is the audio.

16mm audio is very distinct. Not only is it rather poor quality, but because of the unique 25 fps speed it is often played at the more common 24 fps speed where the sound is 4% slow. All of the sources we have seen (correct me if I am wrong) such as the Old Grey Whistle Test, Speakeasy, documentaries, etc all have this 16mm audio. If something better than a 16mm film exists, it is not easily available.



Transfer
Because the 25 frames per second film matches perfectly the PAL video standard, a 720x576 transfer was done. This has better color than NTSC, 100 more lines of resolution, and does not require any speed changes or frame blending.

The film was slowly projected 1 frame at a time directly onto the 3CCD chip of a PAL DV digital video camera. This allows corrections for brightness and color with each frame of film and gets the most detail. Instead of trying to catch 25 constantly moving frames per second, this process can examine each frame as slow as necessary.

The biggest disadvantage of the frame-by-frame transfer (other than the higher cost) is that sound cannot be captured at the same time. It must be added later. Also note that with my agreement the transfer lab did a 5% underscan of the film with a small black border around the edges. Since TVs usually overscan by 5%-10%, this keeps more of the picture viewable without zooming.



Sound
The sound from this and most 16mm films is printed along the side of the film like waveforms. This is read by a bulb in the projector so the quality is not great, somewhere around a 8.5 kHz spectrum. The sound remastering was done by SAB so I don’t know all of the specifics. I know he was able to get a great result from a mediocre 16mm source. It has a stereo simulation and increased low end which adds great depth. I corrected the sound for speed and pitch, the first time for this concert that I know of.



Color
The first major task was to correct the color. The amount of red in the film is simply ridiculous. It washed everything else away. The color red is also the most difficult for compression and encoding software to deal with. It causes unnatural lines, compression artifacts, almost all video problems show themselves in the color red (lucky us). To see just how red the original film was, look for the DVD Easter Egg.

It appears as if on previous film transfers that this red was reduced, but much of the image details reside in the red so it cannot just be turned down. I struggled with the color for a long time and did several comparisons to A History video to get it as close as possible.

Also, the film is not 100% consistant. Some parts are redder than others, some are brighter than others, etc. So certain corrections could not be applied to fix one scene without adversely affecting another scene. And as a general rule, all changes have at least one side-effect. So a happy medium had to be reached between redness, detail, noise, brightness, darkness, etc. All color was changed with TMPGEnc.



Filters
I used a few filters with VirtualDub and AVISynth. Each filter was applied with only lossless compression (averaging 10-30GB / 15 minutes of video) so more filters did not reduce image quality. I won’t go into every filter but the most major improvement was from the Temporal Smoother.

Most films are 35mm (4 times the size of 16mm) or even larger. So when this 16mm film is expanded on large TVs, the film grain can be seen in the form of dots or blobs of color. When watching the raw film, it looks as if non-moving objects are bubbling or crawling or something. The Temporal Smoother looks for these spots that show up for only one film frame and smoothes them out. The image and structure are more visible but the effects of video noise or grain is significantly reduced.



Sound Sync
Because of the slow film transfer, sound had to be added afterward. This was a long process for several reasons. One reason is that two transfers are never exactly the same. Even a small change in speed would lose total sync by the end of the film. The other problem with this film is that it was recorded over 2 days. While the sync may look good during one part of the song, it may not exactly match another part of the song from the other day.

The first sync pass was done entirely by sight. As a double check, I examined sound frames from other real-time 16mm film transfers to verify accuracy. It should also be noted that at 25 fps, each frame of film covers 40 ms of sound. While this may not seem like much, being off by only a few frames of film can be very distracting.

I used Pinnacle Studio for the syncing and also the credits. This program is great in both features and bugs. Still I really like it. Over 100 of my rare photos were scanned to create interesting credits.



Compression
In order to work with the DVD standard, the film had to be compressed into MPEG-2 format. To do this I used the trusty TMPGEnc at a constant bitrate of 8000 MBPS. This compressed the film for DVD while retaining the closest possible result to the source. Also note that the total maximum bitrate allowable for DVDs is 9800 MBPS, more than 1500 MBPS of which is taken up by the uncompressed PCM audio. So 8000 MBPS is the true maximum for the video.

As a test I ran TMPEnc see what it “thought” the ideal bitrate would be before compression would begin to alter the image. It calculated 6500 MBPS so any differences from the DVD compression should only be a result of the MPEG-2 or TMPGEnc limitations, not bitrate.



NTSC
Because many people cannot use PAL DVDs, I thought it would be best to create an NTSC version too. This will have slightly lower quality at 720x480 and a converted frame rate of about 30 frames per second, but using the source video transfer will get the best possible result, much better than converting the PAL DVD later and compressing twice.

Converting from 25 to 30 frames per second is not easy. Most hardware and software that simply duplicate frames make very stuttery video. So for the PAL -> NTSC transfer I used Canopus ProCoder. This is a highly respected transfer program that converts the frame rate, blends frames when necessary, and creates very smooth running film.

However, my personal opinion is that the MPEG-2 tools in ProCoder alter the source too much so I again sent the lossless result from ProCoder over to TMPGEnc for DVD compression at 8000 MBPS.



Authoring
There are many programs to author DVDs and although I know it is not the best, I use DVD Workshop because it is very compatible and I am used to using it. I created a great custom menu with motion buttons, film motif, and background music to go with the credits.



Conclusion
I have worked on more than 15 film transfers and countless video transfers. Honestly, this project (Genesis at Shepperton) has taken much more time than I ever expected and had many more film problems than any I have seen. But my goal was not to have a perfect DVD nor is this possible. There are 1,000 ways to do things and it would take years to explore them all.

What I wanted was a Genesis film transfer that was significantly better than any that came before and one where I didn’t say, “I wish I would have done…” So I read a lot, did everything I knew how to do, and talked to several experts. I give you the Holy Grail…’s older brother.


- King Lerch








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Old 07-20-2008, 02:27 PM   #6
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Old 10-05-2008, 12:20 PM   #7
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THE VYNIL BOXSET IS ON THE WAY!!!!

Amazon.co.uk: Genesis 1970 [VINYL]: Genesis: Music

The long anticipated 7SACD/6DVD-Boxset 1970-1975 will be released on 10th November (11th November on CD/DVD in North America). EMI Europe has announced another box set - all the albums from 1970 to 1975 will be released on November 10 on vinyl. The vinyl box set 1970-1975 contains all studio albums from that era (excluding extra tracks) in their original covers in gatefold sleeves. This is premium-class 200g vinyl. The records were produced in a so-called "high quality half-speed-mastering". The box will be released as a clipcase and it will be a limited edition. Watch this space for further information and photos

more info here

Genesis News Com: All recent NEWS [Genesis, Phil Collins, Peter Gabriel, Steve Hackett, Mike & The Mechanics etc]

Deutscher Genesis Fanclub it / Genesis / Genesis: 6LP-Boxset 1970-1975 im Slipcase angekündigt

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Old 10-05-2008, 12:22 PM   #8
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German review of the Genesis 1970-1975 promo CD & DVD

(may anyone translate it? )

Deutscher Genesis Fanclub it: Genesis - 1970-1975 CD/DVD Promo Sampler - Rezension


Genesis - 1970-1975 Promo Sampler (CD+DVD)


Aisle of Plenty ... oder die Frage: Was sind die definitiven Versionen?

Nun ist es soweit - die Veröffentlichung des SACD/DVD Boxsets 1970-1975 steht in den Startlöchern. EMI lieferte vorab an die Medienpartner wie schon bei den letzten beiden Boxsets einen CD-Sampler und einen DVD-Sampler aus. Diese sind als Appetizer zu verstehen und sollen einen Eindruck zu den neuen Stereo und 5.1-Mixen vermitteln.



A History...
Bereits 2004 sollte The Lamb Lies Down On Broadway als SACD und DVD-Audio erscheinen. Was folgt, war eine lange Odysee voller Verschiebungen und Mißverständnisse. Schließlich entschied man sich, das ganze "richtig" zu machen und alle Alben als SACD-Hybride mit Bonus-DVD zu veröffentlichen. Einer der Gründe für die Verschiebung war der Perfektionismus von Peter Gabriel. Dieser war nach dem ersten Hören nicht mit The Lamb einverstanden und schickte Nick Davis zurück ins Studio, um es "richtig zu machen" und die "Möglichkeiten des Surround Sounds" zu nutzen. So verwunderte es nicht, dass parallel zur Turn It On Again Tour 2007 zunächst die Jahre 1976-1982 und später die Spätphase 1983-1998 als SACD veröffentlicht wurde. Tony Smith räumte Anfang 2008 darüber hinaus dann ein, dass man bzgl. des Gabriel-Ära Boxsets ein wenig auf eine mögliche Reunion-Tour mit Gabriel spekuliert hatte.

Bereits nach den Veröffentlichungen der ersten beiden Boxsets haben Fans über die Legitimation der "neuen Mixe" teilweise hitzig diskutiert und gnadenlos Abweichungen und Fehler aufgedeckt. Zur Erinnerung: Auf Basis der alten Mastertapes wurde neue Stereo und 5.1-Surround-Mixe erstellt. Dies geschah möglichst nah am Original, so dass die Songs im Optimalfall deutlich besser, aber nicht anders klingen. Deswegen wurden auch keine neuen Aufnahme oder Effekte verwendet - manche Hall-Effekte mussten aber neu produziert werden, da sie in den Mehrspurbändern nicht enthalten waren.

Nichtsdestotrotz wichen z. B. die Laufzeiten der Songs ab - in manchen Fällen wurden falsche Aufnahmen verwendet - so ist der Basslauf bei Anything Now an manchen Stellen ein anderer, Dreaming While You Sleep enthält ein "oh" zu viel und Anything She Does weist gleich eine ganze Reihe Abweichungen auf. Dies sind nur drei Beispiele. Aus diesen Gründen kann erwartet werden, dass die Songs der Gabriel-Ära in ihren neuen Mixen eine leidenschaftliche, wenn nicht sogar verbissene Diskussion provozieren werden.


Die Promo-CD enthält folgende Tracks:

Happy The Man
Resignation
The Knife
Harold The Barrel
Musical Box
Get'em Out By Friday
I Know What I Like (In Your Wardrobe)
Cinema Show
Counting Out Time
Carpet Crawlers

Vorab muss gesagt werden, dass die neuen Mixe zu Happy The Man und I Know What I Like schon bekannt sind, diese wurden bereits auf Turn It On Again: The Hits (Tour Edition) veröffentlicht. Dennoch wurden erst vor kurzem, sozusagen posthum, von einigen Fans Abweichungen zum Original festgestellt - bei I Know What I Like ist das Flötensolo - oder zumindest Teile davon - in den Hintergrund gemischt worden. Außer den beiden genannten Tracks wurde auch bereits The Cinema Show in der neuen Version veröffentlicht - auf einem Mail On Sunday Promo-Sampler.

Die meiste Aufmerksamkeit dürfte das bislang unbekannte Stück Resignation wecken. Es ist Teil der legendären Jackson-Tapes und wurde mit auf den Promo-Sampler gepackt. Allerdings ist Resignation ein Instrumental, dazu ein relativ unspektakuläres, vielleicht mit der Ausnahme des Schlusses. Dazu ist es wenig aussagekräftig, so dass man davon ausgehen kann, dass bei der Auswahl der Songs für diesen Sampler wohl nicht die geballte Fachkompetenz am Werk war.

Weitere Highlights des Promo-Samplers: Counting Out Time und Carpet Crawlers - beide waren schon auf der Platinum Collection in neuen Versionen zu hören, diese hier sind noch einen Tick schärfer und präziser. Counting Out Time "spielt" mit den Lead-Vocals, man merkt nicht mehr, wenn mal Phil, mal Peter dem Lead-Part übernimmt. Faszinierend...
Carpet Crawlers gewinnt an Kontur, wirkt belebt, erfrischt. Als hätte jemand den Song kalt geduscht und den Kreislauf damit in Schwung gebracht. Kurios: Am Ende fehlt ein Teil von Phils Background-Gesang - Fans merken eben alles ...

Zu guter Letzt sei noch Get'em Out By Friday hervorgehoben. Dieser Song ist zum ersten Mal in einer neuen Version zu hören und auch hier gilt: Frischzellenkur-Alarm. Während Watcher Of The Skies (siehe unten) in der Studioversion nie wirklich funktioniert hat, ist es bei Get'em Out By Friday genau umgekehrt. Und so entfaltet sich der Song, Höhen klingen nun treffsicherer, die Drums präziser und Nebengeräusche können deutlich wahrgenommen werden. Hier steigt die Vorfreude auf den 5.1 Mix...



Der DVD-Sampler vereint nun ein paar neue Surround-Abmischungen. Diese liegen im normalen Dolby Digital 5.1 vor, aber auch in sattem dts 5.1, was einer SACD relativ nahe kommt. Wir haben die Songs im dts-Sound getestet und liefern hier einen - zugegebenermaßen subjektiven - Überblick:





The Knife

Wenn es so etwas gibt, wie den Song, "mit dem alles anfing", dann hat The Knife gute Chancen, diesen Titel zu erhalten. Auch die Promo-DVD fängt mit The Knife an, dabei war der Song vor allem immer eines: eine Zugabe. Doch mit The Knife begann der Kult der frühen Genesis und kurioserweise spielten Genesis den Song 1980 zum letzten mal - spätestens mit Duke erklärten die Fans der frühen Genesis die progressive Phase für beendet. Das Album Trespass hatte immer diesen anderen Klang - und es hatte einen anderen Drummer und Gitarristen als die anderen Alben der Gabriel-Ära, die im Boxset enthalten sind. Und schnell wird klar: Hier wird nichts aufpoliert, damit die Drums plötzlich wie Collins klingen. The Knife ist eigentlich ein unspektakulärer Remix. Es klingt allgemein relativ dumpf, wie schon im Original, hier und da hört man die Becken etwas klarer. Der Gesang ist nicht nur auf den Center-Speaker konzentriert. Gelegentlich, vor allem bei den "stand up and fight"-Passagen, wird Gabriels Stimme auf mehrere Boxen verteilt. Die Vermutung liegt nahe, dass aus The Knife nicht mehr herauszuholen war. Definitiv werden Puristen diese Version als Highlight bezeichnen.





The Musical Box

Mit Spannung erwartet werden natürlich die Surround-Versionen der Klassiker, darunter auch The Musical Box. Nick Davis hatte allerdings schon angekündigt, dass die Möglichkeiten bei Trespass und Nursery Cryme begrenzt sind, da hier noch keine 32 Spuren aufgenommen wurden, sondern nur 8 oder 16. Vor diesem Hintergrund könnte The Musical Box einer DER Gewinner der Neuabmischungen sein. Es klingt frischer, gewaltiger, an ruhigen Stellen vernünftig dezent und Surround-Effekte werden dort eingesetzt, wo sie Sinn machen (z. B. Phils Stimme, wenn er "here it comes again" singt). Der Gesang profitiert wieder durch die Center-Abmischung. The Musical Box wirkt als Gesamtpaket verbessert, weitere Einzelheiten herauszuheben, wäre hier völlig fehl am Platz.





Watcher Of The Skies


Der Live-Klassiker wurde erst in den letzten Jahren wieder eindrucksvoll durch die kanadische Band "The Musical Box" wiederbelebt. Die Impressionen der Live-Aufführung sind noch so frisch, dass man sich fragt, ob im Original nach dem Intro Phils Becken wirklich "nur" eingefadet waren - aber das war in der Studioversion tatsächlich immer so. Das Intro wirkt im Surround-Sound gleich viel dramatischer, die einsetzenden Becken klingen brillant, die Bass-drum ist wuchtig - und das alles klingt klarer und erdrückt sich nicht gegenseitig. Die Snare-drum könnte hier und da lauter sein, dafür sind die Drums im Surround insgesamt interessant verteilt. Über den Center-Speaker wird hauptsächlich Gabriels Gesang ausgegeben, der dadurch wie bei zahlreichen anderen vergleichbaren Beispielen sehr klar rüberkommt. Steve's Gitarre wandert im Surround durch den Raum und das Finale des Songs ist furios. Aber dennoch: Watcher Of The Skies war nie ein Studio-Track - es ist ein Live-Track ...





Firth Of Fifth

Der Klassiker von 1973 enthält das definitive Steve Hackett-Solo. Dies wurde oft kopiert, aber nie erreicht. Technisch nicht das anspruchsvollste Solo, aber dieser Stil ist unkopierbar. Stuermer hat das gar nicht erst versucht, sondern spielte eine höher-schneller-weiter-Variante und Drennan war 1998 zwar nah dran, aber niemals beeindruckend.
Der Song bliebt bis heute einer der stärksten Genesis-Songs überhaupt - nicht zuletzt deswegen hat er selten im Live-Repertoir der Band gefehlt - bis heute.
Die 5.1-Version auf dem DVD-Sampler wird diesem Anspruch mehr als gerecht. Wie zu erwarten war kommen Percussion-Elemente zum Vorschein, die vorher kaum oder gar nicht zu hören waren. Gabriels Stimme kommt schwerpunktmäßig aus dem Center-Speaker, die Drums sind druckvoll und der Bass den verschiedenen Phasen des Songs angemessen druckvoll oder dezent. Der absolute Höhepunklt ist der Instrumentalteil. Auch hier beginnt es mit vielen aha-Effekten bzgl. der Percussions, ehe Hacketts Solo den Zuhörer verzaubert. Die Lead-Gitarre ist auf den Center-Speaker konzentriert, genau wie die Lead-Stimme zuvor. Dieser Effekt rückt Hacketts Arbeit ins Zentrum des Geschehens. Und plötzlich hört man auch die 12-string-Gitarre in den Rear-Speakern. Collins Drums treiben den Song an, ehe am Ende Tonys Klavierspiel den Song leise ausklingen lässt.
Viele werden Firth Of Fifth in dieser Surround-Version neu entdecken, ein absolutes Juwel feiert eine frischzellenkur-inspirierte Wiederauferstehung.




Twilight Alehouse

Der Song wird auf der Extra-Tracks SACD/DVD enthalten sein, Twilight Alehouse war seinerzeit eine B-Seite (auf der Single I Know What I Like). Der Song entstand aber bereits wesentlich früher während der Sessions zu Nursery Cryme. Entsprechend muss man auch den 5.1-Mix vor diesem Hintergrund bewerten. Die luftigen Stellen, wie z. B. der Beginn, profitieren deutlich vom 5.1-Sound und der neuen Abmischung. Bei den dichter instrumentierten Elementen des Songs kann man keine deutliche Verbesserung feststellen. Grund dafür dürfte das Basismaterial sein, das zu Zeiten von Nursery Cryme einfach weniger ausdifferenziert war als später zur Selling England By The Pound-Zeit. Positiv fällt auf, dass die Bass-Drum nicht planlos, sondern ausgewogen abgemischt wurde - je nach Gesamtatmosphäre der entsprechenden Songstellen. In der ruhigen Phase bei etwa 5.00 min kann man dann wieder erstaunliche Effekte hören, besonders die Flötenparts kommen gut zur Geltung. Das Finale ist druckvoll und klingt auch besser als die "lauteren" Passagen zuvor.




In The Cage

Die größten Erwartungen liegen seit Jahren auf den Neuabmischungen des Mythos The Lamb Lies Down On Broadway. Es gibt bessere Genesis-Alben, A Trick Of The Tail und Selling England By The Pound stehen bei Genesis-Fans durchaus höher im Kurs. Gleichzeitig sind diese beiden Alben auch besser produziert als The Lamb. Und so fragt sich der Fan, was Nick Davis aus dem Album rausholen kann - zumal er von Peter Gabriel zwischenzeitlich zurück ins Studio geschickt wurde, um vor allem aus dem 5.1-Mix mehr herauszuholen. Mit einer dezenten Version ist also angesichts von Peters Faible für Effekte nicht zu rechnen. Bei In The Cage fällt im Vergleich zu zum Beispiel Firth Of Fifth schnell auf, dass man beim Selling-Album sorgältiger aufgenommen hat. Der gesamte Grundsound des Lamb-Albums fällt im Vergleich dazu ab. Der 5.1-Mix von In The Cage ist aber ein erfreuliches Erlebnis. Zwar ist es nach Jahrzehnten irgendwie komisch, dass Peter Gabriel diesen Song singt (Phil Collins sang das Stück auf fast jeder Genesis-Tour seit 1976) und es ist auch unbestritten, dass die Live-Versionen dieses Songs eine Steigerung im Vergleich zur Studioversion sind - jedoch entlockt Nick Davis dem Song ungeahnte Tiefen. Das ein oder andere Percussion-Element wird nun aus den Rear-Boxen gezaubert und ist nicht wie in den alten Stereo-Versionen vom Gesamtklangteppich zugekleistert worden. Das Schlagzeug erreicht nicht die Brillanz wie auf der Live-Aufnahme des Archive 1967-1975-Sets, dafür verfehlt Mike Rutherfords Basslauf nach der Textzeile "my little runaway" seine Wirkung nicht. In The Cage ist als 5.1-Version ein echtr Appetizer und deutet vermutlich nur an, was mit dem 5.1-Mix von The Lamb wirklich auf uns zukommt.




Fazit
Wie schon bei den Promo-Samplern des zweiten Boxsets ist auch bei diesen Samplern die Songauswahl etwas merkwürdig und es darf bezweifelt werden, dass diese Songs einen repräsentativen Eindruck des gesamten Boxsets vermitteln können. Auf jeden Fall deuten die Songs der Sampler an, was auf uns zu kommt und sie machen Lust auf mehr. Und schon muss man einsehen, dass der Zweck erfüllt ist. Ob dies allerdings auch bei Journalisten der Fall sein wird, bleibt abzuwarten.

Die größte Prüfung sind am Ende ohnehin die Fans. Sind das nun die definitiven Versionen der Songs? Oder sind es Variationen, die mehrheitlich als Bonus gesehen werden, nicht aber die Ursprungsversionen ersetzen können? Das werden die Fans entscheiden ...



Autor: Christian Gerhardts



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Old 10-05-2008, 12:23 PM   #9
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Genesis News Com / Genesis Fanclub "it" / All about GENESIS and its solo members

You may have seen on our news page that the bonus DVD for The Lamb Lies Down On Broadway is to include "slides from The Lamb". Those very slides we all could see on The Musical Box's Lamb tour.

We are very pleased to be able to announce that well-informed sources now confirmed:

The bonus DVD will have ALL the original slides that could be seen in the show.
The slides can be seen in groups of three next to each other (as in the show)
They will be shown in front of a black backdrop or unobtrusive photos from the shows
During those parts of the concert without slides Super 8 or video snippets from the show will be shown
Genesis asked Serge Morissette, artistic director of The Musical Box)
to consult the band about it and put this slideshow together and make it this complete product that can be seen on the Lamb bonus DVD of the box set.








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Old 10-05-2008, 02:51 PM   #10
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Old 10-05-2008, 03:13 PM   #11
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Genesis: 7 CD/6DVD Boxset (1970 -1975) Streets 11/11/08


GENESIS, IN THE BEGINNING

Rhino Concludes an Upgrade to the Group's Catalog With the Third and Final Box Set of the Series That Will Cover the Critically Acclaimed Peter Gabriel Era

Contains 5 Studio Albums (1970-1975) Expanded with Bonus Audio and Video, Plus an Exclusive Disc of Rarities

7-CD/6-DVD Boxed Set will be Available November 11 From Rhino

LOS ANGELES ‹ Since launching an upgrade of the entire Genesis catalog last year, the comprehensive series has followed Genesis' transformation from prog-rock pioneers to stadium-filling power trio. With the final installment, Rhino ends at the beginning with a set covering the band's early years with lead singer, Peter Gabriel. GENESIS: 1970-1975 will be available November 11 from regular retail outlets and at Rhino Records - Your One Stop Pop Culture Shop for a suggested list price of $139.98.

Produced by Banks, Collins, and Rutherford, GENESIS: 1970-1975 presents five of the band's studio albums as CD/DVD sets featuring new stereo mixes of the original albums on CD, along with a DVD that includes the original album in 5.1 DTS (96/24) and Dolby Digital Surround Sound, plus bonus videos and new interviews with band members filmed exclusively for these reissues. The set contains hours of previously unreleased video as well as photo galleries featuring rare pictures and tour memorabilia.

One of the top-selling recording artists of all time, Genesis has sold more than 150 million albums so far. This 7-CD/6-DVD set collects some of the band's most adventurous and ground-breaking albums, covering Peter Gabriel's tenure with the group.

GENESIS: 1970-1975 spotlights five albums TRESPASS, NURSERY CRYME, FOXTROT, SELLING ENGLAND BY THE POUND and THE LAMB LIES DOWN ON BROADWAY, plus EXTRAS 1970-1975, a newly assembled compilation only available with this collection.

Featuring favorites like "The Knife" and "White Mountain," Genesis' second album, TRESPASS (1970), marked the beginning of a five-year journey that saw the band create ever-more daring albums of progressive rock. The album includes guitarist Anthony Phillips and drummer John Mayhew, who were replaced on the following album by Steve Hackett and Phil Collins respectively.

NURSERY CRYME (1971) opens with "The Musical Box," a beautiful 10-minute sprawl that captures the essence of the band's sophisticated musicality tweaked with freewheeling theatrics. Genesis' new lineup starts to define its unique voice on songs like "The Return Of The Giant Hogweed" and "The Fountain Of Salmacis."

The band returned the following year with FOXTROT (1972), a breakthrough album hailed by critics and embraced by fans, especially in England where it reached #12. Two tracks in particular "Watcher Of The Skies" and "Supper's Ready" became live staples for years to come. Nearly filling the album's second half, "Supper's Ready" stands as an avant-garde showcase for each member's individual talents. DVD extras include: over 30 minutes of live video from 1972 of the band performing on Belgian television's Rock of the 70s and on stage at the Piper Club in Italy.

Genesis' popularity continued to grow with its fifth studio album, SELLING ENGLAND BY THE POUND (1973). These eight songs find the band's inventive storytelling and imaginative arrangements coming into sharper focus with "I Know What I Like (In Your Wardrobe)" Genesis' first hit single in the U.K. The album also introduced audiences to "The Cinema Show" and "Firth Of Fifth," songs that would become popular concert staples. DVD extras

include: video from 1973 recorded during a performance on Italian television and on stage in Bataclan, France over one and a half hours of live performance.

The band wasn't at a loss for inspiration for THE LAMB LIES DOWN ON BROADWAY (1974), a double album about a Puerto Rican hood searching for his brother. It was to be Gabriel's final release with Genesis. The band toured for the album, performing the entire 90-minute album along with an ambitious stage show complete with costume changes, theatrical lighting and pyrotechnics. The title track, "Carpet Crawlers" and "In The Cage" remain popular parts of the band's live show. The album will be presented with the Surround Sound mix. Additional bonus features will be included on a DVD, including a performance on the French television show Melody.

GENESIS concludes with EXTRAS 1970-1975, a disc of rarities offered exclusively as part of this boxed set. The compilation contains 10 tracks, including the 7" single "Happy The Man," a demo of "Going Out To Get You,"

and the b-side "Twilight Alehouse." A trio of songs "Shepherd," "Pacidy"

and "Let Us Now Make Love" are taken from the BBC program Nightride. The disc also includes a VH1 Boxed Set Special on Genesis 1967-1975 and a performance from the Midnight Special.

The final four songs on EXTRA TRACKS 1970-1975 "Provocation,"

"Frustration," "Manipulation," and "Resignation" are the legendary "Genesis Plays Jackson" tapes. The band recorded these songs in 1970 for a documentary about painter Mick Jackson. The documentary never happened and the songs were lost until now. Fans will notice how sections of this music evolved into other songs. "Frustration" is an early version of "Anyway"

from The Lamb Lies Down On Broadway, while "Manipulation" features themes heard later in "The Musical Box" from Nursery Cryme.

For additional information regarding GENESIS 1970-1975, please contact Christoph Buerger in the Rhino Records Media Relations Department at

818-238-6248 or Christoph.Buerger@wmg.com.



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Old 10-11-2008, 08:04 PM   #12
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In rising price order:
amazon.com 113,49 $US CD/NTSC
whatrecords.co.uk 74,99 £ SACD/?
elusivedisc.com 139,99 $US CD/NTSC
amazon.de 112,97 € SACD/PAL
amazon.com 154,98 $US SACD/PAL
hmv.com 88,99 £ SACD/?
bestbuy.com 159,99 $US CD?/PAL
amazon.co.uk 94,99 £ SACD/PAL
jpc.de 129,99 € SACD/PAL?
amazon.co.jp 18 993 ¥ SACD/NTSC?
amazon.ca 223,99 CDN$ SACD/?
cduniverse.com 211,39 $US SACD/NTSC?
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