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Grupo: |
Genesis, Reino Unido, England |
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| Componentes: |
Peter Gabriel (lead vocals, flute, percussion) 1967-1975, Tony Banks (keyboards, 12-string guitar, backing vocals) 1967-1998, Mike Rutherford (bass, guitars, backing vocals) 1967-1998, Anthony Phillips (guitars, backing vocals) 1967-1970, Phil Collins (drums, lead vocals, backing vocals) 1970-1996, Steve Hackett (guitars) 1970-1977, and Ray Wilson (singer) 1997-1998 |
| Categoría: |
Biografía
- Fotos
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- Todas sus Canciones
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Disco de Genesis - Platinum Collection
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Fecha de Publicación:2005-09-13
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Tipo:Desconocido
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Género:Soft Pop, Classic Rock, Progressive Rock
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Sello Discográfico:Atlantic/Rhino
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Letras Explícitas:No
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UPC:081227844622
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Análisis (en inglés) - Yahoo! Music - Mike Lipton :
Depending on which side of the musical fence you’re on (or... when you “came of age”), the “Genesis sound” represents some of the best or worst of what rock music had become by the terrible ’80s. Founded back in 1965, the band underwent a complete makeover from its “art rock” beginnings to its Phil Collins-driven mega-hits. The three-disc set is sequenced in “reverse chronological” order so, if you happen to like that trademark, over-produced sound of the Collins era (or want to reaffirm why the ’80s were “the dark ages of rock”), start with Disc 1. If, like me, you’re partial to the earlier material with Peter Gabriel’s influence, begin at the end. Understandably, the set is weighted toward the hits--“Invisible Touch,” “Follow You Follow Me” and “I Can’t Dance” are all there--with just one track each from the band’s great trilogy Trespass, Nursery Cryme and Foxtrot (what, no “Watcher Of The Skies”?) and a pair from Selling England by the Pound.Análisis (en inglés) :
{^Platinum Collection} is a triple-disc covering the biggest hits and anthems from {$Genesis}' career. Not a bad idea for a set, especially because it does contain the relatively rare non-LP single {&"Paperlate,"} but it's not necessarily executed as well as it could be. First off, there are the inevitable omissions, highlighted by such {$Genesis} standards as {&"Man on the Corner"} and {&"No Reply at All,"} but also extending to such smaller '80s hits as {&"Just a Job to Do"} and {&"Anything She Does,"} not to mention various album tracks, particularly from the {$Peter Gabriel} era. Nevertheless, {^Platinum Collection} handles the {$Gabriel} years better than 1999's {^Turn It on Again: The Hits}, primarily because it has the space to stretch out and serve up a full disc of early {$Genesis}, and while {&"Watcher of the Skies"} is missed, it's hard to argue with any {$Gabriel} comp that includes {&"The Lamb Lies Down on Broadway,"} {&"Counting out Time,"} {&"Carpet Crawlers,"} {&"Firth of Fifth,"} {&"The Musical Box,"} {&"I Know What I Like (In Your Wardrobe),"} and a full-length {&"Supper's Ready."} Actually, that's not entirely true -- there is one complaint that can be lodged against the {$Gabriel} disc and that can be lodged against {^Platinum Collection} as a whole: it's sequenced in reverse chronological order (with the notable exception of the post-{$Phil Collins} cut {&"Calling All Sections"} being tucked away at the end of the first disc, since there's absolutely no way that even the most devoted {$Genesis} fan would stick with rest of the comp if it began with that tune). While it's not a fatal blow to the value of the compilation -- this does, after all, contain most of the songs casual fans would want in one handy little set -- starting with {^We Can't Dance} and slowly rolling back over the years makes for some uneasy listening, since the reverse order not only prevents the album from gaining momentum, it doesn't provide any new insights to the band's work, the way that {$Jimmy Page}'s non-chronological sequencing on the {^Led Zeppelin} box did. If the entire set was flipped around, beginning with {&"The Knife"} and ending with {&"No Son of Mine,"} it would be a better listen as an album, but as a clearing-house for most, but not all, of the big {$Genesis} songs, {^Platinum Collection} is worthwhile for casual fans. ~ Stephen Thomas Erlewine, All Music Guide
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