When I originally saw this post, I became just a little agitated. But after reading your extended takes, I realized you had indeed invested the “proper” amount of time and I understood where you were coming from. Plus, I have to admit that I’ve also preferred the Seconds Out (SO) version of Supper’s Ready (SR) to the studio version since I first got into the band back in college in the 80s (yes, I’m old!). However, there are a few points that I feel are critically important that I don’t believe have been expressed:
- Studio versions of extended-length songs like this rarely get a chance to blend into a cohesive, fluid, final product. Tying all the diverse elements, sections and time signatures together is quite the Herculean Task. Being a musician myself, I’m reasonably certain that this song was never practiced in the studio from beginning to end. So the transitions from one section to the next are noticeably rough because they never had a chance to get polished.
- Chester Thompson (CT) / Bill Bruford (BB): I can’t find the video version of SR that appears on SO. There’s a full-length movie that has the performances that make up SO. I saw it back in the 80s at a “Midnight Movie” event, but I don’t recall who played drums on it (I believe BB did a full tour with them before CT joined the band, so it’s likely to be BB). Phil Collin’s (PC) studio drumming during the Peter Gabriel (PG) years tends to be a bit rigid in spots. On the live versions, the studio versions of the songs really come to life and all the rough edges are polished to perfection. I’m inclined to give CT the most credit for this, because his drumming is so smooth and precise, but I’m sure everyone is involved in this process. Even if some of the versions are “enhanced” (as someone strongly suggested), the end result is nothing short of magical. That’s what happens when you perform songs live from beginning to end enough times. Even live performances with PG while he was still in the band (see the link below) are much more inspired and cohesive. They still lack the near-perfection of SO and Three Sides Live (TSL), but are much more of a finished product than they are on the albums. PG’s theatrics aside (highly entertaining, tho!), his vocals flow much better with the material than the studio versions.
Truth be told, I still prefer both SO and TSL to the studio versions in virtually every case. Also, the import version of TSL has 3 additional live performances of One For The Vine, Fountain of Salmacis and It/Watcher of the Skies that are phenomenal and should have been released instead of the new studio music, IMHO.
The genius and abilities of Tony Banks (TB) really shine live: the musicality and complexity of his keyboard skills are truly remarkable. I first started on piano in grade school, but only played for a few years. When I got to high school, I discovered guitar and that’s what made me into a professional musician for about 10 years. But TB shaped my continued development as a keyboardist. My skills will never reach the level that my guitar playing has, but it’s an important part of some of my original songs and I have TB to thank for that. The segueway between In The Cage and Afterglow from TSL is still remarkable to this day. The intro to Firth of Fifth is a composition that can stand on its own merits to the works of Bach or Mozart, IMHO. But I digress…
Summary: One of Genesis’ main strengths as a band is the ability to take live versions of their songs to new levels, often–if not always–exceeding the studio versions. But without the studio versions, none of that would be possible. So, appreciate the studio versions for what they are and continue to marvel at the live performances, for those are the real genius of Genesis.
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