[Author's Note: This review refers to the reissue of this CD, which has two CD's of live material. The original American album with three live sides and one side of studio material is not present in this review.]
In my last review of a Genesis live album, I implied the band put out less-than-stellar live albums. Both Seconds Out and Live had their moments, but were mostly just louder versions of studio songs with very minimal changes.
But Three Sides Live expands on the studio versions of the songs it represents, which is mostly from 1978's …and then there were three to 1981's excellent Abacab. It should be noted that if you only prefer early Genesis and categorically hate the later material, this one might change your mind.
The title of this comes from the original album release -- some of the albums had a fourth side of live material, the same as the Atlantic reissue, and some had five unreleased pop songs. Those songs are nothing special, at least as far as I can remember. We'll focus on the live stuff.
The first half is devoted to hearing Phil Collins come into his own. Far from 1976, Collins imbues the newer songs here with his own style, a mix of soul/R&B that would surface on later albums and Gabriel-type theatrics. The versions of "Misunderstanding" and "Turn It On Again" feature Collins scat-singing near the ends, completely in control of the crowd, while "Me And Sarah Jane," "Duchess" and "Follow You Follow Me" are a bit more passionate than their studio counterparts. Only "Behind The Lines" and "Afterglow" fail to impress.
Both "Dodo" and "Abacab" show up here and are easily the highlights of the first CD. "Dodo" is more energetic and a little less dorky than its studio counterpart; however, "Abacab" blows the studio version out of the water, with some inventive bass work by Michael Rutherford, a great guitar solo not present on the original and a sort of jam-band feel, not something associated with Genesis. The song also has an ending, not a fadeout.
The other disc is for longtime fans. Spirited renditions of "In The Cage," with Collins doing a great job as Rael, and a medley of "Cinema Show" and "Colony Of Slippermen" are a tribute to fans, while a take on "One For the Vine" makes one rethink their interest in that song. For no reason, "It" and the intro to "Watcher of the Skies" are here, both fine, while former guitarist Steve Hackett pops up on a 1978 version of "Fountain of Salmacis," obviously thrown on to win back the cult fans that had abandoned ship with Duke.
If you've been skeptical about trying Collins-era Genesis, pick this one up and you may just convert. With a healthy sampling of old and new tracks, plus the stellar musicianship and passion normally associated with Genesis, this is the band's best live release and a darn fine album.