Category Archives: Genesis

Genesis: 50 years ago the first success abroad starts from Belgium, January 15, 1972 - AUDIO, VIDEO & MEMORIES

Unforgettable stories and memories, through audio, video, documents and much more.

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In January 1972, the Genesis begin to "colonize" countries across the Channel. Here are the first steps of an international success.

They have already performed abroad, in Belgium, in March and August, here is the recording of the first concert, on 7 March 1971:

And they also recorded mini-concerts at the Belgian TV. On August 7, 1971 the Nursery cryme Tour it started right in Belgium, in Brussels, and on December 17th they did the first concert in France, at the Gibus Club in Paris. Here is the poster:

But the Genesis still hasn't set foot firmly outside the UK.

Il January 15, 1972 at the Petite Salle of Arlon, in Belgium, instead begins a mini tour, destined to expand and to bring them also to Italy, in April and then in the summer.

Here is theconcert audio the day after, at the Charleroi Festival:

Here a reflection by Phil Collins on this tour, taken from No, I'm not dead yet: Autobiography:

"Just a year and a half ago I was a boy from Hounslow who lived at the end of the subway. And now this more or less international worship. It doesn't matter that in England we almost always play in pubs, or on beer boxes, or both.

Yes, back in the real world we still go to play with a bus hired by a shady company in Kensington. The quality of the bus decides our punctuality at the concert. We often have breakdowns on the street. Even several times. During the trip to Aberystwyth University we break down three times in the first leg, arrive too late to play, and again we walk twice on the way back. "

Others artwork di bootleg with the recording of the Charleroi concert:


From January 22 another minitour, also in Belgium. It starts from the Athenee Royal Du Woluwe St Pierre in Brussels, the day after the Genesis still perform at the Palais des Beaux Arts in Charleroi. On the 24th morning in the Belgian TV studios in Brussels, to then finish the same evening at 
Trocadero of Liege.

They will also return to Belgian TV on March 20Here is the recording:

Success is about to come and Belgium is the first nation to understand the musical proposal of Genesis. Even in Italy the number of fans is growing exponentially. And the tour in the peninsula will prove it. But that's another story.

If you have memorabilia related to these concerts to share with us write to Horizons Radio.

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#NowPlaying News: Genesis Live, The Last Domino? Full Shows in UK & USA - VIDEO

The latest audio, video & live from the web dedicated to Genesis & Co. 

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Image taken from facebook.com/genesis/ © by the author.

Genesis Live: Last Domino Opening Night Full Show @ Utilita Arena Birmingham, UK, September 20, 2021:

Genesis Live: Last Domino Full Show @ Wells Fargo Center Philadelphia PA, USA, December 2, 2021:

The dates, tickets, updates and social diary of the tour:

The latest from the Band on Horizons Genesis:

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Genesis, 45 years ago the first show of the Wind & Wuthering Tour at the Rainbow Theater, January 1, 1977

On January 1, 1977, after the release of Wind & Wuthering, eighth studio album, Genesis begin the tour from the Rainbow Theater in London.

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January 1, 1977, historic concert for Genesis, with Live at the Rainbow Theater in London, in Finsbury Park, on the day of reopening after 3 years. Chester Thompson's debut on drums.

Three consecutive dates, effectively the start of a new six-month tour, with the album Wind & Wuthering fresh fresh out.

There is a significant variation in training. Bill Bruford, who had faced the Trick Tour, replaced by Chester Thompson, which, as we know, will remain loyal to Genesis & Co. to this day.

Chester had very little time to learn Genesis songs, as he arrived from the USA in mid-December.

Tickets and the tour program unofficial:

Click on the images to see the other pages and collect the unofficial tour program

Here is the complete audio recording of the New Year's date. A lineup that will remain unique, inaugurated by Eleventh Earl of Mar and with a medley between Lilywhite Lilith, The Waiting Room and Wot Gorilla, never repeated. Just before starting the three songs, an instrument stops working and, as someone starts fumbling with it, Phil is heard joking about it and says: "Of course for 3000 pounds, that's what could have worked!" 

0:00 Eleventh Earl of Mar (first performance)

8:38 Carpet Crawlers

14:51 Firth of Fifth

24:30 Your Own Special Way (first performance)

31:51 Robbery, Assault and Battery

38:54 ... In That Quiet Earth (first performance)

43:20 Afterglow (first performance)

48:35 Lilywhite Lilith (only known performance during this era)

51:04 The Waiting Room (intro) (only known performance during this era)

51:39 Wot Gorilla? (only known performance)

54:33 One for the Vine (first performance)

1:04:34 Squonk

1:11:49 All in a Mouse's Night (first performance)

1:20:37 Supper's Ready

1:43:53 I Know What I Like (In Your Wardrobe)

1:51:25 Dance on a Volcano

1:54:10 Los Endos

From the second date the lineup changes and a transformation begins that will remain so throughout the English tour. Here is the audio recording of January 3:

00:00 - Eleventh Earl Of Mar;
08:31 - The Carpet Crawlers;
14:48 - Robbery, Assault & Battery;
21:16 - Your Own Special Way;
27:28 - Squonk;
34:48 - One For The Vine;
45:41 - Firth Of Fifth;
55:17 - All In A Mouse's Night;
01:03:17 - Supper's Ready;
01:27:42 - I Know What I Like;
01:35:21 - Dance On A Volcano;
01:39:43 - Los Endos;
01:45:31 - The Lamb Lies Down On Broadway / The Musical Box.

And here's an audio frominterview released on Christmas Eve, in London, a few days before the start of the tour.

La scenography of the concert and tour is the very famous one on the cover of Seconds Out.

A wall of lights, lasers, projectors, columns of amplifiers, to support a band that no longer has a charismatic leader like Peter Gabriel and focuses on musical and visual quality.

And speaking of Peter Gabriel. It is present at the inaugural evening of the Rainbow. And, like the critics, who welcome the three shows at the beginning of the year with good but cold reviews, he has no words of praise for the first performance of 1977. "At the Raimbow I was a little disappointed - Peter tells Melody Maker, reported in Genesis. The river of constant change di Mario Giammetti -".

The Genesis are not satisfied either, the amalgam with the new drummer is insufficient and will consolidate in the following weeks, but the Rainbow opportunity is tempting and cannot be missed. They will improve, in fact, during the tour, until the month of June, when at the Palazzo dello Sport in Paris they will record the shows that will become part of the magnificent live album Seconds Out.

But that's another, next story.

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Here is the bootleg, recorded the next day:

Click on the image and bid on Ebay to buy the record.

I Genesis on Wind & Wuthering:

Wind & Wuthering live:

Let's listen to it together on the Horizons Radio program:


  1. Wind & Wuthering's birthday - 1st part
    Eugenio Delmale

    0:39


  1. Wind & Wuthering's birthday - 2st part
    Eugenio Delmale

    0:20


  1. Wind & Wuthering's birthday - 3st part
    Eugenio Delmale

    0:33


  1. Wind & Wuthering's birthday - 4st part
    Eugenio Delmale

    0:19


  1. Wind & Wuthering's birthday - 5st part
    Eugenio Delmale

    0:37


  1. Wind & Wuthering's birthday - 6st part
    Eugenio Delmale

    0:30


  1. Wind & Wuthering's birthday - 7st part
    Eugene delmale

    0:46


  1. Wind & Wuthering's birthday - 8st part
    Eugenio Delmale

    0:36

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Genesis: 45 years of Wind & Wuthering, December 17, 1976 - PODCAST, AUDIO & VIDEO

On December 17, 1976 it was released Wind & Wuthering, the eighth studio album by Genesis.

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I Genesis on Wind & Wuthering:

Wind & Wuthering live:

Let's listen to it together on the Horizons Radio program (in Italian):


  1. Wind & Wuthering's birthday - 1st part
    Eugenio Delmale

    0:39


  1. Wind & Wuthering's birthday - 2st part
    Eugenio Delmale

    0:20


  1. Wind & Wuthering's birthday - 3st part
    Eugenio Delmale

    0:33


  1. Wind & Wuthering's birthday - 4st part
    Eugenio Delmale

    0:19


  1. Wind & Wuthering's birthday - 5st part
    Eugenio Delmale

    0:37


  1. Wind & Wuthering's birthday - 6st part
    Eugenio Delmale

    0:30


  1. Wind & Wuthering's birthday - 7st part
    Eugene delmale

    0:46


  1. Wind & Wuthering's birthday - 8st part
    Eugenio Delmale

    0:36

Listen to Genesis:

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50 years of "Nursery Cryme", released on 12 November 1971 - VIDEO & MEMORIES of the PROTAGONISTS

"Nursery Cryme" turns 50, was released on November 12, 1971. The birthday of a breakthrough album in Genesis history.

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As we have seen in previous episodes, which anticipated this important anniversary, Phil Collins - Read - e Steve Hackett - Read - they made their entry into Genesis in the second half of 1970.

After i first concerts of the new formation - Read -, the band has composed and recorded il new album - Read -.

On November 12, 1971 it comes out Nursery cryme.

The album receives a mixed response from critics (see below) and is not initially a commercial success; it no longer sells than Trespass and does not enter the English rankings until 1974, when it reaches its top at no. 39.

Speaking of the record's success, remember Steve Hackett in his autobiography A Genesis in my bed... - Buy it below and, in addition to the author, help Horizons Genesis - READ HOW:

“At the exit he received a mixed reception. Many loved him, but some criticized him. One critic suggested that that the texts had been fished out of the books. But I believe that if mythology touches you, whatever its root, it connects to feelings and personal experiences. Even if at the beginning it was not hailed as a classic was applauded in retrospect. "

Remember Armando Gallo in Genesis: I Know What I Like - Buy it below:

... that the interest of Charisma he moved on to the Lindisfarne, which suddenly stood becoming a major British attraction, reaching the first place in the charts with the album Fog on the Tyne.

Gallo reports the words of Tony Banks: “It slowly dawned on me that Nursery Cryme wasn't really an improvement over Trespassed and with this in mind I accepted it. I just felt that having lost Ant (Read), we were losing a great deal of strength in the group and we were too young and immature to be able to deal with that drastic change very quickly. I think that that 'Musical Box' and 'Salmacis' are the two driving songs of the album and they were inheritance of the days of Ant».

Ma Peter Gabriel has no second thoughts and remains firm on the sound of the band. He told Disc & Music Echo, reported in Without Frontiers: The Life and Music of Peter Gabriel by Daryl Easlea - Buy it below:

"Like listeners we have all been bored to death by groups that improvise and do solos of guitar. With us, everyone plays a part predetermined as an orchestra, so basically if someone starts improvising with the own part, it will sound very messy. However, it is very difficult to improvise unless you're playing something a lot simple and we don't play anything much simple".

Keith Emerson is the only one out of balance and, in a full-page Charisma advertisement published in the Melody Maker on November 20, he writes among other things: "This is not the beginning for Genesis nor the end. No bullshit: Their new album is really amazing".

As known, Nursery, on the other hand, is successful in continental Europe, particularly in Italy, where it reaches fourth place in the rankings, and was Silver certified by the British Phonographic Industry in 2013.

On 24 January the group played a thirty-minute set on Belgian television to promote the album. It's not the first time on TV for Genesis (they were on the BBC on 9 January), but it's the first surviving full broadcast on video.

Remember Mike Rutherford in its autobiography, The Living Years, Arcana - Buy it below:

«In Belgium the television studio it had a white bottom, until we crossed it and we settled down and it really wasn't anymore White. They had to hide ours with paint tracks before shooting can begin.

In those days there were always technical problems with television programs. We tried to do what we could to keep it from being a disaster, but we knew that the situation was not favorable.

The technicians had one completely different mentality from that of the roadie, who just want to get their job done right. The TV technicians on the other hand seemed concerned only with getting their lunch breaks. This meant a lot of waiting, or "hurry up and wait", as they used to say then: you came to the studio, you went to do your makeup and then you sat down for three hours wondering what I was doing there. "

Here is the video of the broadcast:

Video track list:

The Fountain Of Salmacis 0:05 - Twilight Alehouse 7:24 - The Musical Box 13:20 - The Return Of The Giant Hogweed 23:00

Nursery Cryme Track List:

All songs are credited to Genesis. The actual authors are listed below.

Side one

1. "The Musical Box" Gabriel, Phillips, Rutherford, Banks, Hackett 10:25

2. "For Absent Friends" Hackett, Collins 1:48

3. "The Return of the Giant Hogweed" Gabriel, Banks, Hackett, Rutherford 8:09

Side two

1. "Seven Stones" Banks, Hackett 5:08

2. "Harold the Barrel" Gabriel, Collins 3:01

3. "Harlequin" Rutherford, Phillips 2:56

4. "The Fountain of Salmacis" Banks, Gabriel, Rutherford, Hackett 8:02

During the Nursery Cryme Tour, Genesis record Happy the Man, never entered any studio album, but released as a single with Seven Stones as side B.

Daryl Easlea, in the aforementioned volume Without Frontiers, has collected some criticisms published for the release of the album

"Richard Cromelin of Rolling Stone summed up that the" main problem lies not with the concepts of Genesis, which are, if nothing else, outrageously imaginative and amiably eccentric, nor with their musical structures - long, involved, multi-movement upon which they hang. their narratives - and not even their playing, which gets rather lethargic at times. It's bad production, a murky, distant stew that at best boils quietly when what you desperately need are drum blasts and guitars, the scream of the organ, the abrasive rasp of the vocal cords ". 

Rolling Stone finds the "tales of Mother Goose (in children's literature she is an anthropomorphized goose in the role of an old country lady, who tells fairy tales or recites nursery rhymes Ed.) In the ten minutes of 'The Musical Box!".

Village Voice critic Robert Christgau writes sarcastically: "God's wounds! It's a 'rock' version of the Hermaphrodite myth! In quotes, because the organist and the vocalist (influenced by the mime) have the drummer a bit confused! Or maybe it's just the invocation to the Old King Cole! ""

Here are other reviews posted on the web:

BBC Music's Chris Jones praises the two new band members as key to Genesis' artistic success, commenting: "Collins' snappy drums are augmented by his amazing singing ability not unlike Gabriel ... Hackett's arsenal of tapping and swell techniques really broadened the band's palette, giving Tony Banks more room for his watermarks. organ at Delius, not to mention their newly acquired Mellotron ", and" Genesis virtually invented their own genre, Edwardian rock ".

Stephen Thomas Erlewine of AllMusic considers the album highly inhomogeneous, but defines The Musical Box and The Return of the Giant Hogweed as "true masterpieces", and concludes that even if the rest of the album "It's not quite as compelling or as structured, it doesn't matter, because these are the songs that have shown what Genesis can do, and are still the pinnacle of what the band can achieve." 

On the album Genesis play:

Tony Banks - Hammond organ, Mellotron, piano, electric piano, 12-string guitar, backing vocals
Mike Rutherford - bass, bass pedals, 12-string guitar, backing vocals
Peter Gabriel - lead vocal, flute, oboe, bass drum, tambourine
Steve Hackett - electric guitar, 12-string guitar
Phil Collins - drums, vocals, percussion, lead vocals on "For Absent Friends", co-lead vocals on "Harold the Barrel" and "Harlequin" (uncredited). 

The album is taken on tour in the UK, Belgium and Italy, and some dates in France and Germany. The songs played are Happy The Man, Stagnation, Fountain Of Salmacis, Twilight Alehouse, Musical Box, Return Of The Giant Hogweed, Harold The Barrel, Harlequin, The Knife, Bye Bye Johnny (Can Utility And The Coastliners), Going Out To Get You, Get 'Em Out By Friday, Seven Stones.

But this will be the subject of new articles. Come back to visit us.

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The other stages of the 50 years of "Nursery Cryme":

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50 years of “Nursery Cryme”, 8th stage: the different editions and live versions - VIDEO

"Nursery Cryme" turns 50. We are approaching the birthday through the stages that led to this turning album in the history of Genesis, with audio, video, documents and much more.

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Click here to COLLECT NURSERY CRYME

The eighth stage runs through the several editions in which the album was printed and shows the videos of the songs in the live.

As we have seen in previous installments, joined Genesis Phil Collins - Read - e Steve Hackett in the second half of 1970 - Read -.

After i first concerts of the new formation - Read -, the band has composed and recorded il new album - Read -.

In England la version of Nursery cryme è Pink Scroll Label area of Charisma. You see it above. A roll of pink parchment with the inscription "The Famous Charisma Label". WATCH THE AVAILABLE COLLECTION VERSIONS. The cover can be opened and contains the texts. 

In Italy it is still there Philips, as for Trespass, to put the album on the market. The distribution takes place in January 1972. The cover is not gatefold and is glossy. Inside the envelope contains the texts. Here she is:

Click here to COLLECT A COPY

In May 1972 the first and only single from the album: Happy The Man / Seven Stones

COLLECT IT ON EBAY

Rare and therefore highly priced versions with Charisma label of the individual. The Italian one is practically impossible to find, others are more common, like this one:

Click here to COLLECT IT

Click here to COLLECT IT ON EBAY.

As with previous albums, theRussian edition, comes after the end of the Soviet era and already in the post-vinyl era. 

Here is how the album is commented in the video taken from the DVD Inside Genesis:

The songs on the album had various live and cover versions. Here are a few video:


If you have information to add or to rectify and for any other communication WRITE HERE.

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The other stages of the 50 years of "Nursery Cryme":

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50 years of “Nursery Cryme”, 7th stage: the creative process - AUDIO, VIDEO & MEMORIES

"Nursery Cryme" turns 50. We are approaching the birthday through the stages that led to this turning album in the history of Genesis, with audio, video, documents and much more.

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The seventh stage sees Genesis, in the summer of 1971, retiring at Luxford House to compose the album. there their account of the creative process.

As we have seen in previous installments, joined Genesis Phil Collins - Read -  e Steve Hackett in the second half of 1970 - Read -.

And, after i first concerts of the new formation - Read -, the time has come think seriously about the new album.

But there are some problems like the lack of Anthony Phillips' compositional genius, a notable change for the old band members. For the new ones, however, the challenge is to get used to different writing methods of the components. But location in the beautiful English countryside makes everything less difficult - Read -.

Says Phil Collins in his autobiography - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

«We compose The Fountain of Salmacis and The Return of the Giant Hogweed. I'm in my element, wallow in creative freedom, in the influx of subscribersgiving ideas, to the extent of ours ambition, in the length of ours songs. I feel excited and liberated, with the guys who encourage me to give the my contribution.

And there is also a fair amount of freedom of handvra. Some compositional sessions involve the gathering around Tony, seated at the goldgano Hammond, with Mike playing the twelve-string guitar and Peter improvisingvisa a sung. I improvise along with him.

 Similarly, Peter composes Harold the Barrel on the piano and I'm by his side, singing the second voice and intervening with my ideas, even if my insecurity he yells inside me: "For sure it's all things who have already heard! ".

Phil continues: What I learn composing with the boys is the DON'T never accept the first melodic idea that songs. We need to go deeper, and thuartci. To explore.

(...) Get all those tricks from Peter, Mike and Tony, who are much more composers experts of me.

The natural development of those sessions of composition is that the drummer will sing a song. Not long, and only one, but it is already something. The moment comes when Steve shows up with a guitar piece in pastoral style, and I write the text.

For familiarize the kids with the lyrics and the melody, I open my mouth and throw myself ... a little. I'm not still sure: my voice seems to me debole and hesitant. But they like it, and I like it so good.

Eventually For Absent Friends, with its minute and forty-four seconds, strictly speaking it is more of an interlude than a song. But it's my first piece from lead singer with Genesis. From that moment on, on every record of the Genesis, all voices other than that of Peter, in the background or in the choirs, are mine.

To tell the truth, the others are not very good to sing. And I like to sing on background, from the comfort of the stool behind battery."

Remember Steve Hackett in his autobiography A Genesis in my bed... - Buy it below:

«I wrote the main melodic line of For Absent Friends and Phil and I wrote the lyrics. I felt we were writing our Eleanor Rigby, with images such as abandoned swings, which symbolize the harsh greyness of British life.

I felt that The Fountain Of Salmacis was a beautiful epic song. The text of Greek mythology it was wonderfully evocative of the ancient world in all its mystery e passion. 

(...) I felt I was able to significantly add romance to the song and a wide range of extra colors. Once we have recorded that song, the sound waves of the Mellotron they added another exciting one size.

 

Steve continues: I worked intensively on the guitar parts of The Musical Box with delicate and introspective atmospheres to the huge elegiac ending.

The instrumental parts of the guitar they were innovative. Brian May later claimed that he was influenced by my harmonics. I also used tapping - the technique later explored by Eddie Van Halen, among others -  both on that song and in The Return of the Giant Hogweed.»

Rremember Mike Rutherford in its autobiography, The Living Years, Arcana - Buy it below:

«Nursery Cryme was not an easy album to to write. Maybe it was just the new dynamics that made it look so hard to the comparison. If there had been Ant I'm sure it wouldn't be been so slow, but we needed it to take our steps without him to get to next step.

This was especially true for me: hor wrote a song, Harlequin, where I searched to play both my guitar part and Ant's on a single twelve strings, tuning the pairs of strings in harmony. It was quite strange.

Mike continues: Besides The Musical Box we had another one song ready and working before arriving at Crowborough. The Return of the Giant Hogweed had something for all members of the group: fast drums for Phil, trio with Tony and Steve playing harmonies together, and a quirky text by Pete on one plant that had escaped from Kew Gardens.

Seven Stones was just Tony's song. It was an example of what we called Tony's cabaret chords: his big mushy music-hall chords that Phil and I struggled to accept, but he loved it.

Eventually we had to make a rule: Tony could put some three or four per album and no more. (There we always wondered what happened to those that we had refused. Then in 2011 Tony released a wonderful classic album and we found out). "

Remember Peter Gabriel, reported in the book Without Frontiers: The Life and Music of Peter Gabriel by Daryl Easlea, about the text of The Musical Box:

«I imagined my grandparents' house and some of the underlying feelings I had in that place. (...) They didn't have a croquet lawn, but it was a Victorian house, with dark wood paneling, and had an atmosphere that fed the lyrics of that song.

I think sex permeated all. The feeling of constriction, that somehow fertility, vitality and sexuality they were all connected and that the old world of control and order was on the other side of the spectrum. And it was something he had to be broken. "

Remember Tony Banks in the same volume:

«we had lyrics that were ironic, Peter was the best exponent of this. Harold The Barrel is so quirky and out of the box, it tells you "we are not the ELPs". Has been very important to us. We didn't want to that we saw that we took ourselves too seriously».

It tells Richard Macphail in My book of Genesis - Buy it below (also in English version):

«After leaving Luxford at the end of the summer, the band went back to the studio with John Anthony. They were al Trident, which cost 60 pounds an hour, but having tried all the songs so well they were able to record pretty fast.

The Genesis they have always been very professional in this sense, they didn't want to waste expensive time in the studio, if it could be avoided.»

And here the story of the Genesis on the occasion of the 2007 reissue:

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The other stages of the 50 years of "Nursery Cryme":

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50 years of "Nursery Cryme", 6th stage: the Genesis in retreat in the "Cottage" - MEMORIES

"Nursery Cryme" turns 50. We are approaching the birthday through the stages that led to this turning album in the history of Genesis, with audio, video, documents and much more.

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Luxford House, photo by Austin Gray from mansionglobal.com website

The sixth stage takes place in the summer of 1971, when the Genesis, with the new lineup, shut themselves up in the Luxford House, rented by Tony Stratton-Smith, for the composition of the album.

As we have seen in previous installments, joined Genesis Phil Collins in August - Read - e Hackett in December 1970 - Read -.

The two new elements have done theirs debut in concert with Genesis - Read -. 

And there were also the first live shows outside the UK, in Belgium, with the new lineup - Read -.

Now it's time to think seriously about the new album.

It tells Armando Gallo in Genesis: I Know What I Like - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

...that Luxford House by Tony Stratton-Smith is a beautiful 500th century Tudor-style building in Crowborough, East Sussex and appears on the cover of Van der Graaf Generator's "Pawn Hearts" album.

Indeed from there VDGG, Leonard Cohen and many others passed through, given the positive atmosphere for the musicians (and it is also very fashionable to isolate yourself in the countryside to compose).

Parts of the cottage, which has six bedrooms, date back to 1510. The property was extended and renovated in 1930 when it was bought by Sir Hugh Beaver, the general manager of the Ministry of Works during the Second World War, who later founded the "Guinness Book of Records".

The house also made an appearance on the cover of Neil Diamond's "Stones", with an image of the singer sitting next to the memorial of Beaver's wife in the garden.

A legend said it was haunted by ghosts and Phil Collins is among those who firmly believe in it.

"I'm sure there were ghosts - Phil remembers in the book - there were strange vibrations. There was a painting with eyes that followed you everywhere and other oddities. "

It seems to everyone the ideal place to immerse yourself in the creative process without the distractions of London and concerts. The large thatched house, known as "The Cottage"is their accommodation, while the rehearsals take place in its external building, renamed "Toad Hall"," Hall of the Toad "

«We had to learn to play together - says Tony Banks in the book of Gallo - we had to rehearse the old and new repertoire. "Nursery Cryme" was difficult to compose and we lacked a lot of material. I was adding the organ and the mellotron to the piano, with many difficulties from all points of view. "

Among the problems there is also the lack of Anthony Phillips' compositional genius, a notable change for the old band members. For newcomers, however, the challenge is getting used to different writing methods of the components. But Steve and Phil perceive the great passion that everyone puts into this venture, as well as the favorable location in the beautiful English countryside.

Says Phil Collins in his autobiography - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

“We eat excellent meals, drink liters of red wine, play croquet on the lawns. That antiquated, aristocratic and very English game influences the cover image of the album in gestation (...).

When it comes to choosing rooms at Luxford House, social hierarchy comes into play again. Pete, Mike and Tony are the first to choose where to sleep, the newcomers, Steve and I, make do with the leftovers. In the end I don't care that much, there are many other things to think about: this will be the debut album of the new Genesis line-up. "

Richard Macphail tells in My book of Genesis - Buy it below:

"I was again catering in a kitchen which was much better equipped of that of Christmas Cottage. The equipment was set up in a stable and there were plenty of bedrooms for everyone. (...) 

I was shopping for all or I drove to London to collect my salaries. It was fun stay in a nice place in the countryside, with Jill and the others girls from the band who sometimes joined us on weekends.»

Remember Steve Hackett in his autobiography A Genesis in my bed... - Buy it below:

“I would wake up at 3am at night, expecting to hear the comforting bell ringing loud outside Victoria Station, but instead in that cottage, there was endless silence outside the room. No traffic, no rattle of trains to rock me, to make me fall asleep and no street lights or flashing car headlights to guide the way to the bathroom.

Then suddenly there was an incessant din of birds chirping in the early morning. How could a boy sleep like that? I gave up sleep and went to get my pack of cigarettes. (...)

But at the cottage, it wasn't just the strangeness of the place and the company that made me feel alone. When we weren't rehearsing, I was aware that I was a single guy. (...)

I didn't realize how lonely I felt until one night when I was talking to Peter and Tony's girls Jill and Margaret, and Jill said, "Don't you have a girlfriend, Steve?" I burst into tears and left the room. I was too much
embarrassed to go back down and slept with my guitar.

It was different when we rehearsed. I was absorbed in the music. (...) I was thrilled to work with them. It was a very creative time and the group flourished in this environment.

It was a hot summer. Sometimes we would sit on the grass outside with twelve-string guitars.»

Photo by Jo Hackett, from the HackettSongs.com website. Read the story of those days also in Steve's blog. Click on the image.

"We took the summer off to our agent's great disapproval -  said Peter Gabriel at Sounds in 1972 and quoted in Without Frontiers: The Life and Music of Peter Gabriel by Daryl Easlea - but I think it was very necessary why it was the first album we had worked on with Steve and Phil and they were playing a very important role.»

In this context begins the creative process of "Nursery Cryme", which we will deepen, with the testimonies of Genesis, in the next stage.

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The ownership of the images (reproduced for the right of the press and available on the web) belongs to the cited author. For any need, write to the email above.

The other stages of the 50 years of "Nursery Cryme":

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50 years of "Nursery Cryme", 5th stage: the first concert of the new Genesis abroad - AUDIO, VIDEO & MEMORIES

"Nursery Cryme" turns 50. We are approaching the birthday through the stages that led to this turning album in the history of Genesis, with audio, video, documents and much more.

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The fifth stage takes place on March 7, 1971, when Genesis, with the new line-up, go on stage for the first time abroad, at La Ferme V, in Woluwe St Lambert in Belgium.

As we have seen in previous installments, joined Genesis Phil Collins in August - Read -  e Hackett in December 1970 - Read -.

On January 14, 1971, at University College London, Steve Hackett made his (disastrous) concert debut with Genesis - Read -. 

Now Belgium awaits them, a country where "Trespass" has incredibly placed first in the standings.

It tells Richard Macphail in My book of Genesis  - Buy it below (also in English version) and, in addition to the author, also help Horizons Genesis - READ HOW:

«We crossed the Channel, taking a ferry from Dover to Ostend from Dover to Ostend. It was the middle of winter and there was hardly anyone on board. (...)
It was still just the seven of us on the road together, which when you look at the armies of crew that bands employ nowadays seems ludicrously small.

It was a four hour crossing and we were bored to death because there was nothing to do there. I found this box with life vests in it,, and so we all put on our vests and posed for what has now become a famous Genesis photo, all of us with our hair down on our shoulders, Mike drinking from a bottle of Mateus Rosé because that's what we drank in those days, that or Liebfraumilch.

(...) Today when you go abroad you have satellite navigation that tells you exactly where to go and cell phones or maps, but I really had no idea where we were headed in Belgium. I didn't even have a folding map.

(...) The place, a club called Ferme V, was packed to the roof, but fans knew every note. It was amazing. While in England it was a very slow process, in Belgium it happened suddenly.

Another thing I remember is that we stayed in a very comfortable three-star hotel and that Peter shared a room with me because he could not bear to share her with Tony ever again, not after his experiences at the cottage. "

THU Genesis already perform the most representative song of the future "Nursery Cryme": The Musical Box. The masterpiece had already been almost completely composed by the band together with Anthony Phillips (with the compositional intervention of Farm guitarist Mick Barnard who, as we have seen, did some gigs with Genesis after the departure of Ant).

Exists a 1969 recording in which Ant and Mike play parts of it, albeit with the title "F Sharp".

Listen:

And there is one recording of the concert at Ferme and therefore also the first essay of the immature performances of Genesis of "The Musical Box". Although at this stage the central section is still arranged differently and the text is provisional.

Listen:

A similar "pre-Nursery" version is recorded in the BBC studios for the Bob Harris program "Sound of the Seventies" on May 10, 1971 and aired on the 31st.

Listen:

Remember those Steve Hackett concerts in his autobiography A Genesis in my bed... - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

“The first foreign shore we ventured into was Belgium. It was my first time abroad with the band and the first place I fell under the spell of Genesis. It is a small country with a big heart.

In the beginning there was a ferry trip. Blurred-eyed and sleepless, I was unprepared and fidgeted on the boat spilling my beer.

In Brussels we walked into a deserted, foggy street at 6am and ended up in a hotel with a narrow staircase and a single bathroom at the end of a dark and damp corridor.

Worse still, the place wasn't ready for us so we were back on the street. No sleep, no food, but alcohol was on tap. What healthy times those were!

The start of the world trip was really handled with a prolonged hangover, fueled by beer and cigarettes. For those who like sleep and regular meals, forget about travel.

The Belgians were welcoming and the nerves were finally calmed after the concerts which had been well received. The meals were also sumptuous and we were cheered.

We were still in a deplorable state, like walking wounded deprived of sleep and common sense, but we represented something exotic to Belgians who responded to the complexity and fantasy of music.

A special bond with Belgium has continued to this day. "

E says Phil Collins in his autobiography - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

«For some reason the Genesis have a fair number of followers in Belgium. After being in the Netherlands with Flaming Youth, I only need a few demonstrations of love from Luxembourg to be able to say with confidence that I am famous in the Benelux.

And so in March 1971 the Genesis played their first concert abroad, in a small place in Charleroi called Ferme Cinq.

We cross the channel by ferry and, upon arrival, our excitement for being an international group does not diminish even when we see that the stage is made of crates of beer. We have to arrange them very carefully so that they do not wobble and do not tip over, perhaps in the middle of one of the weird neo-fantasy monologues.

Somehow we manage to keep upright and have a blockbuster. All six concerts are like this: all packed, all fantastic. Finally the Genesis have taken off. At least in Belgium. "

Take off, yes. Even if the venues where they perform are still small and unsafe. Like recalls Mike Rutherford in its autobiography, The Living Years, Arcana - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

«At the Black Cat Club in Brussels the problem was not the lack of toilets but the lack of fire exits.

It was downstairs, there was no back entrance and the crowd sat cross-legged on the floor. Smoke.

Since we now had a mellotron, which we had bought from the King Crimson and which was the size of a table with two huge double keyboards, a quick escape wasn't going to be easy. "

There is a bootleg of the Ferme concert - CLICK ON THE IMAGE TO FIND OUT MORE:

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The other stages of the 50 years of "Nursery Cryme":

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50 years of "Nursery Cryme", 4th stage: Steve Hackett's first (disastrous) concert with Genesis - AUDIO, VIDEO & MEMORIES

"Nursery Cryme" turns 50. We are approaching the birthday through the stages that led to this turning album in the history of Genesis, with audio, video, documents and much more.

Select Language

English English Italiano Italiano

The fourth stage takes place on January 14, 1971, when Steve Hackett makes his concert debut with Genesis at University College London. Here is the story of those eventful days. 

As we have seen in previous installments - Read -, la band was very close to melting, because Anthony Phillips left his fellow adventurers and they also decided to replace John Mayhew, the drummer. 

I Genesis have already hired Phil Collins on drums -  Read -, now they have to find a good replacement on the guitar.

Both Ronnie Caryl have rehearsed in concertPhil's great friend (auditioned with him - Read) and guitarist of Flaming Youth, and Mick barnard, member of Farm, but both did not convince the demanding members of the band.

After the farewell of Anthony Phillips - READ and then with the arrival of Phil, the Genesis have then continued as a quartet, with Tony Banks playing all guitar parts on an electric piano Hohner filtered with a fuzz box. The research continues.

On December 14th, scrolling the Melody Maker, Peter is intrigued by the unusual announcement of a certain Steve, who is auditioned. Hackett joins Genesis - Read -.

And so we come to that January 14, 1971, when at University College London, Steve Hackett makes his debut in concert with Genesis. But it won't be an easy time. 

Steve tells reported by Richard Macphail in My book of Genesis. Buy it below (also in English version) and, in addition to the author, also help Horizons Genesis - READ HOW:

«The first concert was a disaster for me. Until then I had used a borrowed fuzzbox or Tony's Marshall Superfuzz. So everything worked fine, but that night they gave me a Shaftesbury Duo Fuzz which is a great fuzzbox. I couldn't get a Marshall Superfuzz and thought, 'Oh, that sounds good.'

And when we did the sound check it seemed all right, but obviously when everyone was playing, it was much louder and the return was a disaster. I got discouraged and forgot all my parts. I remember a heated argument after the show and thought it was all my fault.

In hindsight, it wasn't. That was my most embarrassing moment on stage, being on stage with deeply arranged music and with the total inability to remember a note, because I couldn't control my sound. It's not a good start, I thought. "

Steve does not refer to the episode in his autobiography A Genesis in my bed... - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

It just describes how not very prestigious the first concerts with Genesis were, often set in schools (only for men or only for women), with a small number of audiences.

Listen to a live from that period:

Or Hackett removed the episode, even though Steve isn't actually the only one playing bad that night. Remember Mike Rutherford in its autobiography, The Living Years, Arcana - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

“As we would discover over the years, Phil had the great ability to drink a lot without showing it. At Steve's first concert - University College London, January 1971 - there was an exception. We had had a few pints but no one noticed that Phil had downed a few more than the others and was drunk. Phil was such a good drummer he could do just about anything, but that night he got ready for one of his big rolls and nothing happened. Silence. He had done it perfectly, too bad it was off twenty centimeters from each drum piece.

Poor Steve: it was his first gig, he was nervous and we had a drunk drummer. At the end of the night, Tony and I gave Phil a hard time, which didn't bother Phil, but unfortunately Steve thought we were fighting over him - we hated him and wanted to throw him out. As always, it never occurred to anyone to let the newcomer know how things were. "

E says Phil Collins in his autobiography - Buy it below and, in addition to the author, also help Horizons Genesis - READ HOW:

«For the most part the concerts are conducted in a rather professional way: we arrive, play and go home. We smoke a few joints, but no exaggerated revelry. The only time that happens is at a concert at City University in London, Steve's first with Genesis. We play later than expected, so I spend my time downing some Newcastle Brown beers. When we go on stage, I am completely disoriented. I do all the right fills, but eight centimeters to the right of where I should. Other than air-guitar, this is air-drums. And then I repented: «What will the new guitarist think? His first concert and the drummer is dead drunk ». It's the first time I've played drunk, and it'll be the last too. "

Click to purchase Phil Collins' autobiography
No, I'm not dead yet by Phil Collins. Back cover.

Ma Stevedespite his concerns, pass the exam. And the confirmation comes from Peter Gabriel, who declares, reported in the aforementioned Giammetti book:

"We have had two guitarists in the last few months but I hope this is the definitive one, we found it through the Melody Maker and it seems to have adapted very well." (Peter Gabriei, Zig Zag n. 19, 5 / 71, "Genesis", anonymous). "

Here's what Anthony Phillips thinks today:

Steve will become a column of the Genesis, in the formation that many consider "the real one" and beyond. Until the sensational farewell.

But that's another story - READ IT HERE-.

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