Category Archives: Places

Peter Gabriel's places: Bath, from “buen retiro” to “real world” - VIDEO & MEMORIES

Unforgettable places in the history of Genesis & Co., through audio, video, documents and much more.

By D.B.

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Key locations for Peter Gabriel include the city of Bath and its environs in Somerset, UK.

Bath from the Bath Echo website

A place that, from an initial buen retiro, to meditate at a distance on certain events, as we will see, was a source of inspiration and experimentation until the creation of the structure of his Real World.

Peter settles in the first house in his history with the city at Woolley Mill, in the homonymous valley, near Bath, with Jill pregnant; his daughter Anna-Marie will be born after a very difficult birth on July 26, 1974.

We are in the period following the tour of "Selling England By The Pound" and on the eve of the stormy sessions of composition, recording and related tour of "The Lamb Lies Down On Broadway".

Here Gabriel takes refuge in his free moments, on "escape" from Headley Grange, where Genesis retired to compose and rehearse the songs on the new album.

Here, as Richard Macphail recounts ...

... receives a phone call from his mother asking for explanations on the meaning of The Lamb's lyrics.

And this is where, according to Daryl Easlea ...

... Peter retires after the tour e writes the long letter to officially announce his decision to leave Genesis.

After leaving the band, Gabriel devotes himself here to his favorite pastimes of the moment: the countryside and family. In Bath, again according to Easlea, it merges with the local community, and takes "two years to raise cabbages and children».

As Mario Giammetti reports ...

... Peter told Armando Gallo in Ciao 2001 in April 1976: «For at least six months after I left Genesis, I dated people not connected to the musical world, people who didn't even know about the existence of a band called Genesis.».

In Bath Peter experiments with alternative lifestyles, contemplates joining a commune (one of which is called Genesis), takes some drugs, without excess. He also shows up on the Stackridge Friends stage at Friars Aylesbury, stepping out of a birthday cake.

Gabriel sees the ancient Roman spa town of Bath as an excellent conductor of energy, which will soon lead him to start composing new music.

And among the new experiences there is a mystical one of the singer on Solsbury Hill, overlooking the city.

Little Solsbury Hill from the Kids of Bath website

As Davide Castellini writes ...

... "Solsbury Hill is a real physical space, a mound near Bath (...). But it is also a metaphorical place from where you can observe the "lights of the city" - the present reality and at the same time have a glimpse of the uncertain future that lies ahead - the eagle taking flight in the dark night».

Emotions that will be of great inspiration for his first solo single "Solsbury Hill", in which he also explains the reasons for the abandonment of Genesis, a song that he anticipated in February 1977 therelease of the first album.

Gabriel then found an inspiring place to let new ideas flourish. In this creative context, he begins to organize his home recording studio, which will soon be frequented by similar spirits. The first demos for the new album come from Woolley Mill's piano.

But Bath didn't always bring luck to Peter. Like the unfortunate first WOMAD Festival on July 16, 1982, held right near Gabriel's house, but this does not guarantee success, quite the contrary.

We are in the West Country, outside Shepton Mallet, in the same field where Led Zeppelin attended the second Bath Festival in 1970.

The whole event presents enormous challenges: the audience is ecstatic but the ticket sales are bad, the weather is bad, the BBC withdrew despite promising a TV broadcast, and a train strike has kept people away.

The limitations imposed by the local authorities put the expenses of the invited international artists on Peter. Peter and Jill even receive death threats from people they owe money to.

«It became a nightmare experience when we realized there was no way we could get tickets sold to cover our costsPeter told the Guardian in 2012.

Here is his performance at that Festival:

Debts that only the reunion at the Milton Keynes Bowl on October 2 of the same year, with old friends of Genesis, including Steve Hackett, they were able to write off.

Meanwhile, the Gabriel family have moved to Ashcombe House in Swainswick, northeast of Bath.

Peter rented the property in 1978 and converted the house's barn into his studio.

In this video it is possible to witness different moments (family and artistic) of his life at Ashcombe House:

At Ashcombe House Peter also worked on the screenplay for the film on "The Lamb Lies Down On Broadway", with Chilean director Alejandro Jodorowsky. Two months of work considered by Gabriel very interesting, but the project is not successful.

It is better from a musical point of view. In the former barn studio, Peter composes the songs of the third album under his own name (also nicknamed Melt), from 1980, and there he records the next one from 1982 (or Security), the soundtrack of the film "Birdy", between October and December 1984 and "So", released in 1986.

Not only that: the track "My Secret Place" from Joni Mitchell's "Chalk Mark in a Rain Storm" album was recorded at Ashcombe House in 1986, as well as parts of the 1987 Robbie Robertson album (although the cover credits place mistakenly Ashcombe House in London).

In 1986, after the album So finished, Peter decides it is time to move from Ashcombe House to a permanent recording facility. The most important thing for Gabriel is to be close to the water. It takes into account several sites, mostly old mills, strictly in the Bath area.

But in October 1987, Peter and Jill separated permanently. They will divorce in March 1988. Fortunately, the ex-wife and the children are not going to be away from Bath and so Peter can see his daughters every Thursday night and every other weekend. In this period Peter begins the relationship with Rosanna Arquette, met during the reunion of Milton Keynes.

Box Mill (also known as Pinchin's Mill) is a 200 year old water mill on By Brook in Wiltshire. In 1864 it was part of the Box Brewery owned by the Pinchin family, who closed their Northgate Brewery at Pulteney Bridge in Bath that year.

In 1987 Gabriel buys it, fixes it and adds another building ("The Big Room"). 

Peter sets to work transforming the picturesque cluster of buildings into a live and studio complex, complete with a residential space for artists, a writing room and a large control room, filled with natural light.

Now the site has the size and space it needs, it's close to the river, as Peter wanted, it's in a beautiful area and it's accessible from London, with Bath 120 miles (200km) away, an hour and a half by train .

The first album to be recorded here is the soundtrack of the film "The Last Temptation of Christ" by Martin Scorsese, which will also inaugurate the fledgling Real World label, with the title "Passion" in 1989.

And right here, in the studies of his label, in 1997, a new love was born for Gabriel. You are Meabh Flynn, engineer and pianist, who has worked at Real World since the mid-nineties. She is 22 years younger than him. He married her in 2002. Isaac Ralph was born on September 27, 2001, followed by Luc in 2008.

Peter also maintains good relations with Jill, who now works as a counselor and psychotherapist in Bath.

And, among the many initiatives that see him take a position all over the world, he finds a way to think about "his" corner of England as well.

In May 2010 he joined a campaign to stop agricultural development right in the Woolley Valley. A farm had planned to intensively raise chickens. Gabriel joined the Save Woolley Valley Action Group to stop the project. 

To preserve the valley which hosted his first Bath home and which inspired his first solo single, "Solsbury Hill".


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Phil Collins' places: London-Concorde-Philadelphia and back - PHIL's MEMORY

Unforgettable places in the history of Genesis & Co., through audio, video, documents and much more.

By D.B.

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On July 13, 1985 Phil Collins is the protagonist of a sensational double performance at Live Aid, one in London, the other in Philadelphia, on the other side of the Atlantic.

Listen also to the podcast (in Italian) - CLICK HERE.

Around three in the afternoon Phil and Sting take the stage at Wembley, greeted by a roar of the audience.

But not everything goes smoothly: Sting forgets the words of Every Breath You Take.

"A moment before entering the scene, with the utmost ease, Sting warns me:" By the way, sometimes I mess with words ... ". A moment later, standing in front of the piano, I struggle to read the verses while he left for the bribe on the other side of the stage: «Every breath ... every move ... every bond ...» ", Phil recalls in his autobiography "No, I'm not dead yet", trad. Anna Mioni, Mondadori.

Not only. The day is very hot, even in London. Phil again:

"The stage is white, the sun is shining and one dies of heat. I am so sweaty that while I play Against All Odds a finger slips on the piano keys. A real cue, I almost shiver the eighty thousand fans who fill Wembley. And not only them , that wrong note has gone all over the world. If we add the Every Breath mess, I'm already making the beginner figure. "

Phil also performs at Wembley In the air tonight, poi, together with Sting, here Long long way to go:

London's Phil Collins performance ends like this. But not his long day. A waits for him Concord for the United States. Remember Phil: 

"I didn't want to go for the only braggar who played at both concerts, and they had assured me that Duran Duran would also fly to Philadelphia. Except that, for some reason, Duran Duran perform only in America. In short, at any moment the atmosphere changes completely. "

Indeed, halfway through the flight of Concord, a television link from the plane is scheduled. There he is:

And here's how Phil remembers it:

"In television studios in London, the presenters of the with the BBC fuel the excitement of the audience. «Here we are live with Phil Collins from the Concorde booth! How's it going, Phil? "

«All right, we are halfway ...»

Billy Connolly, Andrew Ridgeley of Wham! and Pamela Stephenson, the guests in the studio, are perplexed. They hear nothing but indistinct chicks and interference. "

Arrived by helicopter from JFK Airport of New York at JFK Stadium Phil Philadelphia accompanies Eric Clapton on drums White Room:

She's Waiting:

E Layla:

Phil remenbers: "The set with Eric is fun and carefree. With his drummer Jamie we avoid cutting our way, and the result is splendid."

Then he performs alone. Again Against All Odds (Take a Look at Me Now) e In the Air Tonight:

So it is the most delicate moment of the reunion of Led Zeppelin. Phil will play with them. His friend Robert Plant had invited him, even before the other former members were involved and Live Aid turned into their sensational return together. But even before going on stage, the atmosphere is not the best.

Phil: "Robert alone: ​​an adorable guy. Robert and everything that has to do with the Zeppelins: it's like a strange and malevolent chemical reaction is produced. It's all dark, even diabolical. Jimmy is obviously - let's say - nervous and irritable . (...) now they are introducing me to John Paul Jones, who is silent as a fish. Then it's Tony Thompson's turn. I realize that he treats me with extreme coldness. (...) I talk to him about the risks of the two drummers on stage: I have been doing it with Genesis and my band for years, I know perfectly well how easy it is to go downhill. The secret, as I learned at my expense, is to be simple. Tony's gaze, however, tells me that he does not know what to do with the "tips" of an opportunist who has just landed from overseas with the Concorde. "

Phil introduces Robert Plant and Led Zeppelin (here is the whole exhibition):

perform Rock And Roll, Whole Lotta Love and Stairway to Heaven. 

But Phil doesn't have a good memory of the performance: "From the beginning I realize that things are not going in the right direction. From my position I feel little Robert, but enough to realize that it is not at its best. The same goes for Jimmy.

I don't even remember playing Rock and Roll, but I know I did. But I remember long and atrocious minutes of what Robert disdainfully calls "knitting", or the effect drumming (...) beating the air to avoid contributing to the disaster. If I had known about the other drummer, I would have called out well before I got to Philadelphia.

On stage, I keep my eyes on Tony Thompson. I have to go after him, because he hits like hell and has decided to ignore my advice. (...) The point is that I felt terrifyingly uncomfortable, if I could I would have left the stage in the middle of Stairway, if not sooner. But can you imagine the reactions? "

And with some relief that Phil completes the performance with Led Zeppelin. Now he "only" has to face an interview with them. Here she is:

Phil again from his autobiography: "Hunter starts asking simple questions, but nobody takes him seriously. Robert and Jimmy give vague and impertinent answers, John Paul Jones is always silent as a fish.

I'm sorry about Hunter. He is live worldwide and the audience is watching him with bated breath, but the boys are making him look like an idiot. And so, despite not having any title, I try to save the salvable by answering me. "

Backstage Collins also has breath to summarize this long day in a single interview, still with Hunter:

But in his autobiography the summary is far more cutting and effective: "Wembley, Heathrow, Concorde, the JFK (airport and stadium), the four performances, one of them infernal ".

A final curiosity: on the Concord Collins had met actress and singer Cher, who was unaware of the concerts. After reaching the United States, she witnessed the one in Philadelphia and you can see her performing in the final collective song We Are the World

Phil had also been invited to participate, but he had declined due to exhaustion (and not only, given how it went with Plant & Co.).

"In the hotel I turn on the TV and see the last spasms of the Philadelphia concert. Wait, who's the one on stage? Cher - says Phil-.

It is a worthy end to a day of madness. Not only has she managed to get in, but she has a microphone in her hand and is singing We Are the World. Maybe my verse. "

Phil Collins' memories are taken from:

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The places of Genesis: the Christmas Cottage - the MEMORY of the BAND

Unforgettable places in the history of Genesis & Co., through audio, video, documents and much more.

By D.B.

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In the village of Wotton, in Surrey, it is located the Christmas Cottage, the place that the Macphail family gave free to Genesis for about six months, from October 1969 to early April 1970 and where the material that then made up the album was composed Trespass.


The Macphail bought the Christmas Cottage in the early 60s. At the same time, Richard entered the Charterhouse School and there he knew Mike Rutherford, Tony Banks, Peter Gabriel and Anthony Phillips. The name derives from the fact that the family took possession of the house during the Christmas holidays.

From the website

"If we had been to London", Recalls Mike Rutherford in his autobiography The Living Years, «We would always have been around to see other groups play, to make comparisons, to worry about what the others were doing.

Instead we were in a beautiful, incredibly remote part of the country, determined to understand how far we could go musically. This involved a lot long improvisation sessions. "

Genesis, at the time with Phillips on guitar and John Mayhew on drums, are not having a good time. The debut album, From Genesis To Revelation was a flop - FIND OUT MORE. The low number of sales creates discomfort among the members of the group. Remember Richard Macphail in the book My Book Of Genesis:

«They had mixed feelings about the album From Genesis To Revelation: disappointed by the sound, disappointed by the mixing. They considered some songs good, but he didn't like the quality of the recording. 

At that point, everything was converging. Mike was about to go to Farnham Tech, Peter to London Film School and Tony to Sussex University, but everyone now knew that education was no longer a priority. In the meantime, three drummers have gone through: Chris Stewart has been replaced by John Silver who has been replaced by John Mayhew, the latter found through an advertisement on Melody Maker. "

The band is in financially desperate conditionseven meals are skipped. But the boys refuse, however, the cash aid provided by families. They do not lose heart: success, they think, would come.

They therefore decided to suspend all other plans for a year, give the music a chance and engage in the development of the band. They need a suitable place to be and live together and Macphail Cottage seems the perfect solution. Continue Richard:

«I can't remember who in the group suggested that what they really needed was a place to live together like Traffic did in a cottage in the countryside.

By chance, while in London, our cottage was burgled. My parents no longer felt comfortable going there; they decided to sell it, but not until the following spring, when the trees were in full bloom and the appearance of the house would have been better.

Of course I thought: "Wait, it's ideal for the group" and I asked my parents what they thought of the idea. My friends need a place to be together, I told him. You won't sell the cottage until next spring. You don't want to go over there anymore. "

So Richard's father lends them the house for free and also a van from the company he works for, for travel (some concerts broke that almost monastic retreat). Remember Anthony Phillips, reported by Daryl Easlea in Without frontiers, Life and music of Peter Gabriel:

«We liked the idea very much. From that strange combo of authors they had
made From Genesis To Revelation, we turned into a kind of hearth of explosions and confrontations.

We never strayed from each other; we never took breaks, we all took it very seriously.

Peter and Mike were under pressure from their women, so sometimes the situation got tense. I think if we had gone to the pub and had a few pints or some laughs it might have been different. We didn't even go for walks, play football or other entertainment. There was nothing but music. "

Again Mike:

«In that cottage we fought like crazy. It was a mix of love and hate with probably some murderous instinct to keep at bay.

Tony, Ant, Pete and I were all incredibly determined to test ourselves musically, to find our own way. But to make matters worse, you were really crushed inside the small cottage.

Rich, now officially our roadie, had to sleep on the living room floor: he couldn't stay in his bedroom because it was occupied by Tony and Pete. There was no furniture except the beds, and it was always dark because we did the tests in the living room with a blanket placed over the window even though we were miles away from everywhere. When you're not great - and we weren't - you tend to turn up the volume to compensate.

There was always someone rushing off upstairs in a rage or coming out slamming the front door and every time we had to get back together. "


«It is not surprising that with six young people under one roof, it was a real pressure cooker situation. It was winter, cold and wet, and there have been many times when the atmosphere between Peter and Tony could be cut with the chainsaw. "

Divergences that were not just characters. Mike:

Pete often had difficulty transmitting what was going on in his head, musically. He sat on the piano and tried to play a piece of it and then finally say, "No, no, it should not be done like this. I meant it. "Each of us askedothers an effort of imagination to understand how an idea could evolve starting from how it sounded in ours head, but Pete never managed to make his insights understandable and share them. There was always a lot of er and uhu. "

In the cottage, the way the band works is very serious. They started atten o'clock in the morning (although none of them were early risers) and they ended for dinner around eight. Occasionally they have tried to go further, but they were too tired to get anything good. Richard:

«They spent time composing. All the equipment was set up in the living room and to say they were hardworking is an understatement. They were too disciplined. They got up and had breakfast to start at 10 am (...)

I found it fascinating to attend thethe whole process of song creation. Mike had a sequence of chords, Tony added something and Peter had a rhythm in his head with which he often started a composition (e
it still does today). He was a drummer originally, and today he has numerous rhythmic synthesizers, but in those days he only had a kick drum pedal.

Ant was the musical giant. One thing that people always forget is that he was by far the most developed composer and the others followed him.

The other crucial element was Tony's skill as a keyboardist and arranger. He had a classical approach, (...) he knew a lot about harmony, how a song works, and when someone suggested passages, he thought for a while and with his keyboard he understood how to connect them.

I had the privilege of seeing everything, witnessing the evolution of what would become the Trespass album. "

The isolation is almost total, also compared to the new musical ideas, which were developing in London and in the world. But something leaked. Remember Mike:

"We listened to King Crimson, In the Court of the Crimson King,
ad infinitum, which suggested that we use the mellotron, and Days of Future
Passed by Moody Blues. Ant and I also listened Crosby, Stills & Nash. However, now that I had started composing, I realized that I didn't want to listen to other bands. "

King Crimson in particular influences the band on multiple levels. Remember Peter Gabriel, reported in Daryl Eastlea in Without frontiers, Life and music of Peter Gabriel:

«In the beginning we did things in a hurry, even if we tried to play as we really wanted to play, only that then King Crimson entered the scene and we thought how magnificent they were; they did the same things we wanted to do, but in a better and more grandiose way. (...)

And we thought, "They never do things hastily, why should we do it?"

And in our minds the Crimson took on gigantic and mythological proportions because they were practicing our ideals, our musical ideals, and doing it their way. "

But the Genesis didn't just work. From time to time Mike would run away from the cottage on a motorbike to visit his fiancée in Brighton, where he lived. Often in nights rainy and windy in winter. 

Peter was already engaged to Jill and sometimes disappeared to visit her, causing some resentment.

Ant also had a girlfriend, a Ballet Rambert dancer, but she had left him the previous summer. Since then, in that period, he has dedicated himself to music. Richard again:

«It was a very intense moment, not least because Peter was worried that his girlfriend Jill would leave him for someone else. She was outgoing, very attractive, the type who doesn't stay at home and get depressed while her man isn't there. Peter wasn't the only one interested in her. Jill didn't have to worry about Peter because we were isolated in the cottage. We didn't even go to the club at the end of the street.

Genesis would never have been the typical rock'n'rollers who go out to drink some beer. We didn't even drink alcohol in the cottage. John and Mike enjoyed a reed in the evening, maybe Ant, but not Peter or Tony. "

Richard Macphail recalls that perhaps some songs were already sketched out, when Genesis arrived at Christmas Cottage, others were perfected later, but Stagnation, Dusk and The Knife were certainly born there

Not only. A tape with compound material at Christmas Cottage was heard by former Yardbird Paul Samwell-Smith, who in turn reported the group to the BBC in January 1970 for a show dedicated to British painter Michael Jackson. The four tracks, as it is known, Provocation, Frustration, Manipulation and Resignation, also called Jackson Tapes, they were a taste of their new direction. And three of these songs would later return to some of their best known works. FIND OUT MORE.

E The Geese And The Ghost by Anthony Phillips contains a selection of material that he and Mike Rutherford wrote together in the cottage.

Mike Rutherford admits that the cottage was like a cocoon and when it was time to leave that house for some concerts and record Trespass, it was exciting but scary. 

Over the years the cottage has undergone some changes. Richard:

«The cottage has been substantially modified from those days, extends to the ground floor, sits there, hidden from the road, but more accessible and with a parking lot right next to the back door. »

The entrance is in fact now in the ancient back of the house, access is much easier than when the Genesis had to carry tools by hand and all the equipment from the parking lot down the hill to the cottage in the rain and wet leaves on the slippery ground.

And even if there are no traces of the passage of the Genesis, the current owners collect the articles in which the original band members make mention of the Christmas Cottage.

Collectible trespass:


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The places of Genesis: the birth of Watcher Of The Skies in Italy - the BAND's MEMORIES

Unforgettable places in the history of Genesis & Co., through audio, video, documents and much more.

By D.B.

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April 1972, Genesis arrived in Italy, the country that first understood their music. Two stages of that adventure will remain in the history of the group, because Watcher Of The Skies was born here.

The date of Reggio Emilia on April 12th, in fact it is officially considered the  birthplace of Watcher Of The Skies.

According to the memories of Hackett, Rutherford and the others present, it was precisely in the Emilian city that an embryonic version of the unforgettable piece was performed for the first time during sound check.

Palasport of Reggio Emilia from the Facebook page "Genesis 40th anniversary first Italian tour"

«In the Palasport of Reggio Emilia, a huge horrible place full of echo, in the middle of the sound check, Tony played those two initial chords on his mellotron. They worked very well even though, even today, I'm not sure how aware he was of how good they were. " (From The Living Years by Mike Rutherford. My translation)

In the tour to present Nursery Cryme, Genesis took advantage of free time and also of the rehearsals on stage to compose parts of songs that would later form the Foxtrot album. 

Richard Macphail in My Book of Genesis tells how Genesis composes the album. Rich remembers that Tony Banks officially stated that there are many pieces which were then glued together:

«It was a normal thing in Genesis. Some of the pieces were composed of fragments written by individual members and the problem was how to adapt them. In Supper's Ready, for example, Willow Farm, is in A flat major, it was supposed to lead to a small flute melody in A minor. So we had to work hard to harmonize the different agreements. Sometimes it's a completely natural change and it happened without our realizing it. "

Mino Profumo in Genesis in Italy. The concerts 1972-1975 he says that the keeper of the sports hall remembers "Watcher Of The Skies' notes emerge clearly during the soundcheck."


Perfume recalls that "It is indeed a work in progress like confirmation without hesitation Steve Hackett: “In reality Watcher Of The Skies was not composed exactly on the occasion of the rehearsals for the Reggio Emilia concert, we had already prepared a very rough and a little different version but it can be said that we played it almost completely and for the first time during that soundcheck. I remember that I was in the bathroom, in the basement of the sports hall, I heard the intro and the whole structure began to tremble, they were magnificent and powerful notes. The whole group followed the execution and it was at that moment that, at least for me, in my imagination the band sounded like and more than an orchestra "».

And quote the words of the promoter Maurizio Salvadori: "" I remember that every now and then they made improvisations in the soundchecks, even half an hour and they put in things just tried, I think they also did
the reaction of people who were always appreciable. They tried a preview of a couple of pieces that they would later insert into the next disc. ”»



From Reggio Emilia the song is used for the sound check before the concerts. Even not all of them the people present at the concert noticed that a historical song was being born on that stage. There were also other details that attracted attention. It reminds Horizons Radio Raimondo Vecchi Fossa. "The stage was turned towards the high grandstand and not towards the audience as for the other concerts and it surprised me a lot. Gabriel with the rear window of hair performed as the first song Happy The Man that I had and I still have like 45 rpm. "

On April 19th Genesis are live at the Mediterranean Theater of Naples.

A double concert that closes the first part of the Nursery cryme Tour of Genesis in Italy.

A second stop in this Genesis story, because on the roof of the Hotel Domitiana, which houses the band, Mike and Tony write the text of Watcher Of The Sky. From the hotel terrace, in fact, you can see the whole complex of the Mostra d'Oltremare, the Arena Flegrea and the Mediterranean Theater, a foreign body with respect to the city, which could give the impression of a landscape of an unknown planet.

Here is the memory of Tony Banks in Genesis: I Know What I Like di Armando Gallo:

“We were sitting on top of this building, it was a warm sunny day and we were just looking out across a large area of ​​buildings and fields; there was not a living soul around. It seemed that the entire population had just deserted the planet and this is what 'Watcher of the Skies' says: an alien being who comes to the planet and sees it completely deserted. And so the story unfolds with a bit of science fiction. I like Arthur Clarke's 'Childhood's End' and books like that. "

And of Mike Rutherford in The living years (Trans. G. Testani):

«Tony and I together wrote the text, sitting on the roof of our hotel in Naples imagining that the world was over. Quite strange, considering it was a pleasantly sunny day. "

 In Naples, therefore, the song is completed and, as we know, the next Genesis album will open, to be released the following October: Foxtrot.

But in his autobiography, Mike tells another background, which happened in Naples:

«In Naples we discovered another therapeutic pastime ... Concluding a tour with a group fight was a classic. The unusual thing about the quarrel-of-end-tour in Naples was that there was an amusement park just around the corner from the hotel where we slept. We got to the point of being so fed up with each other that we decided that the only thing to do was to throw ourselves on the bumper car track and bump into each other wildly and repeatedly. I have to say that I have never experienced such an effective way to clarify. "

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Read other memories here:

The genesis of the GENESIS

When Naples became the muse of the Genesis

The former Hotel Domitiana, now JFK.

Here is the audio of the live in Naples:

00:00 - Happy The Man;
04:18 - Stagnation;
14:53 - The Fountain Of Salmacis;
23:20 - Twilight Alehouse;
32:14 - The Musical Box;
42:23 - The Return Of The Giant Hogweed;
49:11 - Phil's Solo;
51:24 - The Knife.


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Genesis locations: Headley Grange, Hampshire UK - MEMORIES of COLLINS and RUTHERFORD

Unforgettable places in the history of Genesis & Co., through audio, video, documents and much more.

By D.B.

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The Headley Grange estate, in English Hampshire, in the British countryside, built in 1795, now a private residence, is a legendary place, used first as a hospice, then in the sixties and seventies to try and record not by Led Zeppelin, Fleetwood Mac, Bad Company, The Pretty Things, Peter Frampton, Ozark Mountain Daredevils, Ian Dury, Elvis Costello, Clover.

In particular, albums such as "Led Zeppelin III", "Led Zeppelin IV", "Houses of the Holy" and "Physical Graffiti" were born here, in addition to the Zeppelin's best-known single: "Stairway to Heaven".

Here the Genesis have lived a light-dark experience.

La band he spent the months of June and July 1974 at Headley Grange, to compose and record "The Lamb Lies Down On Broadway". But the surrounding environment and the mood of the components are not exactly ideal.

Remember Phil Collins in his autobiography "No, I'm not dead yet"

«Whatever the group that was last there, left it in one
was terrible, and smelly. And mice take advantage of it. They are everywhere, jumping up and down the creaking stairs, rustling among the creepers that
they cover the trees, run up the ivy that covers the house. We count dozens, hundreds. And I speak only of those who are seen. That house is still a

The only positive note of that place for me is the fact that John Bonham recorded his incredible groove for "When the Levee Breaks" in the trumpet
some stairs. I almost seem to smell it. But instead I smell rats. Thousands of mice. I arrive last, and the best bedrooms are already occupied, of course. So I have a shit room, where in addition to water I also have running mice. At night I hear them paddling above and below me. "

It tells Kevin Holm-Hudson in "Genesis and The Lamb Lies Down on Broadway":

«The house was in considerable deterioration; perhaps because of the "hidden" reputation or from his association with Led Zeppelin, Gabriel was disturbed by rumors that the house was haunted (Bright, 1988, p. 60). Steve Hackett agrees that the place had a "haunted house feel". I felt strange scratching sounds at night, "in all likelihood the mice who shared the house with theirs rockstar guests (Platts, 2001, p. 75). "

More Phil Collins

«We assemble the instruments in the main living area, while Peter settles in front of an old broken-down piano that is picking up dust in
another room. The four of us improvise, he writes down his ideas for the lyrics, and I record everything with my trusty Nakamichi cassette recorder.

We write some great music (In the Cage, Riding the Scree, tons of good stuff) and a lot of it comes out while Peter is in another room, stepping on the piano, writing the lyrics.»

Not long after the band took office in Headley Grange, Gabriel receives a phone call from director William Friedkin, interested in securing Peter's involvement as a writer in his new film project. Friedkin back then had hits like "The French Connection" and "The Exorcist". The offer is therefore tempting and flattering for Gabriel, who had struck the director with his visionary mind. 

Peter originally expected to work with Friedkin after finishing "The Lamb", but the huge success of "The Exorcist" it speeded things up.

More Kevin Holm-Hudson:

"Headley Grange he didn't have a phone, so Gabriel should have
cycle to the phone booth at the bottom of the hill and dial the number Friedkin in California with pockets full of coins from 10 (Fielder, 1984, p. 91).

The rest of the group understandably does not shared Gabriel's sudden enthusiasm for a project outside the band. According to Gabriel, his companions "They thought I would use the group as a springboard for my staff happened and I wouldn't even have involved them. But Friedkin didn't want Genesis. He he wanted me for just for my strange ideas, not for music "(Fielder, 1984, p. 91). "

Mike Rutherford tells in his autobiography "The Living Years":

“We haven't had huge, noisy discussions in Headley Grange. From the beginning we realized we had a great one work to do and we knew we couldn't waste much time to discuss.

It also became clear very early that we would only have made the album if Pete worked full time on the lyrics, while the rest of us took care of the music. This bothered Tony more than me, but Pete's mind was elsewhere.

His marriage had had a hard time and Jill was also pregnant with their first child. This meant that Pete came and went often, and when he was
with us there was often the feeling that there was whatsomething unsolved between him and Tony. "

Check out the Genesis photos at Headley Grange(in some of them you can notice the tension between the band members):

So Gabriel leaves Headley Grange for about a week for come up with script ideas with Friedkin. But when Charisma learned of Gabriel's departure, label president Tony Stratton-Smith himself stepped in to convince Gabriel to return.

Rutherford tells:

“When Pete came to talk to us about the offer, we did they were quite tense. As per Ant (Anthony Phillips, the first founding member of Genesis to abandon the band, Editor's note), if this moment were happened later in our career I'm sure we could have finding a way out would have given Pete a few months.

But we still hadn't realized that it was really possible and, moreover, we were busy going on tour in the fall. Pete is the most wonderful clumsy. Often it seemed he would never decide. (...)

In the end, we got a little tired of his indecision and we gave him a ultimatum, and at that point Pete left the band.

So I accompanied Tony to the pay phone in the village to discuss the situation with Strat. He always believed he could talk to anyone
"Pete, dear boy, come talk to me", but Pete wasn't the type to talk to like this. "

At the same time, Friedkin, unwilling to be responsible for the dissolution of the band, brakes on Peter's collaboration.

Continue Kevin Holm-Hudson:

"" So Peter made a definite commitment to finish the album before anything else, "said Banks. "But I think it made us all understand that he was getting tired and that it was only a matter of time before he left" (Fielder, 1984, p. 91). Collins agrees: "Things have returned to normal but, from then on, I think we all felt that this could happen again at any time" (Fielder, 1984, p. 91). »

More Mike:

"For the first time we felt that someone was not going in the same direction, something fundamental had changed. The most pressing issue, however, was that now we were incredibly late. The music it was almost complete and we also had a registration date booked, but Pete's text wasn't ready at all. Things got so bad that in the end Pete had to ask Tony and me to write the text of “The Light Dies Down on Broadway ". (...)

Obviously, it was a symbolic contribution, but aat least we could feel we had written a song because we didn't want to an album that had "All words by Peter Gabriel ”written on.»

More Phil:

«For Pete it's a dream come true: the chance to collaborate with a forward-looking artist who excels in an art form different from his, to work from home, and also to be closer to his wife. He asks us: “Can we pause the disc? Give me time to do this, then I'll be back. "

He doesn't say he's leaving us.

We all reply: “Sorry, Peter, unfortunately not. Either you are inside or you are outside. "

From my point of view, in practice, if Peter gives up on us, it is not necessarily the end of the world. My firmly concrete solution is to reconfigure the Genesis as an instrumental quartet. At least that way you could finally listen to the music properly.

The reaction of the other three to this suggestion can be summarized as follows: “Don't say bullshit. We, without singing, without texts? You said yours, now shut up,
Phil ". And of course they are right.

Before something concrete happens, Friedkin's rumor reaches that his offer could lead to the end of the Genesis. It's the last thing he wants, a lot
more than his science fiction project it is only a vague idea. A couple of weeks after making the offer, he gives it up.

So Peter comes back. But he came back because an occasion that interested him most faded away. These are not the best circumstances to find yourself. We continue to work, forgive him and forget everything,
or at least pretend. "

But while Friedkin proceeds without Peter - he then made the film "Sorcerer" in 1977 with the Tangerine Dream soundtrack and it was a fiasco - on the Genesis in Headley Grange another storm is about to blow.

On July 26, 1974, in the middle of the composition, Gabriel's daughter Anna was born; during childbirth the baby comes into the world with the umbilical cord wrapped around the neck, cyanotic. He also inhaled amniotic fluid during childbirth and doctors also suspect meningitis. He spent two
weeks in an incubator with doctors uncertain about his chances of survival.

“Unfortunately Peter is always overwhelmed, and not just by the workload. Things in the family are going badly: his wife Jill has a difficult pregnancy, not me
know what it is. The result is that sometimes he is absent, which means that we go inside without him. This does not help us think like one man
for such an ambitious project. ",
writes Phil Collins.

"Gabriel describes those first two weeks of his daughter's life as" really traumatic "and the bandmates as" incredibly indifferent. They were pissed off because I wasn't taking the album
seriously like a son of mine "(Bright, 1988, pp. 4-5)», he writes Kevin Holm-Hudson.

Listen to i demos and the tests at Headley Grande of Genesis:

During the Headley Grange sessions, the group made a experiment:

"According to Tony Banks," We shut it down all the lights and only made noise. The weather was truly frightening "(Fielder, 1984, p.92) », he says Holm-Hudson. «Collins provides further details:"We were all getting very intense; Peter was blowing his oboe into the microphone, then his was playing flute with ecoplex, when suddenly there was this great thunder e it started raining. We all thought: 'We got in touch with something strong. '

It was about five or six in the morning evening and we made all these strange noises when the storm started and it started raining. Then we all changed gears and went into one a really melodic mood.

At times like this we were truly one what and we worked well together with "The Lamb". And the size of the double album there given the opportunity to do so. "(Fielder, 1984, p.ninety two)."

In August 1974, the group left Headley Grange and moves in Wales to complete the album. Which, despite or thanks to the vicissitudes of which the ancient estate has been silent witness, is the masterpiece we know and also a turning point in the Genesis career.

#NowPlaying, listen "The Lamb Lies Down On Broadway"


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Genesis places: The 2 Rotonde of Cuorgnè, Turin Italy - MEMORIES of RUTHERFORD and EXCLUSIVE INTERVIEWS

Unforgettable places in the history of Genesis & Co., through audio, video, documents and much more.

By D.B.

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Cuorgnè, in the province of Turin is one of the places in the history of the Genesis.

Their concert of April 13, 1972, in fact, remains unique and unforgettable in their tours.

So Mike Rutherford remembers it in The Living Years: The First Genesis Memoir:

"We played in the mountains one evening when Tony had food poisoning. We resisted for a while without him, but it was like being in a car that had lost a wheel and we had to finish the set early. Since we hadn't been able to sell many tickets, the promoter had the excuse that he was looking for not paying. Rich didn't want to know about it and was a little aggressive. The promoter had a gun. We weren't paid. "


But what was a band like Genesis doing in a dancing hall in a small town in the province of Turin?

In fact, at 2 Rotonde, they all played a bit big of the Italian song and also foreigners, come remember the book The Beatles and Genesis in Canavese. History of beat & pop music in Canavese from 1962 to 1974 by Gianpiero Madonna, which contains a profile of the lively music scene of the period in the Cuorgnè area:

Born from the happy intuition of Angelo Porcellana, who disappeared 5 years ago, together with the brothers Dino and Claudio, the place attracted audiences from Turin, from all over the province and beyond. In 1972 Genesis did not have a large following, not even at home, and in fact this first tour in Italy takes place in clubs and small sports halls.

Le 2 Rotonde was among the most capacious.

Photos from Facebook

"A dancing goer, friend of my husband", tells exclusively to Horizons Radio Marisa Porcellana, Angelo's widow and she also engaged in the management of the 2 Rotonde of the golden years, «He was a great admirer of Genesis and had suggested that we play them with us, because they are of excellent quality. So when an entrepreneur proposed them to us, Angelo remembered the board and signed them. "

«The Genesis were very nice guys», continues Marisa Porcellana.

“They didn't act like rock stars: they drank little and were very polite. We didn't have a real stage, so they played in the audience, without any attitude of superiority or similar things. When the concert was interrupted, everyone understood that there were health reasons and did not create problems. They were kids, the musicians and their fans. "

Ms. Porcellana does not remember the episode of non-payment and the threat with a gun, cited by Rutherford. "There were no weapons in the room, nobody has ever bothered us like this ", He tells us.

And here what he told exclusively to Horizons Radio Pierluigi Gassino, present at the concert:

«The concert was interrupted because the keyboardist Tony Banks felt bad ... and as a consolation I managed to exchange four words with Phil Collins, while Peter Gabriel had a drink leaning against the bar counter where they had performed in front of a few of us ... I remember that then the bassist and the guitarist wandered on stage at the end of the concert collecting some cables and equipment ... all this before becoming rock stars!»

"My brief dialogue with Phil Collins", read more Pierluigi Gassino, "It was due to a fact that made the evening even more bitter for me and my friends because on leaving we found the car no longer in the parking lot and, having returned to the disco to ask for a ride in order to return home, I met Phil outside the club who approaching an Alfa model 1750 with a guy who seemed to be the manager driving it. »

«I asked him, gesturing in Anglo-Italian, a passage to Turin, explaining the fact that just happened and the evident difficulty. He told me that they were going to Milan and there was no place, then added that those who had stolen the car were killed by making the gesture of cutting the throat as a joke. He greeted me by shaking my hand ... beautiful and bitter memory ...! »

Here the testimony Beppe Crovella audio, leader by the band of Torino Arti e Mestieri, posted on Facebook - LISTEN:

Su Dusk n ° 55 a detailed reconstruction of the evening by Beppe Crovella (click on the cover to order a copy):

Read other memories on


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