Originally released in May 1995, the album featured the highlights of a live solo performance by Anthony, recorded on March 21, 1993 as part of the Living Room Concert Series for the US radio program Echoes, a contemporary instrumental music newspaper.
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The show was broadcast on 120 public radio stations in America on June 25, 1993.
For the execution Anthony has selected a series of pieces for acoustic guitar and piano, drawing mainly on songs originally released on the albums The Geese and The Ghost, Private Parts and Pieces and A Catch at The Tables, together with two New England pieces, the eighth volume of the Private Parts & Pieces series and a solo version at 12 strings of the first movement of a Guitar Quintet he composed in 1976, which had subsequently been recorded with parts for strings and wind instruments, Conversation Piece.
Not available on CD for many years, The Living Room Concert has been re-mastered and expanded to include three unpublished tracks recorded for the original broadcast, Jaunty Roads, Let Us Now Make Love and Lucy: An Illusion.
This edition of Esoteric Recordings restores the original artwork and includes new cover notes by Anthony Phillips archivist Jon Dann.
Mimmo Vitale made a film of animated images, accompanied by the music of the double album "The Lamb Lies down on Broadway"performed by the best Italian tribute bands - Real Dream, Get'em Out, The Cage, Revelation, Supper's Ready, Dusk e-band, Anyway, Estro, Dancing Knights, Oberon - and international.
Not only. The film also involves two ex Genesis (Steve Hackett and Ray Wilson), Martin Levac (from the Musical Box) and pianist David Myers.
It is also a generous project that aims to collect donations in favor of Emergency (Rael for Emergency).
Horizons Radio talked about it with the author: Mimmo Vitale.
HR: How did you come up with this project?
Mimmo Vitale: This project was born from far away, the idea of giving this concept album by Genesis "The Lamb Lies Down On Broadway" animated images of Rael's path, took more and more foot in me. I cleaned the disc, put the thumbtack on the grooves and entered another world, just like the protagonist (Rael). I imagined seeing a film with all the vicissitudes that Genesis told and, as I saw them, I wanted other fans like me to be able to experience them too.
Genesis have never managed to concretize the proposals of a film in all these years, and I don't think they will do it anymore. So I threw myself with my modest means in this adventure with the heart, then, if I succeeded, it is up to all those who will believe in this project to evaluate it.
You have involved - and, let's face it, even agreed - the main Italian Tribute Band of Genesis. How did you do? Have there been any discussions?
Honestly, the project was born with the original backing tracks of the album. What made me change my mind are the years I have spent so far chasing the concerts of the "Genesisian" tribute bands. First in Lombardy where I live, and then, more and more involved you also want for my photographic hobby, in other regions.
Often in their set lists they inserted "The Lamb", so I said to myself: "but why not give these musician friends the opportunity to accompany this project". By now Peter Gabriel & Co. no longer have to prove anything to anyone, while the cover bands felt more involved and eager to play them, and each of them also in different and interesting ways.
I made a list of bands to contact and with my friend Leonardo Antonelli, who lives in Rome, already organizer of the event "When Ray in Rome" with Ray Wilson, Notturno Concertante and a Jam session consisting of several elements of various Italian bands the "Masters of Jam", we divided the tasks to contact them, and so we left for this adventure.
We clarified with them what the project consisted of and that it was intended to donate the proceeds to Emergency so that, given the pandemic period of COVID-19, we could help Lombardy, which was undoubtedly the most affected. I have to say that all the bands responded positively from the start, and this helped us a lot.
Topics? I would say more than anything else I had to give priority to those bands that had good quality audio material, and there was a first skimming there. Then the rest worked itself out.
By what criteria did you match a song from The Lamb to a band?
This was one of the questions that Leonardo and I immediately agreed with. It was obvious that here we had to decide not based on a movie that the bands had in their drawer, but on the audio, which had to be of excellent quality, we could not produce a DVD in high definition and then have poor audio. And this was the priority request to the bands that we had forwarded. Once all the audio material was sent to me, I sorted all the pieces, deciding which video clips could be combined. And here I must confess that unfortunately some bands I reluctantly had to oust from the project. Even if we had already announced to friends that if their audio had not been good we would have discarded it and we are very sorry.
If you allow me the thought that in this regard I have expressed to those who are not there, it is that, in the near future, never to be found unprepared in these things, at any time you consider it appropriate, create a sort of data base, try to record video or audio from a service or friend who has the right tools, and then put them away, they are always needed.
You also involved international stars: two ex Genesis (Steve Hackett and Ray Wilson), Martin Levac (from the Musical Box) and the pianist David Myers. What criteria did you follow with them?
A - It may seem strange, because rightly of them we think of sacred monsters, so getting close for a few requests always becomes a bit complicated. The merit in reality is always in showing heart, for us, because Leonardo Antonelli "precisely heart" is the classic piece of bread that many love and these are the results.
He contacted his friend Mario Giammetti whom we know as one of the greatest connoisseurs of Genesis in Italy and I believe also abroad, he explained the project and its purposes and in a few days Steve Hackett gave his consent. He didn't even impose the song, we put it in "The Chamber of 32 Doors" and so it was.
Ray Wilson as I said before, with the 2019 project "When Ray in Rome" he knew of the goodness and seriousness of our work and adhered with his eyes closed.
Martin Levac and David Myers, former members of the Canadian "The Musical Box", consequently encouraged by mutual friends Giorgio Rosa and Michele Maran, they also accepted willingly. The thickness of the artists as you see is not only assessed by the music.
What kind of animation technique did you use?
I usually work with Apple's "Final Cut Pro X" or Adobe's "After Effects". They are two of the best professional programs that I feel better with. Very versatile editing with the first, and effects during the creation of clips with the second.
I can talk to you about "brainstorming". The purpose of this technique is to gather ideas on a certain theme, both in the presentation phase and in a subsequent phase of reflection. We try to display on the time line the main ideas that arise regarding the topic in question, and then we try solutions at the moment. Or the "Stop Motion" which consists in taking a frame-by-frame image and moving it, then making the same appear in real motion. Etc ...
How did you deal artistically with the subtle border between reality, dream and hallucination that characterizes Rael's story?
As I already describe in booklet inside the DVD that accompanies step by step the various adventures of Mr. Rael, "The Lamb Lies Down On Broadway" is the story of a young American boy of Puerto Rican origins, led on an adventure in an underground world of New York, halfway between dream, nightmare and the most overwhelming reality.
From Peter Gabriel's explanation, Rael makes a "journey into his soul", it is not only a physical transport but also (and above all) a mental one. Phil Collins also recalls that the story of The Lamb derives from a split personality of the protagonist. Throughout the album we never know for sure if we are in the reality of the real Rael, in that of his most profound, reflective and good personality, or in a very vivid but not real dream. Maybe a little one and a little the other.
So I tried this transposition between boundary and reality by alternating real images with those built like comics, because everyday life could be just that. You wake up, a coffee, go to work, come back, a shower, and then with your head between a book or a DVD you immerse yourself in a fantasy world where many of us would like to be.
Making the Lamb movie has always been Peter Gabriel's dream. Do you think he would like this work of yours?
In 1979 Peter Gabriel proposed to director Jodorowsky to make a film, Peter did everything to be the protagonist, but as we know, all this was never conceived.
I don't know if my work could reflect Gabriel's artistic thought and I don't even know how Jodorowsky got the score of the proposed film and the reasons why the two did not agree. I made this animated transposition of the concept album after seeing and reading many books and videos, sometimes very opposed to each other, to then get an idea and work on it.
To think that Peter Gabriel might like this way of seeing me would be, as a fan, an immense satisfaction, but I remain with my feet firmly glued to the ground and I enjoy the appreciation of friends or the "sick" like me of Genesis who have donated to have this DVD.
Will you let her have it?
With our friend Leonardo Antonelli we moved in this direction with the 4 guest stars of the project. We sent the DVD to the referents who take care of their image. As for Peter Gabriel, he is a little more complicated, he is a very private person, we don't want the job to be handed over to any person and then put aside. We are interested in being able to get it to him by people he trusts short hand, then if we are lucky enough to have an answer we will let you know.
Do you think it can ever become a real movie, with actors in flesh and blood, as Peter thought it?
In an interview from 1988, granted by Gabriel to his biographer Spencer Bright, the singer tells how two adapted versions of the story were elaborated, one written in his own hand and the other by Jodorowsky. Gabriel realized the "weakness" of his version compared to that of the director and so, unconvinced of the turn that the project was taking, he decided to end it.
The version told by Gabriel does not shed light on two other important aspects that heavily influenced the failure of the film. First, Gabriel's idea of playing Rael was discarded, and in my opinion even more unlikely today. Secondly, then, Charisma Films considered the cost too high and risky, Gabriel persevered pursuing the making of the film for a few years but met with less and less support, even from the other members of the band, not very enthusiastic about taking part in a totally focused project on them frontman and who seemed to have died on departure. Today, for the economic conditions of the film market and the conditions of any protagonists, one name above all, Phil Collins, seems absolutely unthinkable to me.
Why do you think Rael is so symbolic for Genesis fans? What strings does it touch?
Rael is trying to describe the indomitable entity of life. A life that changes constantly, as he himself changes into solid, liquid, fluid, which converge together towards the true Rael. It means that in all the moments of his life in New York, and then in that surreal adventure, in every beautiful, ugly, terrifying or exciting moment, he was always simply Rael.
We perhaps, but certainly I, find myself in this thought. In everything you do, you have to be yourself. What Rael saw in his brother John is none other than himself and therefore I always try to be good and bad myself. Peter Gabriel encourages each listener to find its meaning. There is an incentive to make our life what we want.
And why were you attracted to The Lamb, why is it a concept album or for other reasons?
I started following Genesis very early, I am from '57, end of '60 beginning of '70 were the years of great rock in all its facets. From Trespass in '70 to Foxtrot in '72 I saw the quality of their compositions grow album after album, 1973 with the release of "Selling England by the Pound" for me was the apotheosis of progressive rock or as they called it then " Symphonic Rock ".
The quality of the sounds, the compositions, the lightness that Hackett and Rutherford gave to the guitars was unrivaled. That album was for me the consecration of the best prog-rock band. I thought, "but after that, what could they have done better?"
Instead the year after arrival "The Lamb Lies Down on Broadway" BRILLIANT! Still considered the best story ever conceived and put into music ever. I must confess that at the beginning I struggled to understand the concept, I hardly chew English and the album is full of expressions and meanings very difficult to understand.
Then there are pieces full of sound effects such as "The Waiting Room" where Rael, caught by his fears, remains petrified not knowing where and how to escape from the imaginary white walls where he is. Or "Ravine" with the raven running away with the test tube containing Rael's penis. Here are these passages, over time, made me appreciate, in addition to the beauty of the album, also a story, as I said before, in which we could all meet.
With his previous works, Peter Gabriel has demonstrated that he has an excellent Homeric and Baroque historical background, with texts that are very difficult to interpret in order to identify us. While The Lamb is more within reach. The difficulty in creating animations in these points as difficult as the two songs described was a challenge for me. And in these two years in which I collected the material and then assembled it, I have deepened even more the beauty of this work and consequently the attraction towards it.
The DVD supports Emergency in the fight against Covid-19. Why this choice?
This project, as mentioned before, had been incubating for two years, however it was necessary to have time to assemble the puzzle of all the material I had accumulated. And of time - alas or in this case fortunately, don't get me wrong - COVID-19 and this lockdown made one possible full immersion at work.
Eight hours a day dedicated exclusively to video editing, including effects, character overlays, etc. So Even in this case, as last year for "When Ray in Rome", my friend Leonardo Antonelli, suggested me, given the period of discouragement for the epidemic in Italy, to give help to an association, in the Emergency case , to ensure that they could purchase medical supplies through donations for the DVD.
To date, thanks to the many friends who believed in this project, we have already collected a first important figure and we are proud of it.
If you allow me, I would like to thank my friend Leonardo Antonelli for supporting me in full. This project is also his. Special thanks go to Mario Giammetti, Giorgio Rosa and Michele Maran with the cultural association “Duke”Of Padua, I thank Marco Zatterin, journalist and writer for his detailed review inside the booklet, a hug to my dear friend Roberto Conditi important presence when it comes to Genesis, without their help we could not have given an impression of professionalism to the DVD. Finally, our heartfelt thanks to these extraordinary professionals who married the Rael per Emergency project and initiative without batting an eyelid, giving us their presence and their extraordinary music.
Thanks! Mr. Steve Hackett, Mr. Ray Wilson, Mr. Martin Levac Mr. David Myers
The bands that participated in the project:
Anyway (Turin), Ray Wilson & band, Dancing Knights (Rome), Real Dream (Genoa), Dusk eB @ nd (North East Italy), Revelation (Rome), Estro (Rome), Steve Hackett & band, Get'em Out (Milan), Supper's Ready (Bolzano), Martin Levac & band, The Cage (Parma), Oberon (Palermo), only David Myers piano.
The CD comes in a digi-pack package, while the LP is made of heavy black vinyl, has a printed inner bag and contains a high resolution download code.
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The LP was mastered at half speed by Matt Colton at Metropolis Mastering.
In the United States, vinyl was printed by Record Technology Inc, while vinyl for the rest of the world is printed by Optimal.
«We know that many of you have wondered what happened to this release, but, as for the "Book of Love", the reasons for the delay are long and boring. Suffice it to say that we are sorry for the wait. » is written on the Peter Gabriel website.
There was also a chance to win a test artwork, personally signed by Peter Gabriel.
A test of was generated artwork to control the printing process. Peter agreed to personally sign the trial for a lucky winner. Who will also receive the album on CD and LP.
With the name NDV, the American drummer has released a new album entitled "Invisible" on the English Electric label.
Buy it here:
It's a concept album in which many participate guest star, including two bassists from the Genesis galaxy like Tony Levin and Jonas Reingold.
Listen to the single "I Know The Way":
This song is the central piece of the disc. The choir melody is a recurring theme throughout the album:
Drums, loops, vocals: Nick D 'Virgilio
Bass: Jonas Reingold
Guitars: Randy McStine
Piano and Synthesizers: Jordan Rudess
Background Vocals: Nick D 'Virgilio, Kat Bower, Beth Cohen, Nathan Heironimus, Sophia D' Virgilio
Brass / Strings: Orchestra at Abbey Road Studios
So NDV tells about the birth of the disc in his website:
«The idea of this story came to me for the first time when I started concerts with the show Totem del Cirque Du Soleil.
It would have been the first time in my musical career that I would have been listened to but not seen. I had never played in "Broadway" style shows where I was in the "hole" with the rest of the band. I am and have always been a rocker. Strong and proud on stage with the band. But for Totem I played the drums and sang from a stand behind the stage.
The music for the Cirque shows serves to support the incredible artists who literally stake their lives in the name of entertainment for up to 10 shows a week.
In the end it was a very special moment not only for me, but also for my family. I didn't have to play just the drums, but also the guitar and then sing a song right in the center of the stage, in addition to some other small parts. I also became the band leader's assistant, which meant that I was conducting a couple of shows a week.
During my spare time, I was writing music and after a while I started piling up a bunch of riffs, melodies, song ideas and more. The word "invisible" kept coming to mind. It made me think of people who really do hard work in the world. Or that they don't have a job at all. The outliers. The ones we all take for granted. Those we will never know, but if they weren't there, our lives would hardly be the same anymore.
It was at that point that I realized I wanted to write a concept album. Something I had never done before. I had the idea and I knew it was a concept that I wanted to explore. I studied, asked questions, looked, listened and learned the best I could. Although this story is fiction, I have drawn on some of my personal experiences and have disseminated them everywhere.
The main thing this record has done for me is to reaffirm my strong belief that we are all here for something. Be it small or large. Whether everyone knows your name or not. We all have a purpose. Find your."
D'Virgilio played with igenesis, in the album "Calling All Stations" (in "Alien Afternoon" (first part), "If That's What You Need", "Uncertain Weather", and "Small Talk" on percussion) ...
NDV's solo debut album, "Karma" (2001), came out while he's busy with the titans of American progressive rock Spock's Beard, with whom he started as a drummer in the early 90s, before taking on other roles as a solo singer and frontman live in 2002 for four studio albums before his departure in 2011.
He performed with i Tears For Fears, with whom he has been touring for over a decade, edto 2007 he is also drummer of the British band Big Big Train.
"The Songs of Genesis: A Complete Guide to the Studio Recordings", by Steve Aldous it is the chronological history of the band, with the critical analysis and key details of each of the 204 Genesis songs recorded and published.
There are two formats, for now only in English.
Buy it here in K formatindle:
Buy it here in paperback format:
Born in Bury, Lancashire, United Kingdom, in 1960, Steve Aldous has been interested in cinema, music and police fiction all his life.
In recent years he has devoted himself to writing. His first published book, "The World of Shaft: A Complete Guide to the Novels, Comic Strip, Films and Television Series", is a story and analysis of Ernest Tidyman's black private investigator, John Shaft and was well welcomed by fans of the genre.
His latest book is "The Songs of Genesis: A Complete Guide to the Studio Recordings".
Here is an excerpt from the preface:
Genesis' songs have been a huge part of my life, and this book was meant to tell the story behind each of them.
The book chronologically catalogs all the songs of the band from their earliest demo in 1967 until the last studio recording in 1997, a period of thirty years, which has seen Genesis progress from the origins of a schoolboy band to one of the largest rock bands in the world.
In addition to offering opinions on each of the band's songs, I provide information on recordings based on extensive research of archival material.
Along the way I contrast mine opinions with those of the band members and of the music press, which in the post-punk days, they often wrinkle their noses at the mere mention of Genesis.
The book is available, published by Kingmaker. Mario Giammetti has agreed to talk about it with Horizons Radio.
HR: Anyone who has read the news of the release of your book has thought the same thing: "it does not often happen that an essay in Italian becomes a publication in English". Can you tell us how it went?
Mario Giammetti: I had been looking for an international publisher for my Genesis books for some years. During this process I ran into obstacles of various kinds, someone shareable (how can an English publisher, for example, judge the quality of a work written in a language he is unable to understand?), Others much less. For example, I learned that in England it is difficult to listen to a writer without an agent: I mean, in Italy an agent will perhaps be able to afford it Elena Ferrante, certainly not someone who writes about music! To all this was then added a significant problem, namely that any of my writings should have been translated, with a consequent increase in expenses. Finally, even if no one has ever told me expressly, underneath, by some foreign publisher, I also perceived a sort of mistrust: like, what does an Italian know about Genesis?
In the end I finally ran into the right people: two real fans (the journalist of the English magazine Prog, Nick Shilton, and the founder of Big Big Train, Greg Spawton) who wanted to start a music publishing house that paid particular attention to the quality of the product , overshadowing the box talk.
What impressed your book compared to the many writings about them in the Genesis motherland?
The focus is on music, more than on history, which has already been gutted more than enough, in the first place by Armando Gallo. In the end, what makes us love Genesis is their artistic production, isn't it?
The touch of class, however, are the plays that a part of the group has accepted to do with me: I listened to the whole The Lamb with Tony Banks in the studies The Farm, From Genesis To Revelation and Trespass with Ant Phillips (who had not done it for 40 years!), the other three with Steve Hackett. Just try to imagine what it means, after having assimilated each passage in decades of passion, to listen to those magical notes shoulder to shoulder with those who composed and recorded them: their almost minute by minute comments have become something really new for the bibliography on Genesis.
I would also like to point out that all the statements included in the book are unpublished, since only a small part of the interviews that Gabriel, Collins and Rutherford gave to the British journalist Mike Kaufmann had been included in the bonus videos of the remaster 2008.
What difficulties have you encountered in having your book translated from Italian into English?
None. Merit of Octavia Brown, who was commissioned directly by the publisher. Octavia is bilingual but it is also very prepared on a musical level, being also involved in different situations also in Italy (starting with the famous Prog Festival of Veruno). So she was very good even in the most technical parts, which gave me some concern. I read somewhere the comment of an English reader, who claims that it doesn't seem like a book translated from another language, and this I think is a great satisfaction for everyone.
Are there differences between the Italian and English versions? Which?
Very few, as Kingmaker purchased the rights from Giunti with the obligation to respect the Italian edition as much as possible. Naturally, however, some typos have been fixed and the list of concerts has been further improved thanks to a maniacal revision work done together with George German and Alessandro Borri.
And then, at my request, the sources of each declaration are now indicated, sentence by sentence, which Giunti had preferred to group instead at the end of the chapter. Finally, we added short excerpts of interviews that I made after 2013 and also some photos.
How does it feel to see your English version of your book?
It was my dream and it's a great emotion. The book is printed on the highest quality paper and honestly I couldn't ask for anything better.
Has any member of Genesis already seen the publication?
I understand it was sent to everyone, but I don't know if it has reached the various destinations. The coronavirus has created many organizational difficulties and even the usually highly efficient British post offices have gone into tilt. I myself received my copies only yesterday (and in my case a courier was used).
I don't think Tony or Mike are very interested in reading about Genesis, but I hope they make an exception this time because it is a different perspective where it is also fun to compare the different memories and opinions from the band members.
I hope Ant reads at least the first two chapters, since I think it is the first book ever that highlights his figure in this way.
As for Steve, I'm sure he will read it from start to finish!
Will your book be available in Italy? How?
I don't think it will be found in bookstores, it wouldn't even make much sense being the Italian version "Gli anni Prog" still in the catalog. You can certainly order via the Internet.
It is currently available on the Burning Shed website, but I understand that later on the sale will also be extended to other platforms, such as Amazon.
Do you expect to sell a lot in England? How are our beloved Genesis perceived there today? Are they still arousing interest?
I'll tell you an anecdote. A decade ago I managed to get to Chris Charlesworth, a well-known British journalist who, at the time, was head of the even more famous Omnibus Press (according to Wikipedia, even the largest music publisher in the world!). I had proposed the 'Genesis Files' project (a series of seven books, one for each member of Genesis, even if at the time I was only a little over half the work, which I would have completed only in 2016 and is still available in Italian for the Sign editions), underlining the fact that nothing like this has ever been made anywhere in the world. Charlesworth, after thinking about it for a moment, replied that the commercial strength of the Genesis was not enough to justify such an operation.
Strange as it may seem, we must resign ourselves to the fact that Genesis will never be considered as Beatles, Stones, Zeppelin, Queen, Pink Floyd, U2 etc., whose popularity in terms of sales is abysmally superior. This, of course, is even more true in Italy. And yet, the response of British fans to reunion at the end of this year, despite the prohibitive costs of tickets, it was exciting.
Ultimately, Genesis certainly remain worthy, even at home, of being counted among the greats of rock, but perhaps not among the greatest. It is clear that this is not my opinion, but only what I think I have perceived in those parts.
Now that the die is cast, will you publish more in English, about them, for example, the second volume, the post-Gabriel?
Yes, there is already an agreement with Kingmaker to publish the sequel to the Genesis story, which I had already completed at the end of 2017. I have already given us a subsidiary and it is now all in the hands of Octavia Brown for a publication in the course next year. Maybe with the addition of a final chapter dedicated to the Last Domino tour.
Meanwhile the new issue of has just come out Dusk, the Genesis Magazine of which, let us remember for the very few who do not know it, you are the creator and director.
With a slight delay, due to the pandemic that slowed down processing and shipping.
On the cover of course the reunion by Genesis, on which we transparently express our legitimate doubts, but this time we have focused in particular on the figure of Phil Collins: with the excuse of two recent vinyl reprints and a book, Francesco Gazzara has compiled a very enjoyable dictionary on the great artist.
We also remember the 25 years of the Musical Box and we have traced some tangential, but extremely interesting, characters that gravitate around the Genesis orbit.
For reasons of space, of the four interviews already carried out, this issue contains only the first two: to Allan Schwartzberg, drummer of Peter Gabriel's first album and first solo tour, and to Harry Kim, trumpeter alongside Collins for thirty years.
Thanks and good luck to Mario Giammetti for all his work. And here's the cover by Dusk.
The book includes, in addition to exclusive interviews with the members of the group and the main collaborators, as Mario has told us, some unpublished photos.
Kingmaker Publishing was launched last year by Prog journalist Nick Shilton and Big Big Train founder Greg Spawton.
«I've been a huge Genesis fan since my youth and have read every book in existence about the band. However, Mario’s book contains a wealth of details about the Peter Gabriel-era of Genesis that were previously unknown to me. I felt these insights needed sharing with the Genesis fan base and therefore was very keen for Mario’s book to be Kingmaker’s debut publication.»
Don't you have the Italian version of Mario Giammetti's book? Buy it here:
Steve Hackett is guest of Ms Amy Birks' new single, I Wish .
The song is taken fromdebut solo album by the Beatrix Players singer, All That I Was & All That I Am.
Here is the video of the single:
The video, created by Susan Raybould, depicts Birks and a flamenco guitarist, each represented through origami stop motion.
Amy ran into Steve ai Prog Awards, asked him to play and he accepted.
The new single uses the words Christina Rossetti - a pre-Raphaelite poet, activist and artist.
The single and the album are also available for streaming and downloading:
The new album was produced by Birks and Wollage (who worked with Tony Banks on Seven (A Suite For Orchestra).
Available onpackage limited edition cd, with gatefold cover with six 7 "panels, accompanied by a twelve page photo book. This format is exclusive for mail order sales and will be available at the merchandising stand on all shows from April 5 (see below).
Also expected a vinyl album in a gatefold 12 "cover and will also be available through all the usual download and streaming services.
Titled "Here It Comes Again", this brand new album by Francesco Gazzara includes arrangements for piano and orchestra of some precious Genesis gems from '71 to the '80s and presents the same musicians of the previous work plus other guests.
Once again the artist Ugo Micheli provided a watercolor for the gatefold cover (the front is visible here).
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