On March 16, 1991, the number zero of a glorious fanzine (later transformed into a glossy magazine) was closed in the virtual editorial office of Dusk which, unique in the world, still stands today in printed form.
To celebrate this incredible anniversary, in addition to the special issue reserved only for the associates they are working on, the creator and director Mario Giammetti and his working group asked the members of Genesis to share the joy with them.
Mario Giammetti tells Horizons Genesis about 30 years of Dusk.
- When and why did you have the idea of a publication dedicated to Genesis?
In 1990 I went to see Anthony Phillips, whom no one in Italy that I know of had ever interviewed. We talked for over an hour but Ciao 2001, which I was collaborating on at the time, only gave me three or four pages, for a result of two pages. What about the rest, I wondered? A pen pal of mine at the time told me: why don't you print the full interview and sell it to fans? This seemed impractical to me, but it reminded me that, perhaps, there were several people interested in having more news about the world of Genesis. At the time only Ciao 2001 and Rockstar talked about it, but obviously only on the occasion of new albums. Also at that time there were fanzines dedicated to artists, in my opinion, much less important than Genesis, so I decided to try, just for fun: already having a book ("Genesis Story", Gammalibri 1988) and three years of articles on Hello, I jumped across the fence out of curiosity by making a photocopied number zero which I sent in exchange for a postage stamp.
- Besides Dusk, what other names did you consider?
None, actually. When I thought about the name, I told myself it had to be short and immediate. Dusk lent himself to all of this. Furthermore, its translation also hid a hidden meaning: twilight, sunset. Which went along with my idea of always being objective, without ever being blinded by the fan vision. Coming to admit, if necessary, even the twilight of an adventure. Which, however, never happened. At least, not entirely.
- What were the difficulties of this enterprise and what continue to be?
Manpower, if we can say so. Although with the essential help of fantastic collaborators, the practical and economic management (even if for a couple of years on this last point I have received substantial help from Stefano Tucciarelli) continues to weigh exclusively on my shoulders. This is certainly positive on the one hand, because I don't have to ask anyone's permission on the choices I'm going to make, but it gets really heavy when it comes to completing a number. I am referring to the realization, always very complicated, but also to the purely physical aspect: bringing the envelopes and packages to the post offices is frighteningly tiring. On postal disservices, then, it is better to spread a merciful veil.
- What has been the greatest satisfaction of these 30 years?
From a personal point of view, obviously knowing, albeit at various levels, my favorite musicians. Then the fact that, albeit rarely, sometimes I got things with Dusk that I had been denied as a journalist (more often, to be honest, the opposite has happened, but there is). But the greatest joy is having the number in hand, fresh off the press. It has been happening for 30 years and it is always an emotion, even if at times it turns into disappointment due to some unexpected printing error or a typographical work that is not exactly flawless.
- What was the hardest interview you've been chasing the longest?
Phil Collins. After a brief face-to-face meeting in Perugia in 1996, I had to wait eight years before finally being able to do a proper interview with him at the Filaforum in Assago in 2004. Experience then replicated in 2010 and, by telephone, in 2016.
- Who is the most interviewed Genesis member and why?
Certainly Steve Hackett, for two reasons: first, he is by far the most active of all. Second, he is also incredibly helpful and, moreover, very reliable and quite accurate in his memories.
- We don't think so, but did you miss someone from the Genesis galaxy to interview?
Peter Gabriel has not yet accepted an exclusive interview. I met him several times and personally asked him questions at press conferences or roundtable (chats for a limited number of reporters, usually eight), but my endless requests for a face-to-face or telephone call to his assistants have not yet been successful. For the rest, I would say that I have really intercepted everyone, at least those alive. Including the most inaccessible of all: John Silver.
- What do the Genesis think of Dusk?
They are certainly all grateful for the work we do, aware that this kind of publications are used to keep the flame burning and feeding. There is of course the problem of the language, so they cannot read what I write even if, to tell the truth, I don't think that, at least the big ones, would care that much. Tony Banks, for example, has repeatedly stated that he does not read reviews or books about the band and that he was forced to do so in the case of Mike Rutherford's biography (only to regret it bitterly!). Steve Hackett, on the other hand, is very attentive and interested and, if I send him the translation of an article, surely he reads it.
- Have they ever asked you (even some Genesis members) to translate Dusk's articles into other languages?
For some years there has been a photocopied English version of Dusk, at least of most of the articles included in each issue. But then I stopped: it wasn't worth it because foreign subscribers have always been a small minority. On the other hand, there are countless times that someone has told me “if it were in English, I would not lose a Dusk issue”. They are the ones who liked my book very much "Genesis 1967 To 1975: The Peter Gabriel Years”, Published last year by London-based Kingmaker.
- Since Dusk is the only paper publication in the world on Genesis, what feedback do you have from abroad?
Let's go back to the language; those who do not speak Italian concentrate on the impact of the photos and on the contents and it is not uncommon for some foreign friends to write to me asking for more information on something they have picked up but obviously cannot fully understand. But there are a handful of enthusiasts who follow us with absolute fidelity even without understanding a single sentence: they just need to look at how the newspaper is structured to understand that it is always worth it.
- You do not always agree with the choices of Genesis (see for example the last reunion) or with the quality and necessity of certain reprints. And don't censor yourself. Do you think this editorial line will change over time?
Absolutely not. When there has been criticism, we have always done so, without any hesitation, in accordance with the editorial of number zero. We can obviously disagree, but certainly no one can accuse us of bias. From time to time someone calls me the number one fan of Genesis, thinking of paying me a compliment, but for me it is not at all: that you adore the band is obvious, but I consider myself a journalist first and only rebound a fan. For this I use, for the albums that I review on Dusk, the same critical approach that I used with Hello, Rockstar, Jam and that I still use for Classic Rock: total sincerity, without discounts to anyone.
- What is the hardest criticism and the most beautiful praise from the readers?
Some readers in the past have called us a sort of Steve Hackett's fanclub, because we talk about him more and more than others. But how could it be otherwise, given that it publishes three times what all the others put together? Some other readers believe that too much space is given to Anthony Phillips (forgetting that he was the founder and for a short time even the leader of the band). Finally, many hate Ray Wilson and not even cordially. I once met a former subscriber at a concert who, after introducing himself, candidly confided to me that he had stopped following us because he couldn't stand the idea of seeing Ray on the pages of Dusk! But Ray was a member of Genesis, for which he sang on a record and tour. As such, it has exactly the same rights as the other members even if, obviously, it does not hold the same artistic palmares.
Among the praise, first of all the constancy; many readers are almost in disbelief at such perseverance and see Dusk as a family friend who visits them at home every four months. Intellectual honesty and the attitude to always write without filters, something not so frequent in the world of the so-called fanclubs (a category in which Dusk, moreover, does not fall), where one is often subjected to artists, is also very appreciated: pride that has never happened and that if any mistake has been made, and has happened, it was, if anything, out of affection, certainly not out of opportunism.
- Do you also foresee a more consistent development on the web for the next few years or do you remain faithful to the value of the paper?
I recognize the importance of the web, but it's not for me. When Dusk ceases to print, it will only remain a good memory, at best the minimal website as it is today.
Thanks to Mario Giammetti, happy birthday and good luck for the next, many, years of Dusk.
Key locations for Peter Gabriel include the city of Bath and its environs in Somerset, UK.
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".
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.
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.
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".
Anthony Phillips has released remastered versions of his four original "Missing Links" albums in a 5-CD box set.
Buy it here in digital version and 5 CD box:
The collection gathers the library of Ant and music for television from 1976 onwards. It also includes a 27-track disc of rare and unreleased material.
The very first "Missing Links" was released in a limited edition in 1989 and, although the four original volumes of the series were subsequently released on CD, they have been no longer available for some years, but exchanged between collectors:
Its popularity led to three other editions of "Missing Links", which collected not only soundtrack compositions, but also other rare archival recordings made by Anthony Phillips over the years.
Anthony worked with his archivist Jon Dann to prepare this new edition with, in fact, a new additional CD of 27 tracks of unreleased and rare archival material, "Extra Links" exclusive to this set.
"MISSING LINKS I - IV" will surely appeal to fans of Anthony's work. This new boxed edition features liner notes by Jon Dann.
Disc One - Missing Links Volume One: Finger Painting
1 Force Majeure (1987) 2 Mountain Voices (1987) 3 Lord Of The Smoking Mirror (1987) 4 Sea Horses (1987) 5 Dungeons (1987) 6 Between The Rings (1983) 7 Evening Ascent (1983) 8 Streamer (1983) 9 After The Rain (1987) 10 Rottweiler (1983) 11 Sad Fish (1983) 12 A Song (1979) 13 God's Chosen Car Park Suite (1986) Processional - Meditation - Cave Painting 14 Tropical Moon Over Dorking Suite (1985) Estrangement - Myra's Dream - Reconciliation 15 Fountain Pool (1986) 16 Q. (1984) 17 Three Piece Suite (1984) To The Shrine - Through The Forest - Towards The Light 18 Boulevard Of Fallen Leaves (1981) 19 Land Of Dragons Suite (1989) Land Of Dragons (Part 1) - Kites - Harbor At Sunset - Dance Of The Crabs - Sand Octopus And The King Crabs - Do The Shrimps Know They're Chinese - Land Of Dragons (Part 2) 20 And A Prayer (1979) 21 Tierra Del Fuego (1979) 22 Paradise Found (1979)
Disc Two - Missing Links Volume Two: The Sky Road A Collection Of Archive, Commission And Unreleased Album Material
1 Exile 2 Lifeboat Suite Opening Theme - Sunday Morning - Another Shout - Across The Sandbar - Storm Warning - Kim Waits - The Rescue Of The Janet C - Let Not The Deep Swallow Me Up - Closing Theme 3 The Bitter Suite part 1 - Part 2 4 Across The River Styx 5 A Flock Of Souls 6 Along The Towpath 7 The Sky Road 8 Tears On A Rainy Day 9 Tiwai: Island Of The Apes bats - In The Firmament 10 Wild Voices, Quiet Waters Suite Twilight On The Lake - Winterloons - Waterstar Serenity 11 Timepiece 12 Field Of Eternity (Excerpts From The Original Version) 13 The Beggar And The Thief
Disc Three - Missing Links Volume Three: Time And Tide A Collection Of Television And Library Music 1992 - 1997
1 Amazonas 2 Peruvian Plains 3 Manatee Garden 4 Turtle Race 5 Indio Wedding 6 Underwater Forest 7 Fiesta Del Charangos 8 Slow Hand Sloth 9 River Chase 10 Sacred Kingdom 11 African Dream 12 Bedouin Train 13 Sandstorm 14 Kalahari March 15 Songoku 16 Schuan Journey 17 Slow Boat To China 18 Back In The Land Of Dragons 19 Shadow Puppet 20 Sea Jewel 21 End Theme For Five 22 Minnow Dance 23 Sunken Galleons 24 Haunting The Dark Sea 25 Time And Tide 26 Okavanga 27 Under Desert Stars 28 Lost In A Desert Night 29 Blue Lagoons
Disc Four - Missing Links IV: Pathways & Promenades
1 The Golden Road To Samarkand 2 Promenade 3 Sceptred Isle 4 Cucaracha dance 5 Fallen Idol 6 Cascades 7 Sky Dawn 8 Misty Mountains 9 It's All Greek To Me 10 Haven From The Sea 11 Heavenly Gene 12 Ironclad 13 Water Gardens 14 Night Train 15 Sleeping Giant 16 Sombrero 17 Irish Lament 18 Aurora 19 Without You 20 Sad Exodus 21 Summer Of Love 22 Light Rain 23 Halcyon Days
Disc Five: Extra Missing Links
1 Opening Theme For Five 2 Empire Of The Elephant 3 Great Rift Valley 4 Dwellers Of The Deep 5 Exile Link 6 Freeway Dude 7 Sumatra 8 Tears On A Rainy Day Link 9 Is There Anyone Out There? 10 Antibes Cocktail 11 Tropical Moon Romance 12 Sitar Pastoral 13 Wings Over The World 14 Stakeout 15 Bush Babies Suite 16 Sky Road Link 17 Citizens Of The Coral 18 Estrangement (Piano Mix) 19 Night Search 20 Granada 21 A Noble Spirit 22 In The Heart Of Africa 23 Malvern Hills 24 Flight Of The Snow Geese 25 Never Meant To Be 26 New Alchemists Suite 27 The Beggar & The Thief (Instrumental V)
30 years ago, on September 24, 1990, Anthony Phillips' masterpiece "Slow Dance" was released.
The album is a 50-minute instrumental suite divided into two parts. The music was composed by Phillips and performed by himself with other musicians:
Anthony Phillips - keyboards (E-mu Emax, Roland Jupiter-8, Casio CZ-5000, Roland TR-808 drum machine), guitars (Alvarez 12 strings, Fender Stratocaster, Yari classic, Ovation 6 strings), Gretsch fretless bass, TOM drum machine, Yamaha QX5 Sequencer on "Slow Dance (part 2)".
Martin Robertson - clarinet
Ian Hardwick - oboe
Michael Cox - flute, piccolo
Tjborn Holtmark - trumpet
Julie Allis - harp
Ian Thomas - drums
Frank Ricotti - percussion and off spin
John Owen-Edwards - director
Gavyn Wright - leader of the bows
Ralph Bernascone - director of the quartet
Listen to the album:
All the songs are composed by Anthony Phillips.
1. "Slow Dance (Part 1)" 23:57
2. "Slow Dance (Part 2)" 26:27
In 2017, Slow Dance was reissued as a digipack 2 CD / 1 DVD Deluxe Edition.
Contains the original and a new stereo mix, a 5.1 surround mix and previously unreleased tracks titled "Slow Dance Vignettes".
The package includes a poster and a 16-page booklet with extensive liner notes.
1. "Themes from Slow Dance" 3:30 2. "No Way Out (Alternate Mix)" 4:23 3. "A Slower Dance" 3:36 4. "Guitar Adagio from Slow Dance" 4:31 5. "Touch Me Deeply (Demo)" 5:58 6. "Clarinet Sleigh Ride" 6:54 7. "Slow Dance Single Demo (Alternate Mix)" 7:38 8. "No Way Out (Original Mix With Drums)" 8:21 9. "Lenta Chorum"
The title of the album was decided in the summer of 1990.
Phillips stated that "Slow Dance" was among many possible, including "Time & Tide" and "Field Day". The latter was used for the name of Phillips' 2005 album.
"Slow Dance" would have been suggested by someone at Virgin considering the album an excellent accompaniment to a ballet.
1) Genesis “Home by the Sea” (1983). The lyrics of the song are actually not very summery and related to the sea: it is about a thief, who breaks into a house only to discover that it is haunted. The thief is captured by the ghosts, which force him to listen to their stories for the rest of his life.
2) Peter Gabriel "Red Rain" (1986). Also in this case the sea is rather disturbing. The text was in fact inspired by a recurring dream in which Gabriel was swimming in a sea of red water. Gabriel explained to “Mojo” magazine in September 2013: “Red Rain” was written after a dream I had had in which the sea was divided by two walls. There were these glass figures, which screwed into each wall, filled with red blood and then lowered to the sand, where they dumped the blood. I had these extremely vivid dreams, which scared the hell out of me ”.
3) Mike + The Mechanics "Beggar on a Beach of Gold" (1995). The beach is a metaphor, also highlighted by the cover, in which Mike is sitting barefoot on an expanse of gold coins. As if to say that it is about appreciating what we have here and now and not looking for what we cannot achieve anyway. Appreciate what we have, even the little things.
4) Phil Collins “Too Many Fish in the Sea” (2010). It is a hit song from 1964 recorded by the Motown singing group The Marvelettes. It was the group's first hit, in the top 40 for nearly a year, reaching number 25 on the Billboard Hot 100. The song was one of the first hit singles written by Norman Whitfield and Eddie Holland. It was also the first single produced by Whitfield. In 2010 Phil Collins included her in "Going Back", his eighth solo studio album, with covers of 60s Motown and soul standards. “Too Many Fish in the Sea”, was given as a free preview to new users registered on Phil's renewed website. Then he was part of the bonus tracks of the DVD and of “The Essential Going Back”, a reissue released on 10 June 2016. Here too the fish in the title are a metaphor.
5) Ray Wilson "Song for a Friend" (2016). In the song Ray lets himself go to memories: "If you look over there, that's where I was born". The song is based on simple flashes of memories about his mother: "She was just the best mom in the world", which is compared to the fresh and clear sea air.
6) Steve Hackett "Loving Sea" (2015). Steve explained it in this video, released on July 26, 2020:
7) Anthony Phillips "The Sea and the Armadillo" (1984). It is part of the album “Private Parts and Pieces IV: A Catch at the Tables”, Ant's ninth studio work and the fourth installment of his “Private Parts & Pieces” series. The piece is instrumental. In the album, between sea and lake ("Down Over The Lake"), water is very present, even on the cover:
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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.
Buy it here:
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 tracks originally released on the albums The Geese and The Ghost, Private Parts and Pieces and A Catch at The Tables, along with two New England pieces, the eighth volume of the Private Parts & Pieces series and a 12-point solo version strings of the first movement of a Guitar Quintet he composed in 1976, which was subsequently 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.
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:
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 andStairway 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. "