It is the first ever Reading Festival, held near the Thames in Richfield Avenue between Friday 25 June and Sunday 27 June 1971. Among the artists in addition to Genesis, Lindisfarne and Wishbone Ash.
The Reading Festival originated from an annual Jazz and Blues festival organized by the National Jazz Federation and the Marquee Club of London in 1961.
The first Reading Festival took place in 1971 when promoter Harold Pendleton staged the event as part of the celebrations for the 850th anniversary of the founding of Reading Abbey.
To learn more:
Since 1980 the festival has achieved an international reputation, including the biggest names in rock music.
The late 80s and early 90s saw changes in the contemporary music scene with new indie and cross-over dance sounds.
Nearly 90.000 music fans flock to Reading every August Bank Holiday, making the city an internationally recognized name on the music scene.
It has become an important part of Reading life and in late 2004 the Reading Museum organized a large retrospective exhibition called 'Music, Mud and Mayhem', which chronicles the festival's 30-year history.
Genesis have attended the Reading Festival several times. Here are the recordings.
During the Nursery Cryme Tour on 11 August 1972:
On August 26, 1973:
On August 26, 1979, Phil Collins joined Peter Gabriel at the Reading Festival and performs with him The Lamb Lies Down on Broadway:
No Self Control:
Mother of Violence:
And here are Steve Hackett's holdings:
The songs performed by Steve Hackett in Reading in 1981 are contained in the album "Premonitions - The Charisma Recordings 1975-1983".
"Genesis began the Trick Of A Tail tour with several shows in Ontario and Buffalo, New York in March and gained confidence in the new set and new lineup before playing in front of the home crowd."
Read the Horizons Genesis article:
"They played two shows at the Hammersmith Odeon on June 10th and 11th.
Collins greets the audience by saying: 'Good evening London ... The next thing we're going to play for you, if you remember the last time you saw us it was probably at Wembley we played Lamb Lies Down On Broadway for you. And tonight we took three pieces from the story ... and we rather casually renamed it 'Lamb Stew'.
For "White Mountain" Rutherford says: 'And back in the days when the tinkling of beer mugs was heard during the acoustic tunes, we were playing songs from the Trespass album. Acoustic songs from the Trespass album. So tonight we should play one called 'White Mountain'.
Steve Hackett introduces his song "Entangled" by saying: 'It's a waltz, a slow three-beat so take your partners'.
Before "Los Endos" Collins announces that they have recorded the show for an album. 'I suppose, since you are all there, you will buy it.'
The encore is the medley of "It" and "Watcher Of The Skies". The latter is instrumental and has never been sung by Collins live. "
From March 26th to July 10th 1976 Bruford toured with Genesis in the "A Trick of the Tail Tour" in North America and Europe, the former after Peter Gabriel left the band and Phil Collins moved on to vocals from drums.
Bruford had also performed with Collins' side project, Brand X, during which he suggested sitting in Phil's place on drums while Collins sang onstage, until Genesis found a permanent replacement: Chester Thompson.
Bruford is included in the concert film recorded during the tour, "Genesis: In Concert", and in the live albums "Seconds Out" and "Three Sides Live".
To learn more:
And here are some videos in concert and not only with Genesis:
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".