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".
“It was the middle of winter and there was hardly anyone else on
still just the seven of us on the road together, which when you
look at the armies of crew that bands employ nowadays seems
It was a four-hourcrossing and we were bored stiffbecause there
there was nothing to do. I found this box with life vests in it,,
and so we all got our vests on and posed for what has now become
a famous picture of Genesis, all of us with our hair down past
our shoulders, Mike drinking from a small bottle of Mateus Rosé
because that's what we drank in those days, that or Liebfraumilch.
(...) Nowadays when you go abroad you have satellite navigation
that tells you precisely where to go and mobile phones or
with maps on them, but I really had no idea where we were heading
in Belgium. I didn't even have a fold-out map.
(...) The place,
a club called Ferme V, packed to the roof, but the fans knew every
note. It was unbelievable. While in England it was a very slow
build-up, in Belgium it happened very suddenly, like a minor
explosion as far as we were concerned.
Another thing I remember
is that we stayed in a three-star hotel, very comfy, and that Peter
shared a room with me because he couldn't bear to share with Tony
ever again, not after his experiences at the cottage.»
«Philippe Grombeer (future artistic director of the major Belgian theaters) is a member of the" Club of the Eagles ", and has rented, on behalf of the municipal administration, a farm in Woluwe-Saint-Lambert (a suburb of Brussels)"STOP V". The space is not large, the interior is old, but what does it matter! " - CONTINUE ON GENESIS PLACES
«5 bold young musicians hold their first concert across the border ... They have behind them a first bankruptcy album and a second (the last one) that something has picked up, especially right where they are going to play) ... » - CONTINUE ON:
«Some privileged people saw them in all intimacy and shared everything with them. And with good reason: Belgium was the first foreign country in which the Genesis set foot. " - CONTINUE ON NOSTALGIE
«Like all the superstars before being successful, they slept in lousy hotels, murky rooms in the back of smoky pubs, lost in the countryside. But luck always smiles on those with talent. " - FIND OUT MORE ON FACEBOOK GABRIEL'S ANGELS
On February 2, 1976 he left A Trick Of The Tail, the first Genesis album after the release of Peter Gabriel. Here is a multimedia story.
I Genesis tell the album like this:
"To our great relief it is understood quite quickly that we can get away even without Peter", Phil Collins tells in his autobiography.
"The songs come to us as in the old days, and it's good stuff. We are ready Dance on a Volcano. They follow Squonk e Los Endos, for the album that will be titled A Trick of the Tail."
All while the Melody Maker throws the bomb: "Peter Gabriel leaves Genesis". The news leaked before they had time to catch up.
ganize. Thus, in the musical environment there is a rumor that Genesis is over.
"Composing A Trick of the Tail was like the beginning of an exciting new chapter. I would not have liked that Peter left, but I knew there was going to be a change. " Mike Rutherford tells in his autobiography.
"Now that he was gone we felt like a new band - Mike says -. It seems strange to say now, but Phil's voice was not what it would become. Stratton-Smith said Phil sounded more like Pete than Pete, but in reality their voices weren't similar at all. It only seemed so if they were singing the same song, the same Genesis-style melody.
"It often seems to me that life in the Genesis is divided into two halves - the Pete years and the Phil years. During Pete's years we were like school children. Everything changed when Pete left - Mike continues -. Pete's departure had made us grow a bit like people, although for Tony and me it also meant learning to relax a little. "
But the four do not give up. They audition potential singers every week. Phil teaches them the vocal parts, singing with them. Firth of Fifth, The Knifedifficult tracks for any aspirant frontman.
Genesis audition for five or six weeks. They see about thirty boys. But the time that passes quickly, there is already talk of another tour, you have to go to the recording studio.
But when i tracks are recorded and there is still no singer, time is running out. Mick Strickland è a little better than the others and the Genesis they ask to go to the Trident to try. "We give it to sing Squonk - remembers Phil -. The first line of that song is bastard: "Like father, like son ...". Such a father, such son ... We don't ask him for his hue or his extension. We just give it to her. Attack! Poor fellow. It is nowhere near his shades. We have to say: "Thank you and goodbye ...". TO Thinking about it now, I feel guilty about Mick. "
Meanwhile, the hours in the studio yes they are piling up. "Then I say: «What do you think if I try?"- cPhil continues-. And the boys shrug: "A lot worth. "Inside me I know I can do it, but sing it on serious is another matter entirely. Sometimes the brain says yes, but the voice shouts "No!".
But Phil tries. "Mike and Tony later on me they will say it is like one of those cartoon moments animated where the bulb lights up. They look at eachother in the control room and the eyebrows say it all: «Acdamn, it's perfect! "."
A modecisive chin for Collins.
After exploring every other point of view, it seems that that of the drummer who puts himself in front of the microphone is the final choice. Phil is torn, mainly because he likes to play drums. "Here is my sore point - reveals -. Yet the truth cannot be denied: I can sing those songs."
Now the knot to untie is the upcoming tour.
"Bagive it well, I was not yet willing to go on stage singing as a frontman - says Phil -. On stage it will be a whole other thing. So in reality we are still without a singer.
"Singing was one thing, but the real problem for me was whether Phil would agree to be our frontman - admits Mike Rutherford. I baphorists
generally tend to think that singers are the icing on
cake, and not quite the same caliber as a musician to everyone else in the band. "
For the first time Genesis make three video clips of their songs. We have already seen two of them above. Here is the third:
Genesis' first concert with Phil Collins as singer took place at the London Arena in London in Ontario, Canada on March 26, 1976.
There were 2.200 fans at the old Bathurst Street arena for Collins' debut as frontman.
The first very famous photo of the third landing on the Genesis peninsula, after two of the previous year, is this one, at the Cral Club of the'Linate airport in Milan, in a press conference together with the Lindisfarne, who have just arrived in Italy. Here she is:
The concert is part of the Charisma Festival, like the subsequent Rome date - on stage with Genesis other bands, with a last minute variation of dates as seen from the poster above -. And here's the "right" one:
Now the recording of the concert:
00:00 - Watcher Of The Skies; 11:53 - The Musical Box; 23:28 - The Fountain Of Salmacis; 33:20 - Get 'Em Out By Friday; 44:13 - Supper's Ready; 01:09:55 - The Return Of The Giant Hogweed; 01:21:28 - The Knife.
A look at Peter's costumes. For Watcher Of The Skies has not yet adopted bat wings, but looks like this:
On the ending of The Musical Boxthen the twist. Peter appears withthe red dress of his wife Jill and thefox mask.
"The Italian public has the opportunity not only to attend a high-level technical performance, but also to witness the band's relentless journey towards a musical / theatrical proposal that will find its fulfillment in the years immediately following".
"The success is unprecedented, with 8 thousand people present in Reggio Emilia in a room at the limit of capacity and even 18 thousand in Rome, when at home they usually play in front of a few hundred spectators."
IGenesis have already hired Phil Collins on drums - Read -, now they have to find a good replacement on the guitar.
Both Ronnie Caryl have rehearsed in concertPhil's great friend (auditioned with him -Read) and guitarist of Flaming Youth, and Mick Barnard, member of Farm, but both did not convince the demanding members of the band.
After the farewell of Anthony Phillips - READ and then with the arrival of Phil, the Genesis have then continued as a quartet, with Tony playing all guitar parts on an electric piano Hohner filtered with a fuzz box. The research continues.
On December 14th, scrolling the Melody Maker,Peter is intrigued by the unusual announcement of a certain Steve. There he is:
“Mike had auditioned for a long time, but Peter and I convinced ourselves that he was trying to find someone who sounded just like Ant, which was obviously impossible. So the two of us went to see Steve. He was really smart, looking at him he seemed one of many, instead he knew how to compose, experiment, he wasn't the classic mad guitarist ».
E remembers Steve in the same precious book by Giammetti:
«I played a little Jimmy Page, with fast solos that did not go well with delicacy of thetheir songs. The first times were really difficult ».
And so we come to that January 14, 1971, when at University College London, Steve Hackett makes his debut in concert with Genesis. But it won't be an easy time.
"The first gig was a disaster for me. Up until then I had used a borrowed fuzzbox or Tony's Marshall Superfuzz. So everything worked well, but that night they gave me a Shaftesbury Duo Fuzz which is a great fuzzbox. I couldn't get a Marshall Superfuzz and thought, 'Oh, this sounds good.'
And when we did the sound check it seemed all right, but obviously when everyone was playing, it was much louder and the return was a disaster. I got discouraged and forgot all my parts. I remember a heated argument after the show and thought it was all my fault.
In hindsight, it wasn't. That was my most embarrassing moment on stage, being on stage with deeply arranged music and with the total inability to remember a note, because I couldn't control my sound. It's not a good start, I thought. "
Steve tells to TWR # 33 reported by genesis-movement.org:
"It was a scary concert ... an unpleasant experience ... there were a lot of mistakes and I had a fuzz box that I had been rehearsing for weeks and suddenly that night I had to use a different one and it was like ... it was the difference between an amateur and a pro and with this fuzz box and its feedback I played badly throughout the show and thought I had it all wrong and it would be the last gig with them. "
"As we would have discovered over the years, Phil had the great ability to drink a lot without showing it. At Steve's first concert - University College London, January 1971 - an exception occurred. We had a few pints but no one had noticed that Phil had had a few more than the others and he was drunk Phil was a drummer so smart that he could do almost anything, but that night he got ready for one of his big rolls and nothing happened. performed to perfection, too bad it was moved twenty centimeters from each piece of the battery.
Poor Steve: it was his first concert, he was nervous and we had a drunk drummer. At the end of the evening, Tony and I had a bad time for Phil, which didn't bother Phil, but unfortunately Steve thought we were fighting because of him: we hated him and wanted to throw him out. As always, no one ever thought of letting the newcomer know how things were. "
"For the most part the concerts are conducted quite professionally: we arrive, play and go home. We smoke a few joints, but no exaggerated revelry. The only time it happens is at a concert at City University in London, the Steve's first with Genesis. We play later than expected, so I spend my time downing myself on some Newcastle Brown beers. When we get on stage I'm completely disoriented. I do all the right fills, but eight inches to the right of where I should. Other than air-guitar, this is air-drums. And afterwards I regret: "What will the new guitarist think? His first concert and the drummer is dead drunk." It is the first time that I play drunk, and it will also be the last. "
Ma Stevedespite his concerns, pass the exam. And the confirmation comes from Peter Gabriel, who declares, reported in the aforementioned Giammetti book:
"We have had two guitarists in recent months but I hope this is the definitive one, we found it through the Melody Maker and it seems to have adapted very well". (Peter Gabriei, Zig Zag n.19, 5 / 71, «Genesis», anonymous).
Here's what Anthony Phillips thinks today:
Steve will become a column of the Genesis, in the formation that many consider "the real one" and beyond. Until the sensational farewell.
For the concert of Un Tour Gig on Saturday 16 May, Ray Wilson has once again been joined by an incredible selection of musicians, who will perform special requests and many classic songs.
Steve Wilson, Guitar and voice Ali Ferguson, Guitar and voice Marcin Kajper, Saxophone Kool Lyczek, Piano Mario Koszel, Percussion Alicja Chrzaszcz, Violin Uwe Metzler, Guitar Paul Holmes, Piano Lawrie Macmillan, Bass
The brand new song "Almost Famous" (Wilson / Spence) was also presented.
The concert on May 9:
Ray Wilson writes on his website:
“Because of the coronavirus pandemic, millions of us around the world are isolated from each other.
During this difficult time, I will broadcast a one-hour concert every Saturday starting at 20.00 CET (19.00 GMT). The show will be pre-recorded.
You can send me requests and dedications by email to: email@example.com
The concerts are paid what you can, if you can, based on how much you can, by clicking on Buy A Ticket. "