April 1972, the Genesis debut in Italy, the country that first understood their music. Here are the stages with memories, sounds and images of that historical adventure.
Listen to the Horizons Radio podcast (in Italian) - CLICK HERE
First stop: on April 6, 1972 in Adria in the province of Rovigo, in front of, it seems, just over a hundred people.
Hello 2001, the weekly-bible of those years states that the concert, part of the Nursery Cryme Take the Tour, would have taken place in Belluno.
But the proof that it is in Adria is this (click to enlarge the image):
Registered at the Hotel Stella d'Italia in Adria are the Genesis and their collaborators. And here is the photo of the Municipal Theater of Adria where the concert took place:
"We arrived at the place where we had to play around 11 am and we did the sound check calmly, to do it well.
Those places were like cathedrals, you clapped your hands and heard the echo 12 seconds later. Mixing the sound was almost useless, it went by trial and error, but people appreciated the same.
Then we ate. Maurizio always knew where the best restaurants were, so we had a big meal. We quickly learned to eat Italian-style: pasta first, often homemade spaghetti with a delicious sauce, a meat steak, no vegetables, maybe a little salad and then a dessert, like tiramisu. We also discovered fantastic wines, so by the end of lunch, around four in the afternoon, we were absolutely satiated and drunk.
We went back to the hotel, closed the blinds to create complete darkness, collapsed in the bed and slept like a dead man for two hours.
Then we got up and did the concert. Life was beautiful and the arenas were full, 5000 and, in the second tour, 10.000 fans waiting to listen to us ". (From: My Book of Genesis by Richard Macphail. My translation)
"The strange introductory stories full of surreal humor that the frontman tells before the various performances, initially used as a mere filler but which slowly begin to live in their own light, attract the attention of the public at this stage of the band's on stage career. ". (from: Genesis in Italy. The 1972-1975 concerts of Mino Profumo)
The band on Sunday 9, is at Lem Club of San Martino Buon Albergo in the province of Verona, the first date on which the shows are two, at 16, for students, and at 21. Shows dedicated by Peter to the Trieste public , who couldn't see the show, canceled the previous day.
Here is a recording of part of the concert, first audio testimony of the tour:
And here are the covers of two bootleg taken from that concert:
A Facebook page contains comments and memories of that date - CLICK HERE.
Read comments also in
L'April 11 in Pesaro on stage with Genesis are Premiata Forneria Marconi and Odissea.
A testimony reported by Mino Profumo in Genesis in Italy. The concerts 1972-1975, tells how, during the sound-check in Pesaro, Genesis tried what would later become Watcher Of The SkiesBut with al mellotron not Tony Banks, but even the legendary "handyman" Richard Macphail.
"Back in 1972 (the year in which Genesis brought their Nursery Cryme around Italy), the band of Gabriel and companions played at the Palasport in Pesaro on April 11th.
As told by my friend Carlo Betti, during the afternoon check sound the imperfect acoustics of the Palazzo dello sport in Via Marconi - which already hosted the games of the current Scavolini Basket - then ended up becoming very impatient Banks. It really was Tony which for more than an hour moved from one side to the other, positioning itself in various parts of the stands of the old hangar (then obtained by means of a dense plot of scaffolding with Innocenti tubulars and wooden boards that could hold up to 5.000 spectators), puffing and cursing for the redundant sound and for an unpleasant echo effect that ended up making the whole sound indistinguishable.
The problems, despite the commitment of Tony, did not resolve in that rehearsal session, but only in the evening with the entrance of the large audience. Pesaro was then included in the large circuit of concerts because then such a Bizzocchi, concert organizer, often flew to Great Britain and visited English clubs and pubs to find new bands. So it was that, thanks to a far-sighted department of culture of the Municipality and to Bizzocchi himself, Gabriel and associates ended up in Pesaro. But in the same year they also did Traffic, the Soft machine, Brian auger he Oblivion Express and others.
Another curious anecdote that my friend Betti did not fail to tell me about that day with a meticulous wealth of details. Immediately after the afternoon check sound (so shortly after 19), the "ours", once outside, walked together with a group of technicians and a bunch of local organizers and Bizzocchi himself, towards the Pesaro seafront which is just a hundred meters from the Palasport for dinner.
Arrived in the middle of Viale Marconi, where various local companies were stationed, i genesis they noticed some kids (among whom the friends of the aforementioned Betti) who played ball. So it was that Banks, Rutherford e Gabriel they played football for more than ten minutes with those kids who were actually a little surprised by those strange and long-haired guys.
Immediately after the game (Rutherford he also scored a goal in a door between two trees), i genesis they landed at a then famous pizzeria restaurant with a very American and little English name: "Ranch".
It was there that between pizzas and beers and laughter the right climate was created for one of the most beautiful and fascinating concerts ever landed on these shores.
Needless to say, the evening was an incredible success. "
Franz Di Cioccio of PFM, told an anecdote in an interview with Music Around:
"We played with Genesis in Pesaro, it was their first concert in Italy ...
... We met there, then we refreshed when they came to Milan, finally we met when we went to England.
It was like that at the time. Peter Gabriel invited us to his house one afternoon to listen to the music to spend some time together. English tea is an unforgettable experience, they do it with that veil of cream, in the right teapot…. "
The date of Reggio Emilia on April 12th, is officially considered the birthplace of Watcher Of The Skies.
According to the memories of Hackett and Rutherford, in fact, it was in the Emilian city that practically all of it was performed during the pre-concert rehearsals.
"In the Palasport of Reggio Emilia, a huge horrible place full of echo, in the middle of the sound check, Tony played those two initial chords on his mellotron. They worked very well even if, even today, I'm not sure how conscious he was of how good they were . " (From The Living Years by Mike Rutherford. My translation)
So we can credit Reggio as a musical home of song Foxtrot, while the text was written by Mike and Tony on the roof of their hotel in Naples a week later.
"We were playing in the mountains one evening when Tony had food poisoning. We lasted for a while without him, but it was like being in a car that had lost a wheel and we had to finish the set early.
Since we hadn't been able to sell many tickets, the promoter had the excuse that he was looking for not paying. Rich did not want to know about it and was a little aggressive. The promoter had a gun. We weren't paid. "
And here What he told Radio HorizonsPierluigi Gassino, present at the concert:
The concert was interrupted because keyboardist Tony Banks felt bad ... and as a consolation I managed to exchange four words with Phil Collins, while Peter Gabriel had a drink leaning against the bar counter of the disco where they had performed in front of a few of us. .. I remember that then the bassist and the guitarist wandered on stage at the end of the concert collecting some cables and equipment ... all this before becoming rock stars!
My brief dialogue with Phil Collins was due to a fact that made the evening even more bitter for me and my friends because on leaving we could no longer find the car in the parking lot and, having returned to the disco to ask for a ride in order to return home, I meet Phil outside the club who approaches an Alfa model 1750 with a guy who seemed to be the manager at the wheel.
I asked him, gesturing in Anglo-Italian, a passage to Turin, explaining the fact that just happened and the evident difficulty. He told me that they were going to Milan and there was no place, then added that those who had stolen the car were killed by making the gesture of cutting the throat as a joke.
He greeted me, shaking my hand ... beautiful and bitter memory ...!
Su Dusk n ° 55 a detailed reconstruction of the evening by Beppe Crovella (click on the cover to order a copy):
"During" The Return Of The Giant Hogweed ", the electricity goes off. Phil Collins played a drum only and when power returned, they didn't restart the song but continued it from the point they left it at." [Matteo]
"The show was one. Absolutely NOT 2 (I was there). The Police arrived when, after 20 mins from the show start, people outside tried to get in without paying. But only 2 cars of Police got only a BIG CLAP from the crowd and people got in ... A bootleg has been released in Italy from that show. A very poor q .ty bootleg, but has been released (NO CD-R). I had a copy in my hand and I sold it to a friend in Miami, USA to make another Silver-CD (NO- CDR too). [Roman] "
Here is a special memory (although in post 1973 it stands for 1972):
today on the RFood insert of @republic one of my stories: my daughter and I from Cesare, the Pavese ice cream shop where, in April 1973, the Genesis took a hot chocolate between the two concerts at the Pavia sports hall ... pic.twitter.com/RXltnqxFMq
Other memories and curiosities in the book by Mino Profumo:
On April 15 problems also in Lugo di Romagna (Ravenna), at the Hit Parade room.
Here are two concerts, afternoon and evening. LISTEN:
00:00 - Happy The Man; 04:04 - Stagnation: 13:44 - The Fountain Of Salmacis; 23:03 - Twilight Alehouse; 31:35 - The Musical Box; 45:04 - The Return Of The Giant Hogweed; 55:17 - The Knife; 01:04:34 - Going Out To Get You.
But just like on the previous date in Pavia, where the beginning was delayed by accidents between the boys and the police, here an important unexpected event comes between the evening concert is even canceled.
The problem was, apparently, a black out the electrical system, caused by a throw of cushions towards the stage, the result of too much enthusiasm of the afternoon audience.
Here is how he remembers it with Horizons Radio Edio Caroli, present at the concert:
"I was in my twenties and Genesis back then was the biggest in the world like the Van Der Graf Generator, which I saw in the same room at that time. I also remember the rudeness of the boys who uprooted the cushions from the armchairs and threw them on stage."
"I saw the concert in Lugo and the one in August in Marina di Ravenna, I was 16 and in both cases my parents accompanied me (obviously they didn't enter, it's not like now ...). Unfortunately I don't remember almost anything, not even the throwing pillows we are talking about. In Marina di Ravenna I saw the concert in the afternoon, I arrived late, I passed in front of Peter & Co. who were there one meter away, on a low platform. I don't remember that there were many people, not even in Lugo I would say. Anyway it was magical, especially in Lugo. I have a tremendous nostalgia, unfortunately. "
On Facebook, other memories:
Yet evidence of
Here are two bootleg Lugo with the concert:
Live in Travagliato (Brescia), with a double concert at the m Supertivoli on April 16th.
Here is the memory of Richard Milella on the site
"The Italy of concerts was as amateurish as could be expected. No professional Service, no backlines and backlights, no spies on stage, no catering, no roadies, no dressing rooms and / or showers, no security, nothing In short, generating sets, nothing at all.
The group arrived with a friend or two in tow a few hours before the show in the same van in which instrumentalists and instruments were piled together which then all unloaded, assembled, tested, adjusted, tuned.
A sandwich, two oranges and off with the concert with the same shirt and jeans of the afternoon. Even for Genesis it went like this, at least at their first drop Italy of rock found itself unprepared to set up performances worthy of the name."
"Peter speaks in his language but makes it clear that he will now perform a song recorded a few days ago and that it will be released on the next LP entitled Foxtrot.
I remember the song very well because it moved us all from the first listening with its majestic gait between the keys of the Hammond: Watcher of the Skies it is a milestone and Gabriel also played it theatrically crouching in the chiaroscuro of the organ and literally jumping high in the orchestral explosions.
Some literature says that the song was conceived during this first tour in our house; wrong, when they performed it on Italian dates it was already so beautiful, so complete and so arranged as to certify a painstaking preparation even if on disc it will actually come out months later ".
There is some doubt about this second part, since an already completed form of is unlikely Watcher in Travagliato. Perhaps Milella remembers the summer concert, always in the lower Brescia area, even if she does not refer to it.The charm of the mystery envelops this concert of which nothing remains, not even the place, demolished to build a shopping center in 2012 - Read.
This instead the memory of Paolo Burg on Horizons Radio:
"Four of us arrived with a Fiat 600 at" Paradiso "to see them. Disappointment, after an hour we had to give up and go back to Cervignano. I already had" Trespass "at home so I was dying to see them live. Here the beauty begins! The school I attended in Monfalcone had organized a visit to a factory near Brescia. I get off the bus and find myself in front of the nose a poster with the writing: Dancing Supertivoli, Travagliato, Brescia "Genesis". Looking for the time of the first evening train to Travagliato and leaving was one. I still have the concert before my eyes. Unforgettable!"
"In rehearsals Odissea perform a Genesis song in the presence of the same English band in the audience that shows incredulity and lively satisfaction. It is perhaps the first live cover version of a Genesis song. Odissea however decide not to repeat this exploit during the their performance. "
April 18th is the moment of the live at the Piper Club in Rome.A concert of which these remain video, first to show the band on stage and backstage. LOOK:
"Being such hardcore fans, the Italians had bought and absorbed all their records; they knew every note and nuance of the songs. It was really extraordinary. We had never experienced anything like this.
I was there at the mixing desk in the audience and everyone was clapping their hands, seeing my kids so understood and appreciated was a wonderful experience. Fans loved everything and rewarded the band with a standing ovation at the end of each show.
This worked wonders for their trust and all five guys, Peter, Mike, Tony, Steve and Phil, never forgot the warmth of their first tour in Italy, or its importance in their development as a band.
I hope we paid our debt of gratitude by sounding good for them. "
"With its strange mechanisms, early afternoon performances and dinners between two shows, all culminating in a concert in Rome (...), Italy marked a decisive step towards the Genesis live act as we know it. Maniacally perfectionist, the group dismantled the performance of the night before piece by piece as they moved to the next city.
"Every time I traveled with them I had to put up with the comments on the concert the night before in the van," smiles Conroy (Paul Conroy, tour road manager, Editor's note). They remained fairly calm as they assessed whether Tony Banks had really gone wrong; they were perfectionists. And during the breaks we listened to the Shadows, inside the van. traveling for four hours from one concert to another ».
"The intent was always to improve," adds Steve Hackett, "which risked making him look like an autopsy!"
«We were sailing on sight. And then here is this little ray of light that comes from Italy ». says Mike Rutherford. «The road was hard, all uphill. Suddenly a country comes out that loves you; nothing else is needed to give you the feeling that it is really worth going on »."
Collector's Corner (click on the covers and buy your copy on Ebay). VINYL:
With other Italian dates of that tour:
Here are others bootleg from the concert:
Last stop: Genesis are live at the Mediterranean Theater of Naples on April 19th.
A double concert that closes the first part of the Nursery Cryme Take the Tour of Genesis in Italy.
Here is the live audio:
00:00 - Happy The Man; 04:18 - Stagnation; 14:53 - The Fountain Of Salmacis; 23:20 - Twilight Alehouse; 32:14 - The Musical Box; 42:23 - The Return Of The Giant Hogweed; 49:11 - Phil's Solo; 51:24 - The Knife.
A date that will remain in the history of Genesis, because on the roof of the Hotel Domitiana, which houses the band, Mike and Tony write the text of Watcher Of The Skies.
"We were sitting on top of this building, it was a hot sunny day and we were just looking out across a large area of buildings and fields; there was no living soul around.
It seemed that the entire population had just deserted the planet and this is what 'Watcher of the Skies' says: an alien being who comes to the planet and sees it completely deserted. And so the story unfolds with a bit of science fiction. I like Arthur Clarke's 'Childhood's End' and books like that. "
"Tony and I together wrote the text, sitting on the roof of our hotel in Naples imagining that the world was over. Quite strange, considering it was a pleasantly sunny day."
The song is already being used for the sound check before the concerts. In Naples it is then completed and, as we know, the next Genesis album will open, to be released the following October: Foxtrot.
But in his autobiography, Mike tells another background, which happened in Naples:
"In Naples we discovered another therapeutic pastime ... Concluding a tour with a group fight was a classic. The unusual thing about the quarrel-of-end-tour in Naples was that there was an amusement park just around the corner of the hotel where we slept.
We got to the point of being so fed up with each other that we decided that the only thing to do was to throw ourselves on the bumper car track and bump into each other wildly and repeatedly. I have to say that I have never experienced such an effective way to clarify. "
The Italian dates bring further luck to the Genesis, which confirm their success in our country. Not only that, returning home, Steve Hackett will meet Ellen, who will become his first wife and mother of Oliver.
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.
With Peter Gabriel's farewell to Genesis, Phil Collins became the frontman of the band, which released "A Trick of the Tail" on February 2, 1976 - READ THE ARTICLE OF HORIZONS RADIO.
The LP comes in third place in the rankings of the United Kingdom, such as "Selling England by the Pound ”and becomes their greatest success. Which reassures them. After all, the expectations for the future of the group were very low. But then people heard the record and the quartet's prices went up.
The tour will start on March 26th.
But of course we have to solve the problem of who will play the drums in concert. And Phil doesn't want to abandon his instrument. Collins recounts in his autobiography:
"Bill Bruford, already with Yes, is a good friend who introduced me to a lot of jazz drummers. He comes to one of the tests of the Brand X (we're writingI sell "Unorthodox Behavior") and asks:
"How are you with Genesis? Have you found a singer? ' "Not exactly. I sang on the album, and they want try to make me sing. But to do it we need toto find a drummer. " "Well, why don't you ask me?" «I think you would say no. A little too similar to Yes for you, no? " "Instead I would." And here Genesis have a new drummer. "
So Phil has no more excuses. Everyone adapts and gets used to the new set-up and new training. set-up and new training.
"We don't great ceremonies: it just happens. I don't remember nemless than having rehearsed, or an announcement ", Phil remembers.
Bill Bruford fits in immediately, moreover, it is one of the largest of its kind prog and not only.
"I'm not particularnervous about the idea of singing, nor about the fact to do it in front of an audience - racconta Phil Phil says -. to do it in front of an audience - Phil says -. I was already used to it with Oliver !, in his time. But sing with just a microfono between me and the audience, instead of a row of dishes: this is the problem to overcome. If one does not it is worn for bat hats and for flying to in mid-air, what do you do when you don't sing? "
Remember Mike Rutherford in his autobiography:
"We had deliberately chosen Canada because they had less memory of the concerts with Pete there than in Europe. Pete had been such a strong figure that we couldn't imagine how Phil could replace him. "
There are also other practical problems.
For example: how to dress. The suit from worker was ideal when he was only the drummer. And to wear masks and costumes "Peter Gabriel" is not mentioned.
"I can put on my coppola and kingdingote for Robbery, Assault and Battery, but this is it the most I am willing to do ", says Phil.
Then the worker suit is chosen. And then there is another concern. Peter Gabriel was very good at entertaining the public with his stories while Mike, Tony and Steve agreecompartment. What can Phil tell?
Then the time comes.
At the London Arena the hall lights dim.
"I spend most of the concert hiding behind the microphone stand: I am a XNUMX-year-old being as thin as a drumstick.
And I don't even touch the microphone. Removing it from the support would be a gesture too ... as a singer. But I get to the end of the concert bringing only small dents to my fragile awareness of frontman.", recalls Phil.
"People were on his side from day one - Mike says -. On stage, Phil has always been a very visual drummer - never flashy but very spectacular.
I will never forget Phil in his T-shirt, his long beard and his trembling hand. And then don't have Pete there ... A strange moment for everyone. But after playing the first two songs, I realized that it would be all right.
And so it was. Phil's lecture helped us. It lightened the atmosphere. Pete was mysterious on stage, Phil was always the boy next door ", recalls Mike.
There are 2.200 fans at the London Arena on Bathurst Street for Collins' debut as frontman. Genesis expected no more than a hundred people and instead here is the proof that the band's popularity is not decreasing.
Nthere is no public recording of this concert, although it appears that a copy is owned by a collector. Here are those of two successive dates:
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".
Steve Hackett will release a new live album with Djabe, "Djabe & Steve Hackett: The Journey Continues" on May 28th.
Pre-order it here:
Primarily recorded in Nyiregyhaza, Hungary in August 2019, the two-CD and one DVD set features Djabe and Hackett performing selections from "It Is Never the Same Twice", along with classic Genesis material such as Hairless Heart, Firth Of Fifth and Los Endos, Hackett's Last Train To Istanbul and Djabe's compositions.
The NTSC / Region Free DVD also includes the songs In That Quiet Earth and After Limoncello, recorded in St. Veit, Austria in 2018 and White Bears recorded in Washington DC in 2019.
Djabe and Hackett have produced seven collaborative albums to date, Sipi Emlékkoncert - Sipi Benefit Concert (2009), In the Footsteps Of Attila And Genghis (2011), Summer Storms & Rocking Rivers (2013), Live in Blue (2014), Life Is A Journey (The Sardinia Tapes) (2017), It Is Never the Same Twice (2018) and The Magic Stag (2020). Look down.
Djabe's album with Steve hackett "The Magic Stag" is available on CD / DVD.
Buy it here:
The double vinyl edition contains all the tracks from the CD edition plus two extra tracks (both featuring Steve).
The album is inspired by the work of the painter Imre Égerházi (father of one of the founders of the band: Attila Égerházi).
Steve Hackett not only wrote the text of the title track of the album, but also plays the guitar on seven tracks of the album and acts as narrator.
Here is the track-list:
DISC ONE: CD
THE MAGIC STAG
1. THE BEGINNING OF LEGENDS
2. THE MAGIC STAG
3. THE POWER OF WINGS
4. DOWN BY THE LAKE SIDE
5. FAR AWAY
6. UNSEEN SENSE
7. SOARING HILLS
8. TWO LITTLE SNOWFLAKES
9. A TRUE HOPE
10. RISING HORIZON
11. UNCERTAIN TIME
DISC TWO: DVD
"THE MAGIC STAG"
HIGH RESOLUTION 96 KHZ / 24-BIT
5.1 SURROUND SOUND & STEREO MIXES
1. THE BEGINNING OF LEGENDS (5.1 SURROUND SOUND MIX)
2. THE MAGIC STAG (5.1 SURROUND SOUND MIX)
3. THE POWER OF WINGS (5.1 SURROUND SOUND MIX)
4. DOWN BY THE LAKE SIDE (5.1 SURROUND SOUND MIX)
5. FAR AWAY (5.1 SURROUND SOUND MIX)
6. UNSEEN SENSE
7. SOARING HILLS
8. TWO LITTLE SNOWFLAKES
9. A TRUE HOPE
10. RISING HORIZON
11. UNCERTAIN TIME
1. BUBBLE DREAM (LIVE IN WASHINGTON DC)
2. DEEP LIGHTS (LIVE IN WASHINGTON DC)
3. WITCHI TAI TO (LIVE IN LVIV, UKRAINE)
4. THE LOST CARD (LIVE IN LVIV, UKRAINE)
5. GALLOP (WITH STEVE HACKETT) (LIVE IN BUDAPEST)
6. COFFEE BREAK (LIVE IN BUDAPEST)
7. THE POWER OF WINGS (WITH STEVE HACKETT)
(LIVE IN BUDAPEST)
8. LAVA LAMP - QUARANTINE VIDEO 2020
9. IMRE ÉGERHÁZI DOCUMENTARY
Steve Hackett & Djabe: the previous album: "Back To Sardinia" - CD / DVD-set & vinyl.
Djabe & Steve Hackett: “BACK TO SARDINIA”.
BUY IT NOW on AMAZON:
In 2016 DJABE and STEVE HACKETT spent a few days on the magnificent island of Sardinia.
Near the Cathedral of Our Lord of Tergu they built a temporary recording studio in the priest's house.
The recordings went well, the artists were deeply inspired by the surroundings.
Horizons Radio Playlist:
La Session improvised 3 days was recorded by Tamás Barabás, who later, in Budapest, produced an entire album from multitrack tapes to create Life Is A Journey - The Sardinia Tapes.
Released in 2017, the album was enthusiastically received by fans and critically acclaimed.
Three years after the first recordings, DJABE is back in Sardinia and recorded some Session improvised.
They played in them location and recorded on 24 track analog tape. STEVE HACKETT then completed his parts in Budapest before mixing, since his summer program did not allow sharing the fresh Sardinian air with his friends DJABE.
The output also includes a bonus DVD disc with a 5.1 Surround Sound and 96 kHz / 24-mit stereo mix from the album, along with bonus visual features including the song “When the Film is Rolling” e Live performances of tracks like the Genesis classic "In That Quiet Earth" and the track by Djabe and Steve Hackett "Tears for Peace" and "Turtle Trek".
"BACK TO SARDINIA" is a musical experience, born from the environment in which it was conceived and is the next stage of the particular musical journey of DJABE and STEVE HACKETT.
DISC ONE: CD BACK TO SARDINIA
1. BACK TO SARDINIA 2. LONELY CACTUS 3. HAPPY TERGU 4. LAKE BY THE SEA 5. STONES AND MIRTO 6. GIRL IN THE PALAU WOODS 7. WALKING AROUND 8. FLYING KITES 9. PURPLE DREAM 10. DANCING IN A JAR 11. FIVE HUNDRED STRAWBERRIES 12. BOTTLES IN THE WATER 13. FLOATING BOAT
DISC TWO: DVD "BACK TO SARDINIA" THE 5.1 SURROUND SOUND MIX & 96 KHZ / 24-BIT STEREO MIX
1. BACK TO SARDINIA 2. LONELY CACTUS 3. HAPPY TERGU 4. LAKE BY THE SEA 5. STONES AND MIRTO 6. GIRL IN THE PALAU WOODS 7. WALKING AROUND 8. FLYING KITES 9. PURPLE DREAM 10. DANCING IN A JAR 11. FIVE HUNDRED STRAWBERRIES 12. BOTTLES IN THE WATER 13. FLOATING BOAT
VISUAL EXTRAS 1. WHEN THE FILM IS ROLLING 2. IN THAT QUIET EARTH 3. CASTELSARDO AT NIGHT 4. TURTLE TREK
LEE GOBBI // VOCALS, PIANO, KEYBOARDS, ACOUSTIC 6 STRING (ON 'CAROUSELS' AND 'THE REAL LIFE'), AND 12 STRING GUITAR (ON LLAMATALK), DRUM PROGRAMMING, STRING PROGRAMMING.
DIK CADBURY // BASS, VOCALS AND HARMONIES.
STEVE HACKETT // LEAD GUITAR ON 'WINDHOVER'.
GERRY LEONARD // ELECTRIC LEAD GUITAR, SLIDE GUITAR, ACOUSTIC GUITAR, 'SPOOKY GUITARS'.
PATSY GAMBLE // SAXOPHONE ON 'LOVE TO LOVE HER'.
NICK MAGNUS // ELECTRIC PIANO AND STRINGS ON 'CAROUSELS'.
NANCY MARCH // VOCALS AND HARMONIES ON 'THE REAL LIFE'.
BEVERLEY CRAVEN // VOCAL AND HARMONIES ON 'CAROUSELS'.
DAVID HENTSCHEL // KEYBOARDS, DRUM PROGRAMMING, SAMPLING, TAURUS BASS PEDALS.
ARCANE STRING ORCHESTRA // STRINGS.
RECORDED IN CONNECTICUT AND NEW YORK USA, AND ENGLAND.
ARRANGEMENTS // DAVE HENTSCHEL, LEE GOBBI
PRODUCED BY DAVID HENTSCHEL AND LEE GOBBI.
ENGINEERED AND MIXED BY DAVID HENTSCHEL IN ENGLAND.
MASTERING // ALEX WHARTON, ABBEY ROAD STUDIOS, LONDON ENGLAND