Genesis

ARTICLE ABOUT Steve Hackett (Genesis) FROM SOUNDS, October 25, 1975

Exciting times for Mr. Hackett as he was recording his first solo album while completing the first Genesis album without Peter Gabriel. It must be said that it all went very well. His solo album “Voyage of the Acolyte” reached No. 26 in the UK and No. 191 in the US. The album recorded with Genesis, “A Trick of the Tail”, was a even greater success, reaching No. 3 in the UK and No. 31 in the US.
Good times for Genesis and Steve Hackett, indeed.
Read on!

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Hackett relieves himself

… with a solo album. The Genesis gent reveals all to Barbara Charone, who doesn`t mind a bit.

Having failed his driving test for the second time that very morning, Steve Hackett was in surprisingly good spirits. Perhaps his orthodox examiner disliked long haired musicians.
Soft spoken, you`d hardly believe that Hackett was lead guitarist with Genesis. Still, the examiner complained about faulty steering. If only he knew the true identity of this aspiring driver, the examiner might have been lucky enough to obtain the collected works of Genesis for a niece or nephew.
Despite the fact that Hackett had arisen at the ungodly hour of 7 am, he had much to smile about. With the rest of Genesis, he has been working on their next album for several weeks now at Trident, already pleased with the results. Fresh from his first solo project, `Voyage Of The Acolyte` Hackett has come up with an album of high quality. None of the usual self-indulgence here.
“I deliberately kept away from trying to prove how fast I could play,” Steve said taking a break from group recording. “I didn`t want the album to sound like a guitar record. There`s snatches of flash playing but that`s not really my scene.
“What I wanted to do was try out as many ideas as possible. I wanted to fulfill a number of roles basically writing for instruments like cello, mellotron, flute and voice which I had never done before. I used as few people as possible, keeping the nucleus small. It sounds a bit like a group because I like using combinations of instruments.”
Various blends of sounds and tempos make the album quite a departure from the average `solo` flight. Taking full advantage of the Genesis rhythm section of drummer Phil Collins and bassist Mike Rutherford, Hackett wisely sacrificed one man virtuosity for a more sophisticated sound. It was a gamble that paid off handsomely.

“It was definitely a risk,” Steve laughed recalling earlier inhibitions. “I honestly didn`t know if it would work. I didn`t know if the rhythm section would spring out of each track. The whole venture was a gamble. It`s just very different from what people expect of a solo album. It really isn`t even an actual `solo` album,” he frowned at the mention of that confining term. “My main role was directing.”
Musically, the atmospheres created could easily serve as a background film soundtrack, filled with images and visuals of faraway places and large chunks of dream like fantasy. Each song is related to a specific tarot card. This idea was used more as a springboard for composition and inspiration than a clever gimmick. There`s no journey to the centre of the earth thematic pretentions here.
“I tried to interpret different cards musically and took the strongest ones. `Ace Of Wands` symbolises the beginning of a new venture. Wands represents fire, initiative, and skill,” he grins sheepishly. “What better way to begin the album.
“I`m not trying to lay tarot cards on people or get heavy about it. They were just sources of reference really. `Star of Sirius` is an optimistic looking to the future. After some of the heaviness and introspection of some of the other tracks, I wanted something lightheaded with a bouncy pop song feel.”
The album has done much to strengthen Hackett`s personal self confidence, destroying previous frustrations that inevitably come from playing in a democratic band. Now he feels strong enough to step forward within the group hierarchy.
“I`m definitely more confident about submitting ideas to the band now. The album showed me that once I was happy with an idea there was really no reason why it shouldn`t work. I wasn`t particularly confident about my abilities as a writer and arranger before I did the album. In a band one relies heavily on the group for ideas. With us, the strongest things are always group written. Especially now.

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“I`m less frustrated now,” Hackett admitted, seemingly more secure even in conversation. “But I`ve got to live up to now. I couldn`t come up with a solo album of quality every year. This was just something I`ve wanted to do for a long, long time. But my main committment right now, is to the band.”
Genesis have always painfully laboured over each and every album project. Having spent the last few months writing and rehearsing for the group effort, studio recording has not only been productive but fairly quick. Obviously, this is a crucial album for Genesis, one that needs to be good to maintain followers and attract new ones. The band need to creatively and artistically survive Peter Gabriel`s departure.
“I was disturbed over a spate of letters in the music papers that assumed because we were involved with solo projects that Peter left. The decision was totally his own and quite separate from any course of band action. Don`t I sound like a politician?”
He also sounds like a musician. The next album from Genesis should be finished by the end of November. The band will not immediately promote the record on the road as plans for the stage show will require much careful thought and consideration.
“We want people to digest the album before we return to the road so they will be aware that Peter is no longer with the band. If we went out as a four piece now and people hadn`t already digested the situation, they would find it difficult to accept. It`s much easier for us to concentrate on the album now.
“What can I say?” Hackett said remaining purposely mysterious. “Maybe we will have that fifth member. Maybe we`ll try him out on one or two numbers in the studio, possibly even use a name singer on several tracks to get a mixed bag of vocal abilities. No one should worry that we`re going to turn into a totally instrumental band. We`re still very much songwriters,” Steve stressed.
“If people are patient with us I`m certain things will be all right in the long term. The short term problem is finding the fifth member. There won`t be any quality decline from us.”

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The original music paper this article came from (pictured at the top) is for sale!
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ARTICLE ABOUT Peter Gabriel (Genesis) FROM SOUNDS, September 6, 1975

A really honest letter from Mr. Gabriel to the reasons for quitting Genesis. And he never went back, in effect changing the direction of Genesis into a more hit-orientated rock band. Fascinating stuff.
Read on!

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A statement by Peter Gabriel

I had a dream

Genesis have always been unorthodox when coupled with more conventional rock bands. Everything they have done from live concerts to studio albums has been both unique and slightly off-the-wall.
It comes as no surprise that Peter Gabriel has chosen his own words to explain his decision to leave the group rather than use contrived quotes from management or record company executives. Gabriel should be commended for his honesty.
We were given a hint of things to come, in the liner notes to `Lamb Lies Down On Broadway` when as Rael he wrote `The people in memory are pinned to events I can`t recall too well but I`m putting him down to watch him break up, decompose, and feel another sort of life.` Gabriel`s own statement concerning the break-up follows. I wish him luck with that other sort of life.
Barbara Charone

I had a dream, eye`s dream. Then I had another dream with the body and soul of a rock star. When it didn`t feel good I packed it in. Looking back for the musical and non-musical reasons, this is what I came up with:
OUT, ANGELS OUT – an investigation.
The vehicle we had built as a co-op to serve our song writing, became our master and had cooped us up inside the success we had wanted. It affected the attitudes and the spirit of the whole band. The music had not dried up and I still respect the other musicians, but our roles had set in hard. To get an idea through “Genesis the Big” meant shifting a lot more concrete than before. For any band, transferring the heart from idealistic enthusiasm to professionalism is a difficult operation.
I believe the use of sound and visual images can be developed to do much more than we have done. But on a large scale it needs one clear and coherent direction, which our pseudo-democratic committee system could not provide.
As an artist, I need to absorb a wide variety of experiences. It is difficult to respond to intuition and impulse-within the long term planning that the band needed. I felt I should look at / learn about / develop myself, my creative bits and pieces and pick up on a lot of work going on outside music. Even the hidden delights of vegetable growing and community living are beginning to reveal their secrets. I could not expect the band to tie in their schedules with my bondage to cabbages. The increase in money and power, if I had stayed, would have anchored me to the spotlights. It was important to me to give space to my family which I wanted to hold together and to liberate the daddy in me.
Although I have seen and learnt a great deal in the last seven years, I found I had begun to look at things as the famous Gabriel, despite hiding my occupation whenever possible, hitching lifts, etc. I had begun to think in business terms; very useful for an often bitten once shy musician, but treating records and audiences as money was taking me away from them. When performing, there were less shivers up and down the spine.

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I believe the world has soon to go through a difficult period of changes. I`m excited by some of the areas coming through to the surface which seem to have been hidden away in people`s minds. I want to explore and be prepared, to be open and flexible enough to respond, not tied in to the old hierarchy.
Much of my psyche`s ambitions as “Gabriel archetypal rock star” have been fulfilled – a lot of the ego-gratification and the need to attract young ladies, perhaps the result of frequent rejection as “Gabriel acne-struck public-school boy”. However, I can still get off playing the star game once in a while.
My future within music, if it exists, will be in as many situations as possible. It`s good to see a growing number of artists breaking down the pigeon-holes. This is the difference between the profitable, compartmentalised, battery chicken and the free-range. Why did the chicken cross the road anyway?
There is no animosity between myself and the band or management. The decision had been made some time ago and we have talked about our new direction. The reason why my leaving was not announced earlier was because I had been asked to delay until they had found a replacement to plug up the hole. It is not impossible that some of them might work with me on other projects.
The following guesswork has little in common with truth: Gabriel left Genesis.
1) To work in theatre.
2) To make more money as solo artist.
3) To do a “Bowie”.
4) To do a “Ferry”.
5) To do a “Furry Boa round my neck and hang myself with it”.
6) To go see an institution.
7) To go senile in the sticks.
I do not express myself adequately in interviews and I felt I owed it to the people who have put a lot of love and energy supporting the band to give an accurate picture of my reasons.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

 

ARTICLE ABOUT Genesis FROM SOUNDS, May 10, 1975

A very good account of this concert by Mrs. Charone that should please fans of the Gabriel-era Genesis.
Read on!

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Can you see the rael me?

By Barbara Charone

Michael Rutherford stretches, staring out the hotel room window, gazing out on the greater Bristol nightscape, all aglow in motorway yellows and ominous blacks. “It could be North Carolina,” he sighs glancing simultaneously at the sterile Holiday Inn room behind him and the urban darkness ahead. It could also be Birmingham or Paris with its unreal Eiffel Tower reflecting in the plate glass. It could even be Italy or Portugal. It could be anywhere.
Night-time stretches from here to eternity, finally returning back to Britain, just as Genesis have done, coming home after a strenuous six month tour of several continents and many countries, all of it a testimony to the durability and strength of their latest work, `The Lamb Lies Down On Broadway`.
Tonight`s location is Bristol, the venue Colston Hall. Everybody is there. Rael clutches his imaginary weapon, an aerosol spray can, rubs the dirt into his scruffy white T-shirt, rolls up the cuffs of his blue blue jeans, feels the leather of his jacket, and peers out at this evening`s intruders. There`s Lenny Bruce, Marshal McLuhan, Groucho Marx, Evel Knievel, friends, relatives, strangers and lots of everyday people, all of them shut off from the outside as they journey into the world of fantasy.
While the collective audience sit in awesome anticipation, the band arrive in their respected Range-Rovers, a mode of travel adopted for the British tour which pleases everyone. Six months on the road with a show which has long since felt new to them, and keyboard man Tony Banks still chats with drummer Phil Collins about smoothing out tempo changes in the exercise in aggression `Evil Jam`. Ten minutes before showtime, bassist Rutherford and guitarist Steve Hackett talk about improving `The Musical Box`. Six months on the road certainly hasn`t tempered musical integrity.

The dressing room could only belong to Genesis with its colourful assortment of nuts, raisins, Meusli, cheese, bread, immature avacados that only look ripe, apple juice, coke (cola) and various bottles of spirits. But don`t go thinking what cosmic health fanatics they are, hung up on be-yourself lyrics and pedantic preachings. While theoretically closer to groups like Yes, Floyd, Crimson and ELP in progressive technology, they still retain strong leanings towards rock with rhythms that could only be described as funky.
Five minutes before showtime Peter Gabriel enters the room, looking for a coffee, not that he needs added caffeine energy, dressed up as Rael with make-up outlining this street fighting kid`s fantasies. Throwing mock punches right and left, Gabriel primes himself for the macho urban posture Rael adopts in the first half of the show. Thirty seconds before showtime, two roadies furiously break up large blocks of ice, dry ice fumes floating onstage in time for Tony Banks to kick off the piano rumblings that sound like waterfalls to signal the start of the show. The crowd cheers victoriously. Having not seen Genesis for too long a time, they are ready.
“This is better than last time,” one fan proclaimed to his mate halfway through the third number of the evening, `Broadway Melody of 1974` as Groucho Marx and friends made their slide screen entrance. “Better than last time?” his mate asked in disbelief. “Yeah,” he sighed with an air of superiority as the Marx brothers left the screen replaced by James Dean, “this is the best”.
With six month`s maturity, the show runs like well oiled machinery allowed the freedom to fluctuate or halt at an appropriate bumps and grinds. Tonight`s lot are quietly fanatical, sitting in rapt attention, caught up in the fantasy. This low-key behaviour robs the production of some of the more eclectic magic that ran up the spine at last month`s Paris show. Getting off to a late start, the band begin to hit stride on `Evil Jam`. By the time they reach the tense climax, those currents are finally jumping up the back-bone, making you shiver.

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With repeated listenings and live viewings, different songs and segments alternate as favourites. Yet the overall strength of the piece never weakens. Gabriel`s characterisation of Rael has grown from strength to strength as he becomes more and more Rael-like, picking up Rael`s every gesture and nuance, affecting the personality en total.
Rael`s mental and physical tortures that befall him in the second half are reminiscent of those epic myth-like endurance tests in `The Odyssey`. The `Slipperman` costume that you`ve seen all the gruesome photos of, heralds musical changes and dance steps that are a sophisticated rendition of the Willow Farm segment from `Supper`s Ready`.
The biggest change however in the visual performance is Peter`s in-between sides introductions. Gone are the references to Rael which made the listener assume that possibly much of Rael was Peter. Now he simply says `There I was strolling down 22nd Street`. Lightweight intros gently destroy illusions of grandeur, letting us know there are no pretensions.
The band`s musical mastery still wends its way towards perfection. Banks and Hackett now work together, forming an integral part of the musical tension with their cleverly weaved guitar / keyboard interplays, often preventing the listener from deciphering which is which. Rutherford adds punch to the rhythm on bass, and sophistication to lead lines on guitar. While Phil Collins, as always, continues proving that he still is the best drummer working in rock today as well as a fine harmony singer.
“Think about it,” the same fan was saying to the same friend when the final notes of `Lamb Lies Down On Broadway` were still ringing as the audience stood clapping for an encore, “They`re so much better than the Pink Floyd.”

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
This number of Sounds also contains articles/interviews with these people: Back Street Crawler, Mallard, Leo Sayer, Mud, Jet, Average White Band, Al Green, Ray Charles, Chinn and Chapman, Hawkwind, Slade, Genesis, Dr. Hook, Helen Reddy, Alex Harvey, Bachman Turner Overdrive, Bill Munroe, Kraftwerk, Kinks.
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Genesis FROM SOUNDS, April 26, 1975

A very honest and good account of the concert and the meaning of the plot by Mr. Makowski.
Read on!

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A touch of the Jaggers

Concert review by Pete Makowski

The stage was set. On the left hand side Steve Hackett was seated with guitar and a melange of effects around him. Behind him Michael Rutherford was stooped over his twin neck bass and six string guitar. On the right Tony Banks was half hidden behind an impressive selection of keyboards, in the centre, with headphones, sat Phil Collins with surrounding percussion.
The rest of the area was a playground for Pete Gabriel`s surreal fantasies.
If you haven`t already guessed, I saw Genesis at the Wembley Empire Pool last Monday, to be precise and left extremely impressed. On every level the band transcend any kind of expected performance standard. Musically they are so proficient they make that part of the job look like a secondary exercise. Visually, apart from Gabriel`s cavortings, the lights, three screens of tightly synchronised slides and stage effects left me confused as to what I should be focusing on. Seeing a show as spectacular as this hits you right between the eyes and it takes a while before you can gather your wits and listen to the music.
This was the debut performance, in Britain, of the band`s new work `The Lamb Lies Down On Broadway`. After hearing the album countless times, and seeing the live show I haven`t got any closer to understanding the plot, so I enjoy it on a superficial level. Gabriel plays a New York droog (Rael) who goes through a whole series of crazy dreamlike fantasy scenes. When Gabriel plays a part, he seems to become the person totally. Dressed in a leather jacket and worn denims he strutted around the stage looking like a real street punk. Some of his poses reminded me of Iggy Stooge, Lou Reed and even a touch of the Jaggers. His whole presence dominated the scenery.
They played the whole double album with only a few minutes breathing space, where Gabriel told the story. The show, as you all probably know by now, features a lot of interesting effects including a monstrous entity with self inflating warts, The Supernatural Anaesthetist, and one part where you are confronted with two Raels. The whole show didn`t solely rely on the theatrics although it wouldn`t have worked without them. After such an impressive and obviously exhausting performance, the band returned for more in the form of `Musical Box` and `Watcher Of The Skies`. Now that`s what I call showmanship.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!
This number of Sounds also contains articles/interviews with these people: Frank Zappa, Gladys Knight, Women In Rock, Betty Wright, Steve Harley, Peter Frampton, Labelle, Peter Skellern, Ray Davies, Larry Uttal, Chris Spedding, Anne Murray, Sweet Sensation, Bernard Purdie, Mike Harding, Ronnie Lane, Yes.
The original music paper this article came from (pictured at the top) is for sale!
1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Genesis FROM SOUNDS, June 8, 1974

Genesis started their work on one of their most famous albums around this time, the album later known as “The Lamb Lies Down On Broadway”. At this point the strains in the relationship between Peter Gabriel and the rest of the band started to show. He would leave the band a year later.

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Looking for a back seat role

Peter Gabriel tells Jerry Gilbert about radical changes afoot for Genesis

Peter Gabriel returned from Genesis` recent American tour to take possession of a new house in Bath, and with no particular desire to go back across the water in a hurry.
“It seems like we had one US tour running straight into another and we`ve been away about six months in all, which is too long tours. “It`s not so productive; we come up with quite a lot of (Missing a line here? – Blog Ed.) Genesis was formed initially as a songwriting band back at Charterhouse public school, and the original concept has been lost by long tours. “It`s not so productive; we come up with quite a lot of ideas but it`s the actual growth of the ideas that`s stunted, and now it`s pretty well the same situation as we found ourselves in last year.”
So how does Peter envisage this year turning out? “I want to take more of a back seat role,” he said adamantly. “I hope that there will be opportunities to work with other artists this year.
“It`s not so much a rejection of that role, but Genesis has always been more than a live band in our minds and the other side hasn`t had a chance to be developed. For instance in the States people only know us as a performing band.”
The last two years has seen a complete reversal for Genesis – from being the carefully nurtured Charisma babes, the bulk of whose work was done on the drawing board, to one of the most exciting live bands in the country, especially when they are in full flight.
“We hope to get the chance to write for other people.” Peter went on, “There seems to have been a reversal whereby capable artists are using other people`s material, and I still feel there`s a lot we can do. I mean I think a lot of writers enjoy a much wider range of music than their public or press ever give them credit for.”

Whilst in the States, Peter was invited to take part in a TV chat show with John McLaughlin and the Beach Boys` Mike Love, and McLaughlin was voicing the same opinion about the coverage of good material. The result was that McLaughlin and Love ended up playing “California Girls” along with Charles Lloyd. Peter, it should be noted, did not participate. “Being of nervous disposition and totally overawed by the barrage of electric equipment, I made for the nearest corner on my stool….”
Quite how definite are the individual plans of the group remains to be seen. Peter has often spoken of his wishes to write and record with songwriter Martin Hall, and I brought this up again during the interview. “Yes, it`s a strong possibility. We`ve done a few songs together but not recorded anything.”
The idea, he emphasised, was not to extend egos but simply to provide a nucleus for a variation of ideas. Meanwhile Mike Rutherford is planning a project with the old Genesis guitarist Anthony Phillips.
“We`ve been doing the stooge routine for long enough and we don`t really want to be tied. It`s not a case of `Now I`m going to do my own thing` routine but just the desire to be involved with other people. At the same time we are going into our own album with a strong feeling that a change is about to take place. It`s very easy to repeat your former glories if you think your appeal lies in a certain direction so we are going to work towards avoiding that on this album and introduce things that we haven`t tried before. We really want a radical change.”
And so in the Autumn Genesis plan their British return with a concert tour and a completely new stage act, more than likely another piece of theatrical extravagance destined to make them very little money overall when it comes to the final analysis. How much longer do they plan to throw their tour profits straight back into the hat?
Peter admitted to the frustrations that this situation inevitably induces, especially when they see small bands dividing the spoils at the end of a gig. But he feels that it`s all for the best.

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“When Tony (Smith) takes his management percentage then that`s just about break even point. But the amount of money that changes hands is now greatly up, and the next American tour should put us into a profit area.
“The thing about America is that unless you`re very lucky with radio plays you have to go as many places as possible because everything is localised, so now we`re trying to remodel our tours to the point where we shouldn`t really play in any place twice with the same show. Instead we`d like to play medium size buildings and do about three consecutive nights there – several dates in one town, which would enable us to put on a better show, and then that would be it.”
But the band, like most, encountered their fair share of bad taste in the States. Firstly there was the press reception in Boston (“we`re not the kind of band to have a press reception for anyway”) where someone came up with the bright idea of having the group sit amongst the disciples in a painting of “The Last Supper”, the idea being to have the band flash across Christ`s head with the use of a generator and effects.
Then they had six guitars stolen, and although two were brought back there were some very funny stories going round, says Peter. This was at the Academy of Music, and it was there that Peter made his one and only attempt to “take off” Drury Lane style. The result was that the whole thing backfired, the timing was off and Peter was left out on stage, suspended, ignominiously, in mid-air.
“No-one really knew what they were doing,” he explained, predicting the axing of that particular facet from the show. “Flying was a gimmick – it doesn`t have any great aesthetic significance and I probably won`t do it again.”
Right now Genesis are down in Hindhead – close to where it all began for them some years ago. They`re rehearsing material for their new album at Led Zeppelin`s country retreat, and when they`ve completed their writing period they hope to bring in a mobile unit rightaway. “We might then be able to get some of the ideas down while they`re still fresh because we feel that it`s our one opportunity in the year to record and we`d better make it good!”
Not only good, but by the sounds of things thoroughly unique – a complete departure from all that`s gone before.

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I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Bryan Ferry, Captain Beefheart, Jim Capaldi, Lee Jackson, Uriah Heep, Byzantium, Denny Cordell, Ronnie Lane, Blue, Nutz, Arthur Brown, Harry Chapin, Groundhogs.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.