Genesis

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!

IMG_2731

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.

IMG_2851

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.
Advertisements

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.

img_2168

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.

img_2170

“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.

img_2174

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.

ARTICLE ABOUT Phil Collins (Genesis) FROM SOUNDS, November 3, 1973

This interview was obviously conducted before there was restrictions on what media could print. Later on the marketing departments of the record companies demanded too much control over what was printed. A press officer today would have had a heart attack if he saw an artist being so frank and outspoken as Collins is in this interview. Shame on you, concert goers from Bournemouth and Southampton! LOL!
OK. Here we go.

IMG_1877

Phil: Showing off his colours

Feature by Jerry Gilbert

Three days before Genesis concluded what appeared to be a highly successful British tour, selling out two concerts at the Rainbow and earning an ovation that any artist would treasure, Phil Collins came out with this surprise announcement: “I don`t know if you get blase but we expected a little more from some places and they just didn`t live up to expectations. The Northern gigs were all good but not Bournemouth or Southampton.

WEIRD

“The Rainbow was also weird and I didn`t really enjoy either of those gigs although a tape I heard of the Saturday gig sounded a lot better than I remember playing it”.
He also has reservations about their new album “Selling England By The Pound”, feeling that the numbers are only beginning to find their feet onstage now. But this is a problem Genesis have always had – their cycle of event forces them to take several months off to routine a new album and then go straight into the studios to record it before embarking on a tour to promote it which is usually when those numbers come of age. But if there`s one aspect of the band that this tour has pinpointed, it is their ability to play freely, and for the first time we have seen the band split down into units of three (Tony, Phil and Mike) and two (Phil and Mike). In fact Phil has been coming to the fore more and more recently, combining a display of powerhouse drumming with back up vocals, and now his own feature spot in the programme when he sings “More Fool Me” to Mike`s guitar accompaniment.
“We took three months over the last album, and while we were doing it I was doing my own pub gigs with a band (the legendary Zocks) and we may revive that band again. I`m also cutting a single which came about when I demoed some songs for Mike (Rutherford) and Ant Phillips, who used to be in the band. I was just demoing the songs for them but Strat liked what he heard and decided to put it out as a single although I don`t yet know what name it`ll go out under.”

IMG_1881

Phil admitted that Genesis had finally emerged as musicians rather than a bunch of guys who meticulously work out every arrangement over a period of three months and devise strange costumes, props and slides as expletives.
“Everyone has come out better musically and whether it`s born out of frustration or not I don`t know. I don`t think it was a conscious effort, it was just the way it evolved and we hope to bring a lot more things into the band – there are some more percussion things I want to bring in. I mean the more I can get into the band the better I feel and things like `I Know What I Like`, `Dancing With The Moonlight King` and `Aisle Of Plenty` have given me more pleasure playing onstage now because it used to be that somehow I`d be playing better at the soundcheck than I was onstage. We`ve wanted to sound freer, and now, with only three of us onstage, the time changes are easier to pick up.”
But what role does Phil play in the preparation of new material? “Well I come up with ideas, little riffs and things because I play piano and so ideas come out in various pieces though obviously I`m more into the arrangements and the time sequences than chord patterns and lyrics.
“With the new album I feel that the production is much better because `Foxtrot` had been a farcical situation where we had three producers and it wasn`t until we settled down with John Burns to do `Supper`s Ready` that we realised we were getting into something. He thinks that the feeling should come across more than the technique but technique is important too so this time we`ve found a compromise and shown off a few rough edges.”
Phil`s future plans also include an album with Irish singer Eugene Wallace, although right now he is more concerned with preparing for the States` tour which follows shortly. “We want to make a film of a gig for American use also perhaps a `Whistle Test`, because although this is our third visit to the States it`s only our first real tour. The first time was a gamble with a one off thing in New York and I think it was effective.”

FREAKS

At the beginning of next year the band want to undertake a European tour, but more important, they plan to feature a week of concerts at a major London venue – either Edmonton, Hammersmith or the Rainbow. “We could have sold out four Rainbows this time so that`s what we`ll do instead of the Wembley thing we were going to do, because the show is still maturing.
“The thing is there`s a lot to take in at one show and I`m sure there`ll be some freaks who will come all five nights.”
With such an eccentric show, could Genesis ever hope to make money from the British concert circuit? “No. We had to put our ticket prices up this time which is a sad thing to do, but it`s a vicious circle because we can`t go on playing for nothing and getting ourselves into more debt but at the same time we can`t stop doing what we are doing because that`s what the band`s all about. The financial situation is something we never think about because if we did it would depress us. We`re taking all our own stuff across to America so we`ll lose money there too.”
But Phil is adamant about one thing – Genesis will continue to show off more and more of their colours. “There`s a lot in each of us that doesn`t come out in the band. Steve should play his instrumental `Horizons` and he and Tony should do instrumental things. My song came about because we were all going to do feature spots but I was the only one who actually got it together to do something else in the band.”

IMG_1882

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: Dicky Betts (Allman Brothers), Alvin Lee and Mylon Lefevre, Humble Pie, Wishbone Ash, Michael Chapman, Ringo Starr, Neil Innes, Ken Hensley, Refugee, Steve Tilston, Groundhogs, Mike Heron.

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 Peter Gabriel (Genesis) FROM SOUNDS, March 3, 1973

A lot of people like this version of Genesis a lot better than what they became later. I see them as almost two separate bands, with Gabriel they were sort of a progressive art-rock band, without him they became a more melodic rock band. Both versions of the band are fine in their own right. Enjoy this one, the last from this issue of Sounds – an issue which were full of riches to explore. On to the next one….

IMG_1522

Gabriel – Living out a surrealist fantasy

By Jerry Gilbert

Peter Gabriel personifies first the surrealist evil that lurks within “Clockwork Orange”, and then the sweet bizarre innocence of Lewis Carroll`s Alice.
The whole issue of camped up stage drama in A.D. 1973 is beginning to portend something patholigical, by and large. The credibility gap of the presentation and its inability to tax the real imagination – these are the problems too often encountered and too rarely overcome.
Maybe the Genesis approach has been different – perhaps they`ve gained from taking the slow winding road to the top of the hill without being sidetracked into any of the Messaenic hyperbole that so many of their contemporaries have chosen.

TANGIBLE

The band`s new stage act, I dare say, transcends just about everything that has come under the portrayal of surrealistic art in an eminently tangible rock form. The band live beyond the seven-year cycle that determines the course of rock music fads and their communicative level is on purely a fantasy level, using as its medium tragi-comedy, quasiallegory, and at its most extreme points life and death as humorous transient sequences rather than states of being.
Peter Gabriel`s visions of life and death are paradoxical; his theory is that music provides visual images – and if that music reaches the theatre then those images can be acted out. In short, you are taken on the unknown voyage of 2001 while Peter Gabriel personifies first the surrealist evil that lurks within “Clockwork Orange”, and then the sweet bizarre innocence of Lewis Carrol`s Alice.
Backstage Alice was taking off her final coat of make up, the metamorphosis revealing Peter Gabriel, suddenly the quiet, self-effacing public school boy who would at first seem the vicarious victim of such a vigorous expression as Genesis send forth except for the fact that he can handle it all superbly.
Offstage he dresses soberly and would be entirely unassuming but for the shaved forehead which would seem to indicate that he is affiliated to some weird religious order.

In the light of such a stage extravaganza did Peter feel that the “Foxtrot” album could stand up on its own merits, stripped of all the trimmings, without providing something of an anti-climax?
“Well we`ve never been entirely satisfied with the album and the music relies heavily on capturing the entire atmosphere on record – we didn`t capture the atmosphere we could have done but we can on stage with our visual presentation,” Gabriel explained.
Prior to the tour Genesis spent long hours in the Rainbow, meticulously taking their existing act and moving it slightly off-centre so that it distorts. The revamped act is little more than a series of clever nuances, save for the obvious introduction of headdresses, but the impact is immediate.
“I think we have enough visual links now that once people see the band the imagery will wash over into the record anyway,” Peter went on. “For instance, I think `Yellow Submarine` provided visual images for people listening to those songs afterwards – things like `Northern Song`.”
Does it matter that the audience are by and large unable to grasp the significance of Gabriel`s personal symbolism? He didn`t think so: “For instance, I like some of Eliot`s poetry and you can spend years looking up his symbolism and cross references if you want to and you might end up with quite a lot of assorted information, but I don`t think you get any more pleasure out of it than if you understand any of the references.”

IMG_1530

DETAIL

Then the serious expression gave way to a grin: “But I do like to have the detail there so that if anyone did want to spend their life rooting around the lyrics, they could find it and it would be like a little paper chase for them, you know, very unnecessary but great fun.”
`Supper`s Ready` is the composition that moves through more physical and allegorical sequences than most – pieced together as a single concept it could parallel a Bosch creation but with the added dimension of time.
“We`ve never taken anything as bulky as “Supper`s Ready` on the road before and we find that when we take things out that we`ve done a lot of work on they are generally such that you can`t hold an audience during certain sections, but what`s pleased us is that audiences on this tour have been willing to listen to all of it.”
I asked Peter whether the band felt comfortable about undertaking such a tour so soon after the one with Lindisfarne, and whether they were affected psychologically by the prospect of returning to the same venues – this time as a headline act.
“It`s only really been strange playing here in Newcastle again, but on the whole we`ve been very, very pleased, because we didn`t know how many places we could fill. We seem to have accumulated much more power than we had a few months ago.”
He explained that the band was used to headlining as they have been broken in on the European circuit. In Italy they are acclaimed as vociferously as they`re ever likely to be in England.
“With our own backcloth now it`s different – there are no speakers visible, we wanted to make the whole thing more personal but strangely very few people have remarked on it although they are usually very aware of the presence of stacks.”
This has helped to levitate the entire credibility of such a creation – the band, shielded by their backprop emerge as though on a dias, and the elimination of such eyesores as speakers assists the audience greatly in accepting their position within Genesis` ephemeral world.
“But people have become much more involved in the fantasies,” insisted Gabriel as though deeming the whole thing worthwhile. “From people who have talked to us they are becoming totally surrounded by it although other people will be left stone cold.”

EYESORES

Then Peter proceeded to outline plans for a new all-embracing project, the concept of which has already been evolved, and when it finds the right environment it`s going to remove its audience totally from any natural habitat and place them in a strange cosmic situation. He was reluctant to divulge the essence of the concept as a venue has not been determined, but the effect it is certain to create is staggering.
“At the moment we are still limited with what we can put across, but with plan x, let`s call it, we will be able to get a lot more across, built out of certain energies, and provide them with the right emphasis.”
“The thing is,” Peter went on, “we`re still not happy with the lighting situation. We had the Who`s lighting guys giving us technical advice and it can be used well as we learn more ourselves about colour.”
So presumably the Genesis road crew would shortly be expanding? “Yes, I do think this will be happening unfortunately. I don`t like the idea of having a touring troupe, but the thing is once we agree on the conception of an idea, then we don`t want to have to worry about the technical difficulties – I think it`s inevitable that the more efficient you become the more organisation you require and therefore more money.”

PLOUGH

But as far as Genesis are concerned their money is already spent. “We want to plough any money we make from gigs right back into the presentation of the show… and we want to do this ad infinitum. We want to do the very best we can on stage and make our money on the records.”
Inevitably this will lead to a dichotomy in the band`s material for they will surely visualise albums and stage productions as entirely different concepts in the future and channel their music accordingly.
“Yes, because we still primarily see ourselves as songwriters which may seem a bit strange – but it`s a writer`s approach to visuals rather than a performer`s.
“What`s important to us now is to do what we`re doing in this country in the States. Unfortunately at first that means taking what you can get including the top band pulling out your power point when they think you`re going down too well. We may decide to just take in towns where the album has done well and do them on our own.”
By May or June Genesis will be back in the recording studios; Gabriel already has some ideas worked out for it (yet to get the affirmation of the rest of the group). And judging from the frame of mind he`s in at present you`d better expect something stunning.

IMG_1536

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: Darryl Way (Curved Air), Sounds staff analyse David Bowie, Nazareth, Steve Marriott, Average White Band, Elton John, Geordie, Status Quo, Slade, Stackridge, Thin Lizzy, Mike Heron, Jesse Winchester.

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, September 9, 1972

Prog-rock fans are one of the most dedicated fans in the world, alongside people listening to jazz and blues, classical and of course rock.
So this early Genesis article may bring the prog message boards into meltdown.
Have fun.

IMG_1239

Genesis doing the foxtrot

By Jerry Gilbert

Peter Gabriel – slightly eccentric or acute schizophrenic?
He cycles to Island Studios to begin a day`s work on the new Genesis album, and unpacks a bottle of throat medicine and a wonder-cure spray rather like a schoolboy would unload his text books.
In fact Gabriel personifies a schoolboy – or the way a schoolboy might be portrayed at some distant point in time. His head is part shaved and his eyebrows bush out which looks a little incongruous when he`s not prancing about the stage daubed with paint and make up like some nebulous apparition.
Suddenly Peter Gabriel and his bicycle are in Basing Street. The singer has arrived. He might have descended in a police box but that`s probably illegal.
Inside, we take a peep at the new Genesis album “Foxtrot” and at the same time sample the strange mechanism of Peter Gabriel`s mind.
He begins to talk, realises he is not quite expressing his feelings satisfactorily, gives a self-efacing shrug and trails off. We wait as he muses on the subject but invariably he fails to take up the point again.
Peter Gabriel is a mutterer and a muser – a man who amuses and minces across the stage when Genesis are in full flow.
He has not climbed on the campwagon since Bowie became beautiful – he has always allowed his latent extrovert side to come out on stage and take him over in what ever way it will.

“You see certain characters I sing about I feel related to in some strange way like the little character in `The Music Box`.” Then he trails off again murmuring some thing about colouration and worrying about a more articulate explanation.
There is no question that Gabriel assumes different identities on stage but in a sense it is indicative of the way in which Genesis have grown organically and in so doing, have not caused the kind of sensation which induces the raising of eyebrows.
Nothing sensational has ever really happened to Genesis which is scarcely surprising when you consider the fact they are a quiet, unassuming bunch of lads who came together as songwriters at public school and started from scratch.
The most remarkable aspect of the group has been their growth rate, and today they find themselves placed among the handful of top bands in Britain.
They were the only band to capture the imagination of the crowds at Reading on the Friday night which is remarkable for a brand of music which depends so heavily on subtleties.
Now things will start to happen – and for a kick off their new album is sensational.
The feeling was already there as we studied the Paul Whitehead designed sleeve on the way over to Island. Bassist Mike Rutherford was explaining how complementary it was to the nature of the album – and again it contains aberrations from a human situation which are so slight as to be absolutely bizarre.

IMG_1241

Gruesome heads are seen on perplexed horsemen and as the hunt arrives at the sea, there stands the beautiful lady with the fox`s head – and hence the title of the album.
Like the new Yes album, one side is devoted entirely to one track, written by Gabriel and entitled `Supper`s Ready`.
“There`s a line in Revelations which says `This supper of the mighty one`… anyway there are very straightforward levels at which you can take the lyrics if you want”, explained Gabriel in typically self-effacing fashion. The song is constructed in several distinct sequences, dipping and soaring from acoustic passages to mighty barrages of sound in much the same way as songs like “Musical Box” and “Stagnation”!
But although they have unleashed twenty-five minutes of sound per side, which can be damaging to the overall sound Genesis have achieved a far more dynamic effect that on “Trespass” and “Nursery Cryme” and it is a far more interesting album.
The band intend to feature the album almost wholesale in their stage act when they go on tour with Lindisfarne next month.
“Watcher Of The Skies”, based around Tony Banks` funereal mellotron opens the album, but one of the highlights is a song by Peter Gabriel concerning the eviction of an old couple by the winklers. The song is called “Get `Em Out By Friday” and Gabriel keeps the battle running by assuming the voices of both factions. The song is an acute protest at an increasingly threatening situation, and according to Mike Rutherford they are the best lyrics Gabriel has written.

Genesis have kept the mellotron largely in the back-ground although it is used predominantly in a track called “Can Utility And The Coastline” which is a play on King Canute, and the stage replacement for “Stagnation”.
“We`ll be rehearsing a completely new stage act because just about all the stuff we`ve done in the studio we can do on stage”, explained Mike. “We`ll probably keep `Return Of The Giant Hogweed` and `Musical Box` but we really need a new closing number to replace `The Knife`. We hope to have this within the next couple of months”.
Although Genesis have not put any overt humour on album, there are plenty of humourous moments to be found beneath the layers of sound – and plenty of effects too. For one sequence of “Supper`s Ready” they sent out for eight children off the streets, four coloured kids and four whites to sing a choral part, and paid them ten bob each for the privilege.
Thanks largely to a far more dynamic drum and vocal sound and a greater studio presence, Genesis have produced a beautiful album, overcoming the unenviable problem of changing producers en route. David Hitchcock is the man responsible for completing what should prove a highly important album.
Summing up Mike Rutherford sees that whereas the group`s style necessarily changed between “Trespass” and “Nursery Cryme” owing to personnel changes, the new album is a development of the same musicians.
“We`ve all had a chance to settle in now and this album is far more dynamic – Phil Collins` drum work gives the sound an overall attack that`s been missing before”, Mike concluded.

IMG_1242

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: John McLaughlin, Faces, John & Yoko, Eagles, Yes, Nazareth, JSD Band.

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.