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ARTICLE ABOUT Roger Glover (Deep Purple) FROM New Musical Express, October 14, 1972

Mr. Glover says it like it is. What is worrying is that mainstream radio and TV is even worse today than it was at the start of the 70s in giving rock music a chance to be heard. Very strange, considering the millions of people into rock music. Is this a huge conspiracy to prevent people liking rock in a future society? Someone should write a rock opera around this theme.
Read on.

Backward Britain

Roger glover slams radio rubbish

By Tony Norman

ROGER GLOVER HADN’T had any sleep for a couple of nights and it showed. His eyes were puffy and his face creased for want of a good kip. But, as we sat talking in the bar of a well-known studio in Wembley, it was obvious that his haggard appearance did nothing to kill his thought waves. Apart from his work with Deep Purple, he is pursuing a joint project with singer Ian Gillan. That’s what the Wembley sessions are all about.
“When we were with Episode Six we wrote a pile of songs together,” Glover explained. “Ian took the best of them and has wound them into an idea for a film. We’ve been putting down some of the songs to see what they sound like and so that we can play them to producers. It’s gonna be quite a big thing. At the moment they’re just demos to give people an idea of what we have in mind. Ian has a definite idea but we don’t want to discuss it yet — someone might pinch it.
“It could turn out well, but really it’s just a little thing we’re working at on the side. We’re messing around in a way. But I’m knocked out with it. I think it’s really good.”
All highly cryptic stuff. We moved on to something more concrete. The next Purple album.
“We were supposed to do it in Italy but we ended up with only nine days over there, which is really no time at all. So we’re having to go to Germany to finish it. We’re not quite sure where.”
Presumably they record out of Britain for tax reasons?.
“Yes,” he nodded. “We’ve got two tracks nearly completed and the rest we still have to write. I wish I could give you some definite news on a live album we recorded in Japan a few weeks ago. It could be that we’ll release that here next and the studio album will follow next year. But, as I say, I’m not sure what’s happening. That’s just an idea.
“We recorded every show in Japan for an album to be released over there. But now we’re thinking of putting it out in Britain too. There are so many bootlegs of us going around. If we put out our own live set, it should kill their market. Ours would be a double album and we’d like to bring it out at just over the normal price for a single album.
“Being bootlegged can really be a drag. All groups have good and bad nights, and if they catch you on a bad gig then the record can really turn people off.
“They hear it and think `Christ, Deep Purple aren’t much good’. I’ve found this myself. I heard a Led Zeppelin bootleg and they sounded terrible. It’s just not fair on the bands. It’s a rotten business.

“It happened in Germany a lot, a couple of years ago. You’d see millions of mikes on little stands, sticking up from the audience. Our roadies went out and grabbed all the tapes they could and got into a few fights, but there’s really very little you can do about it.
“We had a court case against Virgin Records, which we won. That stopped them selling our bootlegs. But it’s a drag. The live album from Japan could kill the market. That would be a great thing.
“Another reason for wanting to put it out is that the stage act we’ve been using on the British tour will be dropped next year. The next one will be based around the new album. Although of course there will be some old songs because people always want to hear them.”
Which tracks are the real favourites?
“Well, the three people want to hear from ‘Machine Head’ are ‘Highway Star’, ‘Smoke On The Water’ and ‘Lazy’. We sometimes do ‘Child in Time’ and that always gets a big reaction. ‘Speed King’ from the first album is also popular. I don’t mind doing the old stuff — we even do ‘Black Night’. It’s a great number to play.”
Purple have spent a fair part of 1972 in the States. Their most recent sweep (they got home in early September) was a real goodie: “We’ve had a lot of bad luck with illness in the past. Ian (Gillan) was ill when ‘Fireball’ was making it and Ritchie (Blackmore) was ill when ‘Machine Head’ was taking off. Possibly that stunted their climb up the charts a little bit. But ‘Machine Head’ now is just about Gold, which is fantastic. It’s the breakthrough we’ve been waiting for.
“The last couple of tours have proved we’re making it on the concert scene. We’re headlining and playing to capacity crowds. It really is a very good scene for us now — especially the East Coast.”
IT’S TAKEN PURPLE a long time to get to the present happy state where they are equally popular both sides of the Atlantic.
“When Ian and I joined, the situation was that the band meant nothing here and were dwindling in America after a couple of hit singles (remember ‘Hush’?). So we decided to concentrate on Europe, starting with the concerto, then ‘In Rock’ and ‘Black Night’. It happened for us and we were huge in Europe and meant nothing in America. The situation had been reversed. In the States, it’s only now that we’re getting over the ‘Hush’ thing. We still get people asking for it.

“‘Hush’ isn’t really what we want to be remembered for. It’s the now band, the ‘Machine Head’ band that’s the important one for us. At the moment we’re in a satisfying position because we’re fairly big in Europe and the States. That doesn’t stop you trying to get bigger, of course.
“One of the things that’s standing in our way is the media. I don’t think the musical Press does us justice. It’s not just us either. They don’t like groups. They like cult heroes. I don’t know why this is. I think journalists, on the whole — I’m not having a go at you — tend to think that they can create their heroes. If they like somebody they really give him all the space they can and it’s the groups that suffer.”
I don’t agree, but that’s his opinion. Glover also feels American bands get a better deal here than our own groups.
“I remember once, we sold out the Albert Hall in London. It was a great night. We did about three encores and everyone had a fantastic time. After all that, one paper gave it a paragraph. About a week later, Canned Heat came over and sold out the Albert Hall. The same paper gave them a huge, headlined, front page story.
It’s the Americans who get the treatment. You very rarely, see an article on Jethro Tull, Ten Years After, Led Zeppelin, the Stones or us. There are about six groups who are huge all over the world, yet they don’t get fair treatment at home.”
I said that the groups he’d mentioned didn’t exactly turn cartwheels to make themselves available for interviews. Top acts tend to cut right back because they don’t want to be over-exposed. It’s understandable in many ways… but it’s not the Press’s fault.
“Well,” said Glover thoughtfully, “maybe that has something to do with it. But we’re always available. I can’t think of any time when we’ve said, ‘Right, we’re not doing any interviews for three months’.”
“But in any case that’s not the main problem with the media. The biggest thing is radio. Even now, after years of Radio One. I listen to it and think, this can’t be true. This can’t be England in 1972. It’s just unbelievable. Alan Freeman is the only guy on radio who has any idea of what it’s all about. Even he has to submit to the various gimmicks they put in shows, like the Youth Club Call. In a way that’s not a bad idea and if he believes in it, then fine. But the point I’m trying to make is that those gimmicks are really not what rock radio is all about. They belong to Radio Two.

“If you go to New York and turn on the radio, it’s fantastic. You can whip through your dial and pick up maybe twenty rock stations, all playing good music. And we haven’t even got one. I can’t believe it.”
Did he, remembering all the set-backs in this country, find it surprising that British music is so very good?
“The British bands are good, not in spite of the BBC, but because of it. Bands in America have God knows how many stations on which to get their music played. So when they’re in a studio or on a stage, they haven’t any hang-ups. They know they’re gonna get air play. But in England, you’ve got to make a decided choice.
You’ve either got to go for music that Radio One will play, which means producing drivel. Or you’re gonna say, ‘Forget it, we’re just gonna do what we really want to do’. And that’s why the English bands who make that choice are completely unrestrained. They’re very exciting. They don’t care — they don’t care about anything. The live performance is the only thing that matters because it’s the only thing they’ve got. That’s the only thing that’s gonna sell their records. That’s how Deep Purple made it.
“Before we had ‘In Rock’ released, we spent six months going up and down the M 1 playing maybe five gigs a week. We travelled all over England and were pulling in bigger audiences and getting better money than most of the chart bands. That was simply because our live show had a good reputation. Then when the album came out that reputation made it sell. I’m sure of it. It got no radio play at all. The only thing that did was ‘Black Night’, and they only played that after it was a hit.”
As you will have gathered, Glover is not totally averse to speaking his mind. He wound out our conversation with some views on the Grateful Dead.
“I really didn’t know much about the Grateful Dead. Just that they were a San Francisco band and I never really liked that kind of West Coast music. To me it was always a bit untutored and untogether and out of tune. Then, about nine months ago, I saw a television special in New York featuring them. It was a live thing and lasted 45 minutes.
“I watched it for a minute. Then I started laughing. I really thought they where clowning. But, after a while, I realised they were serious.
“Their music is sheer self-indulgence. A lot of it is the drug culture thing. I think they got off initially because people were so high. There’s one group I`d go as far as to say, they are a load of —- and that`s the Grateful Dead.”

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ARTICLE ABOUT Yes FROM New Musical Express, August 26, 1972

When highly motivated and skilled musicians start a rock band, you get the likes of this group, creating music that may be difficult to get into, but also a group that will never fail you when playing live. This review clearly reflects that. Many people wish that they could possess just a tiny little bit of the musicality of the members of this band, and rightly so.
Read on.

Canada: Well-balanced Yes

Martin Webb: Vancouver

YES, WHO HAVE been playing in Vancouver and Seattle recently, could be the best-balanced rock band around.
I heard them here in Vancouver, and they proved just about everything that I could possibly ask for. Their music is exciting, varied, and highly original. On stage they manage to display their individual instrumental and vocal virtuosity within the confines of the group’s ensemble playing, rather than engaging in a succession of boring ego-maniac solos.
From beginning to end, I didn’t hear one unnecessary note.
I don’t mean that they’re non-experimental, or that I didn’t enjoy the “Clap”, or Rick Wakeman’s “Hallelujah” thing — with the choir somehow coming out of his maze of keyboards — it’s just that since practically everything they do is so different and well planned from the start, they don’t need to use any uncontrolled feedback screeches to add an illusion of the avant-garde to an otherwise mediocre piece of material.
Their whole attitude towards reproducing their recorded sound “live”, is radically different from any other group I’ve ever experienced. Aided by their enormous array of electronic instrumentation and effects — including a stereo P.A. — they are able to stick pretty much to their recorded sound and arrangements. But where they can’t, they don’t botch everything up by going ahead anyway. Instead, without a musical letdown, they insert a substitute phrase that lends itself more to in person presentation.
The result varies just far enough away from the recorded version as to make the piece more interesting for the musician and the listener alike. They are so obviously equally aware of quality both in the studio and on the stage.
I still find their songs difficult to get into after only one hearing. They played two new numbers, “Siberian Khatru”, and “And You And I”, and I was able to enjoy a certain over-all feeling that they had about them. I even remembered a few small parts. But I`ll have to listen to the new album “Close To The Edge” five or six times before I really start grasping either of them.
It’s not music that has you instantly humming it for a day, and fed up with it the next. Yes music is too unpredictable and uncliched for that. The depth of the music makes it take a while to grow on you but I bet that we won’t be snickering at their records when they’re just five years old.
Yes’s increasing popularity stems, I believe from the fact that they just might be the most well-balanced rock band around. Avoiding the wishy-washy trap, they’ve somehow come up with a style that holds something for almost everybody.
When I spoke to the band their main topic of conversation, in between singing, guitar playing, and gulps of greasy chips and chicken, wilted salad and iced milk, turned to the criticism they’ve been receiving in the English music Press for not having played at home in a spell. So may I give this reminder of the British dates they have lined up, starting with the Crystal Palace Bowl (September 2). Steve Howe also mentioned something about the Rainbow in the new year.

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ARTICLE ABOUT David Bowie FROM New Musical Express, August 26, 1972

You can`t get a much better live review than this one. Bowie must have been pleased with this one, including the praise of his legs.
Read on!

Bowie – dry ice, nice legs and absolute ascendancy

By Charles Shaar Murray

GOING TO THE Rainbow these days is definitely an outing, an excursion, something of a treat. Unfamiliarity breeds respect, and though the cheerful hippies who used to sell you hot dogs and guide you to your seat have been replaced by bored-looking usherettes, there’s still that thrill as you wait for showtime. Mr. and Mrs. First Nighter… this is your life.
David Bowie’s show is definitely a spectacular in the grand tradition. A Bowie concert is your real old Busby Berkeley production. Bring on the dancing girls — or rather the Astronettes with Lindsay Kemp, wheel on the dry ice machine and put some mystique back into the whole deal.
Opening act Lloyd Watson proved that the blues do indeed go on, and on, and on, and on. He’s a good singer and plays fair slide, but his original compositions are really dire. Harsh though it may be, I’m afraid that Lloyd does not have the weight to play a gig like this. All he did was to ensure that the bar did good business.
With their performance at the Rainbow, Roxy Music proved that they are now in a major band not just in the eyes of publicists, friends and a few partisan journalists, but to audiences as well. Starting out with their glitzy teenage hit single “Virginia Plain,” they played a tight, neat set of songs from their spiffy first album. Each number earned a successively warmer response, and Phil Manzanera’s guitar temper tantrum went down especially well. They closed with “Remake/Remodel” and went off to a standing ovation — well, a few people were standing up to clap and lots more were calling for an encore. Onwards and upwards — and here’s looking at you kid.
Lou Reed later described Bowie’s set as “amazing, incredible, stupendous — the greatest thing I’ve ever seen.” While Lou is not exactly the most impartial of observers on things Bowie, he knows a good show when he sees one, and this was perhaps the most consciously theatrical rock show ever staged — and, by the by, it made Alice look like a third-form dramatic society. With a multi-level stage, a light show, sawdust on the floor, the Spiders in all their glory and a backstage Matthew Fisher playing piano, it could hardly fail, and it didn’t.
Right from his entrance, walking through a cloud of dry ice up to the microphone to sing “Lady Stardust” (while the face of Marc Bolan was projected onto a screen by his side). Bowie provided a thoroughly convincing demonstration of his ascendancy over any other soloist in rock today.
With perhaps the finest body of work of any contemporary songwriter, and the resources to perform this work to its utmost advantage, there really isn’t anything going that tops the current Ziggy show. Other, more basic, performances have got me off more and higher — Hendrix, the Dead, Berry, Winter, Steeleye and the Crows to name a handful — but David Bowie has stuff going for him that most people haven’t even thought of yet.
And he’s got nice legs, too.

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ARTICLE ABOUT Steve Marriott (Humble Pie) FROM New Musical Express, August 26, 1972

Marriott held his promise and never joined another band after Humble Pie. An incredibly talented and productive musician, he was also “productive” in other ways, leaving behind several ex-wives and children after what was a really tragic death in a house fire. He was only 44 years old.
Read on.


I don`t believe the kids really identify with Bolan or Bowie

By James Johnson

STEVE MARRIOTT HAS long been one of the livelier stalwarts of British rock. He started playing around 12 years ago in London’s East End, later coming of age in an era that arguably produced the country’s most exciting rock musicians ever.
Marriott himself is still very much a Cockney — arrogant, aggressive, loud-mouthed even; but still one hell of a personality. He says what he thinks, does what he feels, and doesn’t mind telling you so himself. When he yells from the stage “Ahhh ain’t no bullshitter,” you know that he’s dead right.
And if anything his enthusiasm for touring is stronger than ever — while many of his contemporaries from that earlier era have either gone into semi-retirement, faded into obscurity, or simply blown their brains: whenever possible Marriott is out on stage, singing his guts out for Humble Pie, doing as he says, “what I’ve always done only, hopefully, better.”
Maybe the band haven’t exactly overdone touring in Britain, but nevertheless over the last two years they’ve put in an incredible 16 months on the road. That’s a pretty heavy schedule when you’re touring in the style of the Pie.
“Like, we never go to bed before five or six in the morning,” said Marriott. “It’s the only way, man. You spend all day getting wired, energised for the gig, for that one hour in the evening: so when you come off you’re excited. You want to carry it on-work it off. What are you gonna do? Go to sleep? No way.”
Still, if a recent bout of touring in the States had slowed Marriott down it wasn’t showing last week. He was in London a day after flying in from the States and was, as he put it, “feeling good and lookin’ like a Vietnamese refugee,” meaning that he wasn’t looking too overweight.
Taking a gulp of tea in his publicist’s office he stated firmly: “I just couldn’t do without touring and gigging. The whole band loves that feeling you get from the roar of the crowd, the loudness of your amps, the screaming and the sweating.
“We get put down for playing just one thing on stage, but that’s all I want to play, man. In a studio or at home it’s different. But on a stage I just want to get that exciting, adrenalin feeling you can only get from electric rock and roll.
“You’ve gotta remember around ’69 I sat on me arse for a year and did nothing. I moved out into the country and lost all me enthusiasm. I lost all me energy and spent the time writing pastoral, green, middle-of-the-road songs. Just pleasant songs. Pete Townshend warned me I’d get out of condition and I did.
“In fact, I’m still living out there, but now we never spend more than three weeks off the road so we never lose contact with the people and what turns them on.
“And I really enjoy gigging. Every night I want to leave a bit of blood on the stage, cut me fingers a bit, sweat and scream. Like, it’s our job to get people so they won’t sit down.”

CERTAINLY MARRIOTT has mastered to a fine degree the art of holding an audience’s attention. He says: “I’m a performer first — musician second.” I wondered if he ever found his apparent power over an audience a little disturbing.
“No, no, no. Greg says to me ‘go up there and be little Hitler. Stick yer arm up and get them to do the same.’ Give the people what they want.
“But then it’s not a power buzz. It’s just a way of telling people I’m the same as them except I happen to be playing a guitar. Anybody can play guitar like me, though, and me voice isn’t that musical so I’m not bullshitting anybody. I wouldn’t do that because I’d be bullshitting myself.”
Marriott gets another chance to leap around next week when the band return for another three weeks tour of the States. Plans beyond that include a nine-day tour of Britain and the recording of a new album.
Said Marriott: “We want to have one side of songs that you inject your feel into and the other side with feel into which we can inject songs. In other words, rather than varying the numbers from track to track, from, say, a ballad to a ‘Hot and Nasty’, each type of number will be on the same side, so that a cat listening won’t have to jump the tracks.
“The album will include all that I’ve had hanging around for some time. I think it’ll surprise a log of ignoramuses who think we’re only into one thing and who don’t know what we’ve done in the past.
“After that we want to move into what I call phase four of Humble Pie. I’d like to tell you more about it, but due to contractual bullshit I can’t go into it fully.
“But put it like this. We want to get into a kind of revue type thing — bring certain new things into the band. Like, we’d very much like to do a live album at the Apollo (New York) but to do it we’d have to move into this phase four.”
Apart from that, Marriott said no more, although maybe there is a hint that Humble Pie will be more influenced by soul almost like Marriott was in the early days.

AT PRESENT though, the philosophy of the band is well-defined. “Basically it’s a horny philosophy,” said Marriott. “If I say the Rolling Stones — that tells all. They turn on the most. I don’t mean necessarily on stage but just by what they’ve got and what they do with it.
“I’d like to see Humble Pie keep the energy thing going like the Stones have. I was talking to Mick and said `It’s a gas that you’re still on the road,’ and he said, ‘It’s a gas that YOU’RE on the road! And of course we`re both doing the same thing, but as I said before, just hopefully better.
“The time when the Stones started was an era by itself. And there are still a lot of people who are still around, like the Faces, the Who, the Stones and us. There have been a lot of groups since then, but for me, they don’t have that general aura of excitement that the Stones had going for them.
“Like, T. Rex are necessary because they turn on the little kids. So did the Small Faces, but with the Stones and Who it was a more exciting thing. Like, I don’t see why there’s such a big deal made out of T. Rex. To me the whole thing is mediocre to a degree.
“This ain’t a put-down, but personally I dig bands with energy and output. I don’t dig posing and acting the part if you ain’t the part. In fact the state of affairs in this country really upsets me. Everybody’s too busy starmaking and it really pisses me off.”
Although there’s no doubt Marriott likes the idea of being in the rock business he is no lover of the glamorous side of the scene and never has been.
“What I’m more into is the respect. The respect you can get for sticking to your principle,” he continued. “That’s all I and the band want, because it’s a far bigger buzz than gold records hanging on your wall.
“There’s no glamour in it. I’m not going out in sequins and satins because that not what I wear, man. It’s not what I feel comfortable in and it’s also opposed to the music. I want to go on in jeans because I sweat like a pig anyway, and I’d ruin any decent clothes.
“For me glamour means Tony Blackburn — tinsel — that ‘Top Of The Pops’ attitude of keeping pop in its plastic bag. Like, you know, that programme is supposed to represent me, people like me and the whole rock culture but it doesn’t man, it doesn’t.
“You’ll notice that whoever’s rough and ready keeps right off that programme. I wouldn’t do it, man, if they asked me. I wouldn’t f— degrade myself. We went on a long time ago and took the piss out of Tony Blackburn because it’s appalling that DJs like that have so much power.
“We’re served up crap, expected to eat it and say ‘nice’. Well, it shouldn’t go on. People should start petitioning or do something.
“And ‘Old Grey Whistle Test’ doesn’t give a break to the right bands. Man, give us a new “Ready Steady, Go” – show us what the kids of 15 and 16 are doing, because I don’t believe they’re copying Bowie or Bolan. I don’t believe they really identify with people like that.”

EITHER WAY marriott needn’t worry as far as his own career is concerned. After watching Humble Pie grow he has complete faith in the band’s abilities and their potential.
He states firmly: “I won’t be in another band after the Pie because there ain’t another one I’d want to be in. I just can’t believe the personnel — they knock me out from gig to gig. MY job is to knock them out and therefore you knock the people out when they see the good vibes going on up there on stage.
“So I’d never be in another one and I think the others probably feel the same. That’s why I want this one to last for at least another four years. I don’t know whether it can, but I want it to. I’d really love it to.”

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ARTICLE ABOUT Peter Gabriel (Genesis) FROM New Musical Express, August 19, 1972

“Foxtrot”, the band`s fourth album was to arrive at October 6th, 1972. While not a huge seller, it was to be their highest charting album at the time of its release.
Read on!

Genesis curiouser and curiouser

With the band on the brink of a major breakthrough, Keith Altham talks to Peter Gabriel

AND NOW for something completely different — Genesis. I was beginning to think that there were no new permutations to be made in rock music, but vocalist Peter Gabriel with his receding head and his band of renown have got me thinking again.
He has to be seen to be believed, and though comparisons are always odious to any band with some genuine originality, you might say that Gabriel is a distant relation of Alice Cooper — although his camp is never taken into the sphere of the absurd.
Also he can sing, the band sounding a little like an early King Crimson with more attention to melodic content.
Genesis are more perverse and infinitely more subtle with their allusion and illusion and, in that respect, the cover of their last album “Nursery Cryme” does them an injustice with a rather blatant painting of a little girl in Victorian dress playing croquet with severed human heads on a lawn.
It serves to illustrate the subject of one of their songs, but the idea is infinitely more insiduous – if Salvador Dali happened to be available, he would have illustrated it perfectly.
Trying to work them out is really all a part of their mystique and perhaps once you do, their value might dissipate.
They are neither so heavy that they sink under their own intellectual weight, or so obvious that you need not pay attention, but, like the ‘Alice’ they get curiouser and curiouser to the point where the only word is “weird”.
Songs about hermaphrodites and the off-beat humour of “Harold The Barrel” and his suicide attempt have both humour and pathos in a unique mix.
At present they are a band who have generated a considerable following in the London area and in parts of the West Country (bubbling under in Balham and going up with a bullet in South Molton) by dint of live performance and they are about to either break into the big league or wobble back into limbo.
My bet is the former.
Likely to be a decisive factor is their forthcoming tour with Lindisfarne and Rab Noakes.

OUR INTERVIEW was arranged through Charisma Records’ mogul Tony Stratton Smith who, knowing of his artists’ reticence, volunteered his genial self to keep the conversation and the wine flowing over lunch.
He was needed.
Peter is as introvert off stage as he is on, and answers each question from a foetus-like position, folding and unfolding his arms, frowning concentration and a hesitant “Yes”, “Er” or “Right!”
Seldom forthcoming but always polite, you just have to wait to get through but it is worth the effort.
Information concerning the man comes in bits and pieces but provides an interesting insight into his background. His education was public school and he was brought up in Chobham, the son of a father who was a ‘gentleman’ farmer, engineer and inventor.
Gabriel is as reluctant to reveal personal preferences as he is to analyse the group’s intentions and motivations for fear of being “bagged or categorised” by people.
He likes classical music but was reluctant to name names as he felt a list of classical composers in a piece about pop music “pretentious” and the only composer I could drag out of him was Debussy and other “impressionists.”
He started out life as a percussionist and still retains a certain penchant for whacking a large bass drum on stage to relieve his feelings, much to the group’s disenchantment who have apparently threatened to fill it with concrete.
WE TALKED about the apparently incongruous combination of Genesis and Lindisfarne on the same tour bill and I asked him if he was concerned about the situation.
“I’m more concerned about the frame of mind that people coming to see Lindisfarne might be in while listening to us,” he answered. “We are not entertaining in the same way that Lindisfarne are — we’re a depressing bunch really!” he smiles thinly.
It is difficult to describe the effect that Genesis had upon me after seeing their theatre and song, but I used the word ‘disturbing’ and asked if that pleased Peter.

“It pleases me, but I’m not sure it would please the others,” said Peter. “We started out as a pure fantasy thing in a folk vein — rather Tolkeinish, but since that time (those days of Jonathan King and roses; King produced their first album significantly re-released to cash in on their current popularity) we’ve become more surrealistic”.
What kind of impression does Gabriel want the band to make on an audience?
He folded his arms, frowned and wrenched words from the abyss of his self-conscious… or maybe he thought it a dumb question!
“Er, right… well we want to give people the same feeling I get from listening to a piece of good music or seeing an exceptional film. It is a feeling which stays with you for maybe a day or two after you have experienced it. We want to open people’s minds to a few possibilities and make them take those thoughts with them.”
Stratton Smith ventured to suggest that they were ‘firing arrows into normality’ which, if rather prosaic, is at least illustrative of some of their more bizarre subject matter.
It’s good to shift people’s heads around a bit,” said Peter.
One of the more confusing aspects of Genesis material and even their act is that it is difficult at first to decide when they are serious. I told Peter that Genesis puzzled me with their more satirical material.
“It’s good,” said he, nodding to himself. “Phil Collins and I are considering getting together an album of completely banal pop tunes absolutely riddled with cliches so that he can sing and I can play drums. There will be a spot-the-cliche competition for which the prize is seven Charisma T-shirts!”
THERE IS no doubt that Genesis are at a critical point in their career where something has got to give — I asked Gabriel if he sensed that they were about to make some kind of breakthrough and why?
“Yes, I think we are,” he said. “It’s really just the result of having worked things out on the road over the past two years and finally evolved with the right combination as a result. There are only three members of the band who were in the original line-up, Tony Banks, Mike Rutherford and Steve. We had four drummers before we found Phil.”
Abnormal service will be resumed as soon as the group have finished recording their next album with a view to `making people more prepared to accept the unacceptable’.” Very interesting and not a bit stupid.

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