London 1980: Genesis Bootlegs


Genesis, 1980 — and this time it’s personal.

By the time I was discovering rock music as a young lad in the late-‘70s, the ‘classic’ era was already over and its surviving big beasts were fast mutating into something altogether cuddlier and more house-trained. Led Zeppelin’s In Through the Out Door featured as much piano as guitar and even a flirtation with synth-pop. Tormato by Yes offered up nine songs (and an awful album cover), only three fewer than the total number of tracks on their previous three releases, one of which was a double. Perhaps oddest of all was Pink Floyd — plus schoolchildren — with the Christmas number one single in 1979.

I got into Genesis sometime in 1978 — or possibly 1979 — via And Then There Were Three. Within a few months I had caught up with their back catalogue. Duke, released in March 1980, was the first Genesis album that came out in ‘real time’, as it were.

Their approach to writing some of the tracks that ended up on Duke has echoes of the pre-Trespass days, this time with Phil’s home substituting for Richard Macphail’s parents’ cottage in Surrey where much early writing and rehearsing had been done. It was collaborative and spontaneous, and came about in part, perhaps, because of the lack of individual material to hand. With Phil away trying to rescue his marriage, Tony and Mike had both released solo albums. On his return Phil, too, had begun writing and recording material that eventually became Face Value.

The Armando Gallo book, my Genesis bible at the time, ends in 1979 with talk of an extended piece of music, which this young fan — who was playing Seconds Out to death at this point — naively interpreted as a return to musical adventures à la Supper’s Ready and The Cinema Show. Alas, it was not to be. The piece was broken up into its component parts, the radio-friendly Turn It On Again and Misunderstanding became successful singles, and a ‘new’ Genesis-for-the-eighties came into being.

Forty years on I look back on these years — 1978 to 1980 — as a time of transition, a staging post on the journey to the brave new world of commercial success. Duke continues along the more accessible path mapped out by And Then There Were Three. But both albums also contain more than a few moments for even the most diehard fan of ‘old’ Genesis to savour — extended instrumental passages, soaring choruses, lyrical references to maidens fair and foul. An alluring mixture of familiar fragrance and flavours strange, you might say.

But it didn’t feel like that at the time — at least, not to this young fan. It actually felt like a huge and hugely unwelcome change of direction. It was as if they were forsaking their roots. Selling out.

Even the artwork — the cartoon figures, the childlike scrawl of the lyrics — reinforced these thoughts. It was all a bit too lightweight, too direct, too commercial. I avoided the new single (Turn It On Again), unlike my friend and fellow compulsive record-buyer Dave. Also a Genesis fan, he was generally more open-minded about chart music than I was. I probably picked up Duke, belatedly and grudgingly, a few weeks after its release.

And then, as Genesis transformed themselves during the early-‘80s, I took refuge in Foxtrot, Wind and Wuthering and the rest, leaving my doubts about Duke to fester and grow. To this day Duke strikes me as the weaker of the two ‘transition’ albums, a judgement more to do with the overall sound than with the quality of particular songs. Where Tony’s lush keyboards on And Then There Were Three wrap the listener in a warm embrace, Duke tracks such as Alone Tonight, Cul-de-sac and Heathaze sound colder and thinner to this (untrained) ear.

On this I am doubtless in a small minority. Genesis fans generally seem to regard Duke with huge affection. It was certainly a big seller at the time. Tony himself describes it in Chapter and Verse as his favourite album. Only relatively recently — perhaps after finally buying a copy of Tony’s A Curious Feeling five or so years ago, perhaps a little earlier — have I really made an effort to listen to Duke with fresh ears.


And so we come to the live shows, lengthy tours of Britain and North America. In addition to audio bootlegs — including high-quality recordings from Sheffield (broadcast on FM radio) and London — there is also a visual record of the tour. The London Lyceum shows on 6–7 May were filmed by the BBC. A very watchable video of the entire show is in wide circulation, though only a 40-minute edit was ever broadcast, initially as an Old Grey Whistle Test special.

Genesis had played only one British date on their 1978 world tour — at Knebworth. Phil ended the show with the promise of an extensive British tour the following year. Actually it ran from March to May 1980. And in the manner of Queen’s Crazy Tour a few months earlier, the focus was very much on a return to smaller venues, the likes of Exeter University and the Hexagon at Reading.

After the radical restructuring of the set list in 1978, its core remained in place for the 1980 tour. It ran roughly as follows:

Deep in the Motherlode / Dancing with the Moonlit Knight [excerpt] / Carpet Crawlers / Squonk / One for the Vine / Behind the Lines / Duchess / Guide Vocal / Turn It On Again / Duke’s Travels / Duke’s End / Say It’s Alright Joe / The Lady Lies / Ripples / In the Cage / The Colony of Slippermen [excerpt] / Afterglow / Follow You Follow Me / Dance on a Volcano / Los Endos / I Know What I Like / The Knife [shortened]

Genesis opening songs have been somewhat hit and miss over the years. The brooding intensity of Watcher of the Skies was perfect in its day. On the other hand, as I have written elsewhere, Squonk (used in ’77) isn’t one of their strongest songs, and it’s frankly a mystery why they chose to go with Land of Confusion on the final (1992) tour. For the first few shows on the Duke tour they appear to have opened with the muscular Back in NYC from the Lamb album. It’s not an obvious choice, the song not having featured in the set since the Lamb tour; it’s also a throat shredder for Phil. It was quickly replaced by Deep in the Motherlode, one of their very best openers, with its dramatic keyboard riff and Phil’s emphatic call to “Go west, young man!”

“We’re going to play some old songs, and a few new songs, and some songs you won’t have heard for a long time,” announces Phil in Sheffield, almost word for word the formula that he had used on the previous tour, a formula that he was to continue using to the end. After Deep in the Motherlode comes a trio of well-established songs — a snippet of Dancing with the Moonlit Knight segueing into Carpet Crawlers, followed by the aforementioned Squonk (still in the set!) and then One for the Vine. All designed, one assumes, to placate longstanding fans. All cheered to the rafters.

The Cinema Show has gone … again … but will return … again. Gone, too, are Eleventh Earl of Mar and The Fountain of Salmacis, the early classic resurrected for the previous tour. Burning Rope and Ballad of Big from the previous album have also been dropped. For the North American leg, Carpet Crawlers and Say It’s Alright Joe are replaced by Misunderstanding, out as a single in the USA by that point.

The most eye-catching feature of the set is the placement of the new songs. Unlike on most tours, when new material is sprinkled liberally throughout the evening — on the previous tour it was done with almost mathematical precision — Duke is represented by a single block of songs.

Behind the Lines / Duchess / Guide Vocal / Turn It On Again / Duke’s Travels / Duke’s End

It is, in effect, the extended suite that was envisaged way back at the start of the Duke recording process when, according to Chapter and Verse, what became Turn It On Again was little more than a riff, a bridge between the two main blocks of ‘Duke’ music.

It is fascinating — and a joy — to hear it played in its entirety, particularly Duke’s Travels / Duke’s End, which didn’t feature on the following tour and was only resurrected (in part) for the 2007 Turn It On Again comeback tour, minus the vocals.


“Evening, chaps. Good to have you aboard,” says Wing Commander Collins to the Lyceum crowd. To watch Phil’s performance is to appreciate what an outstanding front man he had become by this point, as well as reinforcing how important he was to the Genesis live experience. It is not just that his voice, particularly his falsetto on the likes of One for the Vine, is now much stronger. Tony and Mike are relatively static and undemonstrative on stage; Daryl and Chester, as ‘extras’, are never going to claim the limelight. It is to Phil that our attention continually turns.

He is on sparkling form. This is still likeable Phil. Funny Phil. Hairy Phil. Not Armani Phil. We are up close and personal. To watch the video is also to appreciate the meaning of ‘intimate venue’. We see every gesture, every facial expression, every bead of sweat. At a time when his personal life is crumbling around him, it is an assured and compelling performance.

Storytelling remains a part of the Genesis show, as it has been since the early days. Phil’s one-liners are only marginally less humorous with the knowledge that much of it is scripted. We meet the character of Sidney, the drunk from Say It’s Alright Joe, complete with Columbo-style raincoat, whisky bottle and even a small table lamp perched on Tony’s keyboard. The routine comes across well enough in a smaller venue, but it is hard to envisage it working in somewhere like Madison Square Garden (hence the reason why it was dropped for the US tour, presumably). And, as on the last tour, The Lady Lies is another opportunity for some playful interaction with the crowd around a hero/villain narrative.

Laddish humour abounds (though in interviews Mike has commented more than once that as the hit singles increased so did the number of females in the audience). There is Roland the bisexual drum machine who plays with anybody. Juliet is no longer tied to the steering wheel; now it is Albert having sex with a television set. And there are silly puns aplenty referencing Albert’s cultural achievements: Romeo and Albert, Albert in Wonderland, Albert vs Kramer. ‘Albatross’ is a great shout from the audience, the heckler either exceptionally quick-witted or (perhaps more likely) someone seeing the show not for the first time.

Back to the music. Ripples is outstanding. Two tours in and Daryl is starting to capture Steve Hackett’s distinctively delicate and haunting sound, though it’s noticeable that the audience cheers for Chester are louder than those for Daryl. The interplay between guitar and keyboards is gorgeous, and there’s a deafening chorus of “Sail away, away” as the crowd join in. Next comes a breathless In the Cage, now segueing into the Slippermen keyboard solo, which is making its first appearance as part of an embryonic medley that ends with the glorious, soaring Afterglow.

After playing their biggest hit to date, Follow You Follow Me, proceedings conclude with the Dance on a Volcano / drum duet / Los Endos medley, followed by an encore of I Know What I Like (and occasionally The Knife — “This is the only other song we know”). It is a familiar way to close the show, complete with landing lights. But that’s fine. In fact, it is more than fine. It is magnificent. It is classic Genesis. The big commercial hits — the likes of Abacab, Mama and Invisible Touch — are in the future. No, the band were no longer writing songs like Supper’s Ready and The Cinema Show, but nor had they abandoned their roots.

Essential listening — and a great watch too.


As mentioned in the main article, there are some great recordings from this tour, principally Sheffield on 17 April and the London Lyceum on 6–7 May (and it seems that the Drury Lane show on 5 May was also recorded). The Lyceum shows were filmed by the BBC. A very watchable video of the entire show is in wide circulation, though only a 40-minute edit was ever broadcast, initially as an Old Grey Whistle Test special. The 6-CD/6-DVD box set Genesis 1976–1982 that was released in 2007 includes this footage.

There is a very listenable recording of the Madison Square Garden show on 29 June at the tail end of the US tour. It includes Back in NYC, which they played there as an additional encore.

The Genesis Archive 2 box set includes great-sounding live versions of Deep in the Motherlode (Drury Lane, 5 May), Ripples (Lyceum, 6 May), Duke’s Travels (Lyceum, 7 May) and The Lady Lies (Lyceum, 6 May). Duke’s Travels also includes Duke’s End, though this isn’t credited on the sleeve. One for the Vine, recorded at Drury Lane, was featured on the UK version of Three Sides Live.


More about Genesis


1976

London’s Hammersmith Odeon: it’s Phil’s first tour as Genesis front man

1977

A selection of classic Genesis concerts on the Wind and Wuthering tour

1978

And then there were three … plus two: the first tour without Steve Hackett


Dijon 1978: Genesis Bootlegs


Follow You Follow Me, released in February 1978, was the lead-off single for the And Then There Were Three album. The song was essentially a quick and spontaneous studio creation. There are no references to mallet-wielding schoolboys and rampaging hogweed or to ‘Slippermen’ and even more slippery Lamia. It wasn’t their first simple love song — think Your Own Special Way — or even their first catchy, radio-friendly single — they don’t come much catchier or more radio-friendly than Match of the Day — but it was their best and it became the biggest hit of their career thus far.

Behind the cliché about this or that artist or band providing the ‘soundtrack of our lives’ is the fact that listening to music is an intensely personal experience: it stirs old memories and emotions. And Then There Were Three was the first Genesis album that I got into, probably in 1979 and certainly before the release of Duke in March 1980, and it remains a favourite to this day.

Genesis had first appeared on my radar via a school friend, who was obsessed with The Knife. It was a bit beyond me at first — I was about 12 years old — but I was drawn to the more accessible sound of And Then There Were Three. Within a few months I was listening to the entire back catalogue (well, from Trespass onwards).

The album’s title is of course a reference to Steve Hackett’s departure, actually during the mixing of Seconds Out in the summer of 1977. As with Peter Gabriel in 1975, the band filled the vacancy from within, Mike Rutherford assuming responsibility for all guitars.

This was the heyday of punk and new wave. ‘Dinosaur’ was a popular music-press label for bands of the early seventies — ancient, out of time and place, doomed to extinction.  And Then There Were Three was released in the same month that This Year’s Model by Elvis Costello and the Attractions and Plastic Letters by Blondie were in the top ten. Songs — like hair — were shorter, fashions sharper, and the mood and music uglier. It is one of their least-liked albums, at least judging by comments on an online fan forum — comments echoed by the band themselves:

Of all our albums And Then There Were Three was the weakest, without a doubt.

Mike Rutherford, quoted in Chapter and Verse (2007)

It is a difficult album to categorise — is it the first of a new Genesis era or the last of the old era? For all the tentative first steps towards a more commercial sound, it also has many of the hallmarks of the immediate post-Gabriel period. It is clearly not a return to Genesis à la Foxtrot, but nor is it some radical departure either. With Mike Rutherford very much finding his feet and Phil Collins not yet the prolific songwriter of the 80s, Tony Banks remains the dominant musical influence, as he had been since Peter’s departure. His lush keyboards cover the album like a warm and reassuring blanket.

Songs like Burning Rope, The Lady Lies and Many Too Many would be at home on A Trick of the Tail or Wind and Wuthering, as would other highlights such as Mike’s Snowbound. If pushed to choose a personal highlight, it would perhaps be Undertow, which — like Afterglow — soars defiantly:

Let me live again, let life come find me wanting
Spring must strike again against the shield of winter

Undertow (Banks)

The band’s most recent release had been a live double album, over half of which consisted of music from the Gabriel era. This tension between past and future presented itself in even starker form in the live setting, with a significant proportion of any audience obviously made up of long-time followers of the band. Phil’s standard opening remarks to the crowd about playing some old songs and some new songs date from this tour; he was still saying exactly the same thing on what became the final tour in 1992.

Set lists usually evolve over time: new songs are introduced and older material eased into retirement. The new set list, on the other hand, involved more than just a little reshaping and reshuffling. The running-order for the Dijon show on 3 June was as follows:

Eleventh Earl of Mar / In the Cage / Burning Rope / Ripples / Deep in the Motherlode / The Fountain of Salmacis / Ballad of Big / One for the Vine / Squonk / Say It’s Alright Joe / The Lady Lies / The Cinema Show / Afterglow / Follow You Follow Me / Dance on a Volcano / Los Endos / I Know What I Like

The new songs are indeed there — six of them at Dijon — sprinkled at regular intervals throughout the set. Down and Out was also played at some early shows. Squonk, One for the Vine and Afterglow all remain from the previous tour but have been moved around. I Know What I Like is now the encore. Gone are classics such as The Lamb Lies Down on Broadway and Carpet Crawlers. Firth of Fifth — Steve’s set piece— has also been dropped.

Also missing is Supper’s Ready, which at nearly 25 minutes’ duration made up a hefty chunk of the performance: a big song in every respect and so a big decision to leave it out. To maintain the balance between old and new, several Gabriel-era songs make a welcome return: the magnificent The Cinema Show, a rollercoaster In the Cage, and — perhaps the biggest surprise — The Fountain of Salmacis from the Nursery Cryme album, released in 1971. Dancing with the Moonlit Knight, segueing into The Musical Box, was played at Chicago in October. Although it may only have been played at this one show, it became a regular part of the set on the Duke tour.

Beginning at the end of March, the huge world tour that followed the album’s release lasted most of the year and involved three separate tours of the USA, two European tours and a short tour of Japan. The single British show took place at Knebworth Park on 24 June in front of a crowd of about 60,000 people. Chester Thompson was retained on drums for the live shows and a fellow American, Daryl Stuermer, was brought in to replace Steve Hackett.

And then there were three … plus two.

Classic opening songs are usually some combination of punchy, immediate and dramatic — Led Zeppelin’s Rock and Roll, Deep Purple’s Highway Star, Thin Lizzy’s Jailbreak. The lengthy Eleventh Earl of Mar therefore seems a bit of an odd choice. It had (very) briefly been used on the Wind and Wuthering tour before Squonk took its place. By the Duke tour Deep in the Motherlode was opening the show, with its far more dramatic keyboard opening and Phil’s emphatic call — “Go west, young man!”

In the official Chapter and Verse book, Tony waxes lyrical about Daryl Stuermer’s talent — “probably even greater technical ability and fluency than Steve” — and cites Stuermer’s ability to play fast as the reason why In the Cage, a Lamb highlight, was reintroduced. Stuermer’s playing does indeed seem to be note-perfect throughout, at least to this amateur’s ears, though it is hard not to miss Steve’s unique and subtle style on songs such as The Fountain of Salmacis and Ripples.

The ‘narrative’ songs from the new album all translate well to the stage. Indeed, it is not immediately obvious why one of them, Ballad of Big, was dropped mid-tour. Less successful, perhaps, is Say It’s Alright Joe, in which Phil adopts the persona of a drunk in a bar. All shows need to vary their pace, but the verses are ponderous and the long outro seems to meander nowhere in particular. But perhaps that was the point.

It is probably no coincidence that The Lady Lies follows, building to a frenzied climax as the naive knight in shining armour succumbs to the charms of the evil lady in her lair. Cue a spot of audience interaction, as Phil invites the crowd to loudly boo the wicked temptress — “wait for it, wait for it”. Freddie Mercury’s call-and-response routine, which developed into the well-known ‘Day-O’, also started in 1978.

The hit single Follow You Follow Me is given a prime slot just before the grand finale, even though something of the warmth and intimacy of the studio version is inevitably lost in a huge auditorium. Despite their soaring choruses, there is no space for some of those excellent new songs mentioned above — Undertow, Snowblind and Many Too Many. It is left to Afterglow to supply the emotional punch. If the Seconds Out version is a little too finely polished, then these bootlegs offer raw and visceral — perhaps definitive — performances of the song. Phil’s slightly off-kilter wail at Dijon, surely never to see the official light of day, is somehow perfect.

Phil has now taken over all the between-song chatter, sticking fairly closely to a basic script from one night to the next. There are introductions for Chester and Daryl, naturally. He invites us to a late-night barroom ahead of Say It’s Alright Joe and educates us about hermaphrodites before The Fountain of Salmacis. The young nymphomaniacs, Romeo and Juliet, are again up to their Carry On-style antics involving steering wheels and the like, once more (as in Gabriel days) an introduction to The Cinema Show.

We hear him reaching out across the language barrier in Dijon. He reads from a prepared sheet. It’s obviously a hastily prepared sheet and not one done with the assistance of a fluent French speaker — though, to be fair, “And Then There Were Trois” made me chuckle. He starts with the best of intentions but, as the show progresses, his attempt at French quickly dissolves into what the writer Miles Kington called ‘Franglais’ or just plain old English in a dodgy French accent. Thus, he introduces us to “Big Jim Cool-ie” (“Jim” pronounced with a soft ‘j’ sound), and by the end of the Romeo and Juliet monologue he is delivering lines like “Juliet (soft ‘j’ again), you cannot leave me like zis” and “Stark naked mate … nue”.

The Dance on a Volcano/Los Endos medley brings the show to a now familiar close and the band return for an encore of I Know What I Like. As on the previous tour, it is an extended version, complete with tambourine gymnastics from Phil and a semi-improvised section that references Stagnation from the Trespass album. Placed mid-show (and on side two of Seconds Out) it seemed to drag. It works much better as an encore, the band taking their time to say farewell after the formal part of the show is over.

In 1978 Genesis spent eight months on the road in Europe, the USA and the Far East. The album and tour were both a huge commercial success but it came at great personal cost: Phil’s marriage disintegrated, setting off a chain of events — for him and for the band — that were of huge significance.

Armando Gallo’s book I Know What I Like was written in 1979. If memory serves, a final picture shows Mike, Tony and Phil in a field outside Phil’s home in Surrey, starting the process of writing and recording their next album. There was talk of an extended side-long piece of music. It was not to be. As Gallo’s book closes, so does the era of classic Genesis. Despite all the comings and goings of personnel over the years, this was perhaps the big turning-point of all.


There are a number of excellent audio recordings of the And Then There Were Three tour. The best are Dijon on 3 June and Chicago on 13 October. Both are essentially complete and the sound is outstanding. The Knebworth show was broadcast on the BBC on the Alan Freeman Show shortly after the concert itself, apparently in quadraphonic sound. Alas, some songs are missing and for some reason Squonk was used as the opening song, even though the standard running-order was used during the concert itself. An edited version of the Houston show on 22 October was broadcast on the US radio programme King Biscuit Flower Hour and is widely available.

Alas, there is no visual material of comparable quality. The highlight is a 50-minute BBC documentary called Three Dates with Genesis, which includes clips of the band performing in Germany and England.


More about Genesis


1976

London’s Hammersmith Odeon: it’s Phil’s first tour as Genesis front man

1977

A selection of classic Genesis concerts on the Wind and Wuthering tour

1980

Phil is on particularly sparkling form during the Duke tour of smaller venues


London 1976: Genesis Bootlegs


It is June 1976, the beginning of a long and swelteringly hot British summer. The backdrop is one of industrial decline, financial crisis and political turmoil, and the music scene is soon to experience a not-unconnected upheaval of its own.

Deep Purple’s brilliant but moody guitarist has left the band. Emerson, Lake and Palmer are on an extended break, having released no new material since 1973 — and fellow prog-rock giants, Yes, none since 1974. Led Zeppelin are battling both the UK exchequer and personal demons: they are tax exiles and Robert Plant is lucky to have survived a serious car crash. Pink Floyd are holed up at their new Britannia Row Studios in London, writing their bleakest album to date.

In short, rock music’s titans are lacking a sense of direction, and punk is about to emerge from the underground to chart a very different course.

Genesis are also undergoing a revolution of sorts, their music fast evolving out of its prog-rock beginnings. The Lamb Lies Down on Broadway had itself been a departure, a boundaries-redefining concept album recorded under highly strained circumstances. Eventually, Peter Gabriel — lead vocalist, focus of much of the on-stage theatrics and, in the eyes of most uninformed onlookers, the group’s leader — left.

And then there were four.

The band were keen to continue without Peter. The musical ideas flowed, but it was music in search of a vocalist, the story often told of how one replacement singer after the next was tested and rejected before drummer Phil Collins eventually stepped up.

Rather than the usual catch-all ‘Words and music by Genesis’ formula, songwriters were now individually credited for the first time. Tony Banks’s growing dominance is therefore evident to the reader as well as the listener. Two of the eight tracks on 1976’s A Trick of the Tail are Banks solo compositions, and he is credited as co-writer on all the others. Overall, the mood is undeniably softer, warmer and more FM-friendly — easier on the ear after the shock of The Lamb: the sharp edges we associate with Gabriel-era Genesis have been smoothed away.

This bootleg, which sounds wonderful throughout, is from the Hammersmith Odeon in London on 10 June 1976. It is complete except for a couple of fade-ins between songs and is probably an official recording, as Phil announces to the audience that the show is being taped for release. It was recorded midway through a British and European tour, the second night of a run of shows at Hammersmith.

It wasn’t only the music for The Lamb that was wildly ambitious: the stage production featured elaborate costumes (for Peter at least), triple screens to project images illustrating the narrative, even a giant inflatable penis. On this tour, the staging is more conventional, though on a budget more suited to the larger venues they are now playing.

The setlist, like the band, has undergone something of a transformation:

Dance on a Volcano / The Lamb Lies Down on Broadway / Fly on a Windshield / Carpet Crawlers / The Cinema Show / Robbery, Assault and Battery /White Mountain / Firth of Fifth / Entangled / Squonk / Supper’s Ready / I Know What I Like / Los Endos / it. / Watcher of the Skies


Much of what is familiar to fans from the 1977 Seconds Out album, which omitted most of the Wind and Wuthering tracks played on that tour, is already in place. Indeed, the version of The Cinema Show included on side four of the original live album was actually recorded on this 1976 tour. Squonk is here too, placed midway in the set. Firth of Fifth has lost its piano introduction; I Know What I Like has found its tambourine solo. We are also introduced for the first time to Harry, anti-hero of Robbery, Assault and Battery, here preparing to “rob the Brentford Nylon Offices of their weekly takings”.

“Good evening, London! Great to be back,” announces the band’s new lead vocalist, Phil Collins, after the opening song. No explanations for Peter’s absence; no apologies, certainly. One of only two references to past Genesis history is a mention of the previous tour when they played the Lamb album in its entirety, Phil’s happy-go-lucky persona immediately asserting itself:

…tonight we’ve taken three pieces from the story — a bit here, a bit over there and a bit around here — put ‘em together and rather casually retitled it ‘Lamb Stew’.

Phil has huge shoes to fill, but he fits into them comfortably. The spotlight wasn’t a completely new experience for him: he had, of course, performed on stage from a young age. A tour of North America had also presumably ironed out a few front-man wrinkles. His voice is not yet as strong as it will become — he reaches the falsettos but struggles to find the necessary power at times, particularly on Entangled — but he is superb with the classic Gabriel-era songs and, despite disappearing behind the drum kit from time to time, never seems to miss a mark.

Gone, then, is the manic intensity of Peter and his ever more bizarre cast of characters. Gone, too, is a brooding presence stage right. Steve Hackett has grown — literally so, as he now stands throughout the show. His appearance, too, is visibly altering — no longer shielded behind the heavy-rimmed glasses, the thick, black beard and the dark clothes. The release of his debut solo album, Voyage of the Acolyte, was clearly about more than just the music.

He even gets to speak. Introducing Entangled as a song about a man who needs psychiatric help for a recurring nightmare, he responds to a playful shout of “Why?” from out in the audience with: “because he’s suffering from insomnia, that’s why, you idiot!” A more assertive Steve, indeed.

Unlike on Seconds Out — he left the band during the mixing process — Hackett’s guitar is delightfully prominent in the mix throughout this recording and is a joy to hear, not least during Carpet Crawlers and, of course, the epic Firth of Fifth. It must be said that Phil’s introduction of Steve as “the man they couldn’t gag, the Cambridge rapist” is jaw-droppingly inappropriate to modern sensibilities.

And then we are introduced to the new man at the back:

… our resident, temporary, permanent, stand-in drummer … the well-known misprint and typing error Mr Bill Bloomington … Straight £5 a night, he’s not bad, is he?

Bill Bruford is far from being an anonymous presence. To these untrained ears, the duets with Phil sound terrific, and he serves up a percussion masterclass, particularly on Supper’s Ready: indeed, during the latter stage of Willow Farm, Bruford seems determined to hit everything except for the empty milk bottles outside the stage door. However, he was apparently too much of a maverick for a band highly reliant on cues on stage, and he did not return for the Wind and Wuthering tour.

An unexpected delight on first hearing is the return of White Mountain to the set. Mike Rutherford takes us on a nostalgic journey back into Genesis’s past to when “the clinking of beer mugs could be heard very clearly” during songs from the Trespass album — “acoustic songs off the Trespass album”, he quickly clarifies, presumably after shouts for The Knife. Elsewhere, Steve informs us that the lyrics of Entangled are based on a painting by Kim Poor, who went on to design several of his solo album covers and who he later married.

Dance on a Volcano and Los Endos bookend the show, as they do on A Trick of the Tail. For fans growing up on Seconds Out, it’s odd to hear them separated out in this way — particularly the drawn-out introduction to Los Endos which was omitted on subsequent tours. The encore, familiar from the (UK version of the) Three Sides Live album, starts with the song it. from The Lamb before segueing into a shortened version of Watcher of the Skies. The same format — with two different songs — was used on the Wind and Wuthering tour.


Selling England by the Pound is probably (at least in this fan’s opinion) their best studio album, but the 1976–77 period — what we might refer to as ‘The Tony Banks Years’ — represents Genesis in their prime, particularly on stage. Their music, led by Tony’s keyboards, is ambitious yet accessible, Steve Hackett is still committed (it seems) to the band, and Phil Collins has successfully made the transition from drummer to front man, able to deliver Gabriel-era material as least as convincingly as Peter himself. Their stage lighting and production is also becoming vastly more ambitious. This bootleg, then, is an outstanding recording of Genesis at their peak.

Note: This Hammersmith 10 June bootleg is, to my knowledge, the best audio recording of a complete Genesis show from 1976. A 42-minute film of Genesis live in 1976 called Genesis: In Concert is now widely available, having been officially released as part of a reissues package for A Trick of the Tail. Sadly, it is heavily edited but features about 30 minutes’ worth of excellent footage shot elsewhere on the British tour. It sounds great too. As mentioned above, the version of The Cinema Show used on Seconds Out was from 1976, as was it. / Watcher of the Skies from the UK version of Three Sides Live. Entangled, recorded at Stafford Bingley Hall, appeared on the Archive 2: 1976–1992 collection.


More about Genesis


1974

Bonsoir. We visit Montreal as part of the Selling England by the Pound tour

1977

A selection of classic Genesis concerts on the Wind and Wuthering tour

1978

And then there were three … plus two: the first tour without Steve Hackett


Montreal 1974: Genesis Bootlegs


It is 1974. In Britain and parts of Europe, notably Italy — though not yet North America — Genesis have broken through to the big time: top-ten albums, decent-sized venues such as the London Rainbow, front-cover status in Melody Maker. This bootleg — an FM radio broadcast — captures the band in Montreal on 21 April. For many longtime fans, this is ‘classic’ Genesis: the Tony Banks / Phil Collins / Peter Gabriel / Steve Hackett / Mike Rutherford line-up. It is the era of the Mellotron and twelve-string guitars, of fox heads and old-man masks, of hermaphrodites and hogweed.

As on the previous tour, Watcher of the Skies opens proceedings — the eerie, doom-laden sound of the Mellotron familiar to fans from the Foxtrot and Genesis Live albums, a foretaste of the drama and (imagined) theatrics to come. Prog rock à la Genesis delights in long, complex pieces with repeated changes of mood and tempo. The set-list draws from three classic albums of the genre — Nursery Cryme, Foxtrot and the then-current Selling England by the Pound:

Watcher of the Skies / Dancing with the Moonlit Knight / The Cinema Show / I Know What I Like / Firth of Fifth / The Musical Box / Horizons / The Battle of Epping Forest / Supper’s Ready

The first ‘proper’ Genesis album, Trespass, is here unrepresented. The Knife, the standout Trespass track, was only very occasionally played on the tour as an encore, it seems. Indeed, on most nights they appear to have ditched an encore altogether.

Lacking the studio polish of the official releases to balance the sound and smooth away the rough edges, several passages here sound pleasingly urgent and aggressive, and it is interesting to compare the songs that also feature on the official Genesis Live album, released a year or so earlier. The bass (or bass pedal) during the Watcher of the Skies opening is more apparent, for example, adding to the sense of drama and foreboding, and during the heavier Musical Box sections it is as if Steve is battling to control his volume pedal.

One of many examples of amateurish cover art for this much-copied radio broadcast: at least part of the image (Mike Rutherford) is reversed and it is actually from the later Lamb Lies Down tour.

This recording is by no means perfect — radio interference leaks into the sound during quieter passages — but one of the pleasures of bootlegs for fans is the chance to hear their favourite bands in the raw, as it were: the mistakes and mishaps on stage, the experiments that didn’t work and were subsequently dropped, the early performances of songs before further reworking.

Firth of Fifth is a case in point. An undoubted Genesis masterpiece, it is hard to believe (see the Chapter and Verse book) that it almost wasn’t recorded. Here it is played in full, complete with Tony’s opening solo, dropped for subsequent tours. Played on keyboard rather than grand piano, it lacks the majesty of the original recording — in other words, it’s easy to see why it was dropped in favour of the powerful “The path is clear…” opening. Steve’s playing also seems at times to be a little less fluent than on the later Seconds Out version, for example.

Other than the opening and closing drone sound, I Know What I Like is less drawn-out than in later years — and better for it. Bootlegs capture Peter weaving his elaborate between-song stories — here delivered in schoolboy-though-passable French to the Quebecois French-Canadian audience. They are also the only way — at the time of writing, at least — to hear live versions of The Battle of Epping Forest. Only Steve’s Horizons, played here on electric guitar, seems a little out of place. It appears to have been alternated on this tour with another slight song, More Feel Me, sung by Phil, which features on the Genesis Archive #1 release, recorded at the Rainbow in October ‘73.

Searching for images of the band to accompany this article, I was struck by how bare the visual record of the Gabriel period appears to be. For more thoughts on Genesis as a visual spectacle at this time, see below.

Much of the sense of drama came from Peter’s on-stage antics, inevitably all but lost in audio-only recordings. To the already established costume-changes — bat wings, fox’s head and the rest — he has now added the character of Britannia, who introduces Dancing with the Moonlit Knight. Its closing section evokes a pastoral feel; Steve’s lilting guitar combines with the soft tones of the Mellotron, Peter’s flute, the sound of church bells ringing and even the call of the cuckoo.

It serves to further accentuate a strain of eccentric Englishness that lies at the heart of early Genesis, with lyrical themes and references ranging from King Canute and Kew Gardens to fox hunting and evocations of quiet country villages. The lyrics — and Peter’s vocal delivery more generally — are also a source of much of the quietly eccentric humour. As well as bringing to life a rich cast of characters, he has developed a number of peculiar vocal mannerisms, enunciating particular words and phrases in a singular style — “has life again destroyed life?” during Watcher of the Skies, to take one example. Elsewhere, with the band still not quite ready to begin after Peter’s ‘Britannia’ monologue setting up Dancing with the Moonlit Knight, he utters a single word — “Interlude” — as if he were part of a Monty Python continuity sketch.

This quaint and quirky and distinctly English sense of the absurd is further explored in I Know What I Like and The Battle of Epping Forest, each with its cast of characters, whose eccentricities are played out on stage by Peter. The latter, in particular, features whimsical wordplay — “a robbing hood”, “a karmamechanic with overall charms” — and there’s an amusingly down-to-earth little interchange involving Phil on backing vocals: “What’s the trouble, then?” It’s easy to picture Peter shuffling across the stage as the lecherous old man in The Musical Box, as he wheezes lines like “Brush back your hair and let me feel your flesh”.

The climax of the show is the epic Supper’s Ready, perhaps the quintessential prog-rock piece. The closing section of the song, As Sure as Eggs Is Eggs, is soaring, magnificent, glorious. Yet, watching the official Shepperton Studios live footage, shot the previous October, the song’s visual power comes principally from the use of simple fluorescent effects. Indeed, watching the film as a whole, the viewer is struck by its amateurish feel: the set is extremely basic, the lighting is poor and Peter’s costumes look home-made. The dramatic energy comes from the music and, in particular, from Peter’s extraordinary on-stage performance. In this sense, too, the ‘Selling England’ tour represents a crossroads for Genesis.

Genesis at Headley Grange recording the Lamb album, a few months after the Montreal concert. This photo was by Richard Haines. You can see more of his work at genesisfan.net

In a radical departure, the band played The Lamb Lies Down on Broadway in its entirety on the following tour, with only The Musical Box and sometimes Watcher of the Skies surviving as encores. Peter then left the band. This bootleg is valuable, therefore, in capturing the end of a Genesis era, with the band at their prog-rock peak. By 1976, they were back with Phil on vocals, a much more expensive and professional-looking stage show, much — though by no means all — of this classic material retired, and a warmer, less edgy sound.


Note: Officially released live recordings at the time of writing are Genesis Live, and the Genesis Archive #1 recordings from the Rainbow (October 1973) and The Lamb Lies Down on Broadway. The official but as-yet-unreleased film of the band recorded at Shepperton Studios in late-October 1973 is widely available online, as is a longer version of the Genesis Live recordings, including more between-song audio and Supper’s Ready, and a longer version of the Rainbow show.


More about Genesis


1976

London’s Hammersmith Odeon: it’s Phil’s first tour as Genesis front man

1977

A selection of classic Genesis concerts on the Wind and Wuthering tour

1978

And then there were three … plus two: the first tour without Steve Hackett


Calling All Stations: Not The Worst Genesis Album


Setting to one side From Genesis to Revelation, essentially a pre-Genesis album written and recorded by schoolboys — literally so: they were still pupils at Charterhouse when the first demos were put down — Calling All Stations is almost certainly most fans’ least favourite Genesis album. It’s the embarrassing uncle, the black sheep of the family, the unloved one, the one that nobody mentions.

It was released in 1997, five or so years after We Can’t Dance and one year after the official announcement that Phil Collins — drummer, lead vocalist and one-man 80s hit machine — was leaving the band. And then there were two.

Enter Ray Wilson on vocals, ex-singer with a minor-league outfit called Stiltskin, whose fifteen minutes in the spotlight — a number-one single — came courtesy of a Levi’s advert. And then there were three … again. It was a distinctly odd choice, with age and musical experience only two of the glaring differences between, on the one hand, Tony Banks and Mike Rutherford — ex-public school, softly-spoken practitioners of traditional English reserve, home-counties chaps to the marrow — and, on the other, Wilson, a brash working-class lad from Scotland.

In relative terms — relative, that is, to previous Genesis record sales — the album bombed, as did the subsequent tour: the US leg was cancelled due to poor ticket sales. Plans for a second album were scrapped out of concern for the Genesis name. And then there were none.

Looking back, Tony and Mike damned the album with the faintest of praise:

I felt that the … album was OK (Mike Rutherford)

I … thought the album turned out pretty well (Tony Banks)

Quotes from Genesis — Chapter and Verse (2007)

I remember checking out the lead-off single, Congo, a couple of times and taking an immediate dislike to it, not least the cringeworthy attempt at an arty, politically on-message video. Middle-aged men desperately trying to look cool didn’t work for me (aged 30 at the time). On the back of Congo, I gave the album one highly sceptical and cursory listen, decided it was crap and duly parked it for the best part of twenty years.

Out of curiosity, I dusted it off — literally — just a couple of years ago and gave it a spin. Only two or three tracks stood out on first listen, but I persisted and the whole album soon started to grow on me.

Eleven tracks, 67 minutes of music — and no out-and-out fillers or obvious padding. It certainly starts strongly, the title track a moody and dramatic guitar-driven affair with BIG Collins-esque drums and a soaring chorus. Congo isn’t as poor as I remember, though the inclusion of African rhythms to bookend the song invites inevitable comparisons — and not flattering ones — with Peter Gabriel’s epic Biko.

Even the more run-of-the-mill efforts — Small Talk, If That’s What You Need, There Must Be Some Other Way — are listenable and certainly no weaker than the selection of songs on side two of their self-titled 1983 album (the one that starts with Mama, a song that isn’t as strong as people say it is). The Abacab album, to make another comparison, runs for 47 minutes and includes two of the weakest songs in the entire Genesis canon — Who Dunnit? and Another Record.

Calling All Stations isn’t classic Genesis, of course, but it sounds good, there are some great hooks and instrumental passages dotted around, and Ray can certainly sing — a husky voice, deeper and less warm than Phil’s, closer in fact to Peter Gabriel’s.

Tony and Mike are in charge, of course. Drafted in after much of the music had already been written, Ray’s creative input was apparently minimal — a musical idea here, some lyrics there. I have recently bought Banks Vaults, a box set of Tony’s solo albums. A Curious Feeling apart, I am hearing his solo stuff for the first time and currently playing it non-stop. Much of it is great; some of it is outstanding. There are echoes of his solo work, particularly from Still and Strictly Inc, all through Calling All Stations. Other than The Living Years, I am unfamiliar with the back catalogue of Mike and the Mechanics — Mike’s extra-curricular project — but If That’s What You Need is what I imagine a typical Mechanics song sounds like.

When Calling All Stations is good, it’s very good. Shipwrecked, for example, has a great chorus. Anyone familiar with Morrissey’s work might note a similarity between the main keyboard riff and a fairly obscure Morrissey b-side called Lost (released, coincidentally, in the same year).

As on the previous We Can’t Dance album, the inclusion of longer songs allows the band to break free from the verse-chorus-bridge straitjacket. The Dividing Line runs to eight minutes and features some terrific keyboard lines, reminding me of Tony’s excellent The Serpent Said from his 1995 album Strictly Inc.

It also sounds like they enticed Phil back to play drums on the track. In fact, the drumming throughout the album is strikingly good, especially considering that Genesis were without a permanent drummer. The stool at the back was occupied by two guest musicians, one of whom — Nir Zidkyahu — was then invited on the subsequent tour.

The lyrics of One Man’s Fool (among other songs) may be distinctly uninspired at times — “One man’s hot is another man’s cold” — but its overall message about the dangers of (religious) fanaticism, written pre-9/11, of course, resonates now more than ever. This, the closing song, was the first to really hold my attention. At nine minutes, it’s the longest of the album’s eleven tracks, shifting gear midway through to conclude the album in style. Tony — the writer, presumably — sees it differently. Speaking about writing music with Phil’s voice (and creative input) in mind, he is quoted thus:

The first half of the song was good, but the second half suffered. If Phil had been there I just know it would have just taken off and gone somewhere else.

Tony Banks, quoted in Genesis — Chapter and Verse (2007)

Alien Afternoon is the quirkiest song on the album. It quickly settles into a fairly unremarkable groove: a humdrum tune with humdrum lyrics about a humdrum existence. Something seems to happen to our narrator mid-song — a paranormal episode or extra-terrestrial experience of some kind. Ghostly voices ring out like an angelic choir — “We are home / We are your home / We are all your home” — with suitably unsettling and other-worldly mood music from Tony and Mike. A close encounter of the Genesis kind. Great stuff.

Again, it very much reminds me of another song — probably my favourite by Simon and Garfunkel, The Only Living Boy in New York. Paul is fed up, stuck at home writing songs for the new album while Art is away in Mexico pursuing a film career. Then we hear Art’s heavily treated vocal calling from the ether — “Here I am” — as if he’s hearing Paul from afar.

Genesis excel at songs dealing with despair, pain and loss — the live version of Afterglow on Seconds Out towers above everything. Not About Us sounds like classic Mike writing. It is not unlike his Snowbound, a favourite from And Then There Were Three. Along the same lines, Uncertain Weather is probably the best song on the album. The ease with which the listener can project his or her own experiences onto lines about fading photographs and fading memories gives the song added power:

All gone long ago
Leaving no trace
Disappearing like smoke in the wind

Uncertain Weather

Goosebumps-good. Alas, the spell is broken by the inclusion of awful half-spoken lines midway through the song.

Overall, then, Calling All Stations is not bad at all: it’s time to bring the uncle in from the cold. For readers who know their Genesis history, it’s nowhere near as good as anything from the 70s but, especially if shortened to about 50 minutes (the length of a typical first-released-on-vinyl Genesis album), it would certainly stand comparison with anything released post-Duke (1980). It is better than Abacab (1981) and Genesis (1983), and probably on a par with Invisible Touch (1986) and We Can’t Dance (1991).


More about Genesis


1974

Bonsoir. We visit Montreal as part of the Selling England by the Pound tour

1976

London’s Hammersmith Odeon: it’s Phil’s first tour as Genesis front man

1977

A selection of classic Genesis concerts on the Wind and Wuthering tour


Seconds Out — The Greatest Live Album?


Reflections on Seconds Out and Genesis live on the 1977 Wind and Wuthering tour

I probably bought Seconds Out in 1979 aged twelve or thirteen, having discovered the band via And Then There Were Three. As luck would have it, my local library stocked Armando Gallo’s lavishly illustrated book, I Know What I Like, so I soon had a good sense of how Seconds Out fitted into the Genesis story. Recorded in Paris in June 1977 towards the end of six months on the road promoting the Wind and Wuthering album, it captures ‘old’ Genesis and features almost the very last performances of the four-plus-one line-up: Steve Hackett’s absence from mixing-desk duties over the summer effectively signalled his departure from the band. If memory serves, Gallo refers in his book to this being his favourite tour, the band, he says, performing almost flawlessly night after night.

The original October 1977 release featured twelve tracks spread across four sides of vinyl:

Side 1: Squonk / Carpet Crawlers / Robbery, Assault and Battery / Afterglow
Side 2: Firth of Fifth / I Know What I Like / The Lamb Lies Down on Broadway / The Musical Box (excerpt)
Side 3: Supper’s Ready
Side 4: The Cinema Show / Dance on a Volcano / Los Endos

With Peter Gabriel’s departure in 1975, the harshness and aggression noticeable in their earlier material — the likes of The Return of the Giant Hogweed — has given way to a softer and more polished sound. In part, this comes from Phil Collins – his vocal more soothing and melodic than Peter’s husky voice. Tony Banks, meanwhile, is the dominant musical presence, his lush keyboard sound leading the way in song after song and smoothing away the rough edges of the original recordings. With Steve Hackett’s guitar often an elusive, spectral presence floating free in the air, it falls to Mike Rutherford’s bass to provide counterpoint to Tony, such as during the exquisite keyboard solo starting at roughly 2:25 of Robbery, Assault and Battery.

I found this list when I was going through some old papers. It’s called ‘Top 50 Albums’ and dated 14 August 1983. I’m more than a little surprised that I put Simon and Garfunkel at number one; I think I’d just bought the album and was blown away with it. However, pretty much everything listed here would still be in my top 40 (though not necessarily in the same order) and much of it in my top 20.

Carpet Crawlers — an unlikely staple of the live show over the years — builds gently but insistently from its delicate opening. Robbery, Assault and Battery bounces with cockney swagger, allowing Phil to dust off his boyhood Artful Dodger character. The Dance on a Volcano / Los Endos medley closes the main set in thrilling fashion, as the 747 landing lights and dry ice depicted in the spectacular front-cover photo bathe the stage in ghostly white.

It gets better. Ahead of us lie perhaps the four finest Genesis moments on record.

A Genesis diehard will more than likely argue that Supper’s Ready, which dominates the third quarter of the set, is the band’s signature song – their Stairway to Heaven, their Smoke on the Water. It is epic, ambitious, daring — and on Seconds Out it is magnificent. The delightful sound mix helps, of course, but so does Phil’s front-man masterclass — by turns quirky and playful, soaring and majestic — offering his own interpretation of the song and more than doing justice to Peter’s original vocal.

The finale, As Sure as Eggs Is Eggs, is heady stuff indeed:

The lord of lords
King of kings
Has returned to lead his children home
To take them to the New Jerusalem

Supper’s Ready

Turn it up to 11, sit back and try not to shed a tear or two.

Two songs from arguably their best album — Selling England by the Pound — are a particular joy. The Cinema Show is a patchwork quilt of musical ideas — a succession of miniature keyboard flourishes and dazzling drum fills from the Bruford–Collins combination at the back, building to a show-stopping bass run from Mike at approximately 9:52. Though it is primarily a Tony Banks song, Firth of Fifth is Steve’s moment in the limelight. Often a peripheral presence, here is a chance for guitar to take centre stage.

And then there is Afterglow — an as-good-as-it-gets, goosebumps Genesis moment.

Now I’ve lost everything I give to you my soul
The meaning of all that I believed before escapes me in this world of none
I miss you more

Afterglow

Written in minutes (says Tony) and set lyrically in the immediate aftermath of some cataclysm or other, it builds from a hypnotic guitar riff to a spine-tingling climax, complete with angelic choir1, an effect he uses elsewhere on the album with equally dramatic results.

Ironically, Squonk is, for this fan at least, one of the weaker tracks – ironic in the sense that, for obvious reasons, the set opener is usually exceptionally strong. I Know What I Like, their first hit single, is also a dip of sorts. Performed live, it stretches out over eight minutes and more, a space for Phil’s on-stage antics with a tambourine. It’s an interlude of musical light relief, though the improvised middle section drags somewhat.

Everything I thought I knew about Genesis live in the seventies came from three sources: the Gabriel-era Genesis Live album, Gallo’s book and Seconds Out. Times change. Today the Genesis fan has an abundance of source material – the lengthy interviews making up the official Chapter and Verse book, for example, are a mine of useful detail, anecdote and context.

Armando Gallo had privileged behind-the-scenes access, but we can all now follow in his footsteps and check out the tour at various stops along the way. These reflections are based on seven excellent bootlegs from the Wind and Wuthering tour, all readily available for download completely free of charge: the London Rainbow and Southampton (January), Dallas and San Francisco (March), Sao Paolo (May), Earls Court, London (June) and Zurich (July). Listening to them offers us a far more complete picture of Genesis live in 1977 than the one presented by Seconds Out.

A cover of one of several excellent Genesis bootlegs from 1977. Sadly the Viva Les Bootlegs website is no longer updated, but there are other sites where bootlegs can be downloaded free of charge.

The actual running-order of the live show varied considerably from the Seconds Out track-listing. After some experimentation during the initial British dates (including, it seems, the short-lived inclusion of Lilywhite Lilith and Wot Gorilla), the set list eventually settled down to this:

Squonk / One for the Vine / Robbery, Assault and Battery / Your Own Special Way / Firth of Fifth / Carpet Crawlers / In That Quiet Earth / Afterglow / Eleventh Earl of Mar / Supper’s Ready / Dance on a Volcano / Los Endos / The Lamb Lies Down on Broadway / The Musical Box (excerpt)

Songs that were played live but don’t appear on Seconds Out are shown struck through

Eleventh Earl of Mar occasionally opened the set, and The Knife was included as an additional encore towards the very end of the tour, featuring on the Earls Court bootleg. All in a Mouse’s Night was played in the first few shows and then dropped relatively quickly for no obvious reason. Your Own Special Way was probably included as the then-current single. On stage, it falls rather flat despite some gorgeous additional piano from Tony. With the release of the Spot the Pigeon EP later in the year, the lesser-known but excellent b-side Inside and Out, another showcase for Steve’s guitar, took its place.

The Cinema Show was recorded on the band’s previous tour, having been dropped from the set by 1977. The reason for its inclusion here is not immediately obvious — a courtesy to Bill Bruford, perhaps (the band’s first fill-in drummer on stage: Chester Thompson took over drumming duties for the Wind and Wuthering tour and features on the rest of the album), or a discreet admission that leaving it out of the set had been an error (it was back for the next tour).

The decision to include The Cinema Show on Seconds Out and to omit several songs from Wind and Wuthering has a significant impact on the overall musical balance of the album. Unlike the live show, it is dominated by Gabriel-era music — in total, something like two-thirds, including the entirety of sides two and three — whereas at Dallas on 19 March, to choose one gig at random, Gabriel-era music comprises less than half the set. Five songs from Wind and Wuthering are performed (it was six in the early shows when All in a Mouse’s Night was played), of which only Afterglow eventually made it onto Seconds Out.

A cutting from the excellent The Genesis Archive fan site

The words ‘supper’s ready’ are spoken by Phil to introduce, well, Supper’s Ready. They are the only words spoken on the album (except for a brief, breathless “merci, Paris” and “merci, bonsoir”). It is all deeply serious. Except, in reality, it wasn’t. Seconds Out omits all the between-song chatter — and there’s a lot of it — and with it much of the humour that was integral to a Genesis show.

Phil is at the centre of it all, naturally. He’s following a tradition started by Peter, filling space to allow time for retuning and assorted tweaking and twiddling. So we miss out on the dodgy exploits of Harry the bank robber and the saucy goings-on of two virgins, Romeo and Juliet, the detail more or less titillating from one night to the next, presumably depending on whether the show was being broadcast live on radio. Mike joins in the fun. Your Own Special Way — about “Myrtle the Mermaid” — is apparently “racing up the Venezualan charts”. The story of Eleventh Earl of Mar, meanwhile, is set in Scotland, “a small country just north of England”. This levity is all perhaps a bit too much for Steve, who politely informs the audience that Firth of Fifth is “a song about a river”.

When the audience heard Phil announce at, say, Southampton Gaumont Theatre on 20 January 1977 that “this next one is from our new record”, did they already have an inkling that what they were hearing was one of a collection of songs that would stand the test of time — songs that are as fresh and exhilarating to hear in 2019 as they were when first released over forty years earlier?

Bootlegs offer us a more rounded picture than official releases — rough edges and raw mixes, mistakes and miscues — and as such they are essential listening for any fan. But Seconds Out provides something more. Beautifully mixed (to this amateur’s ears, at least), it captures a band at the peak of their game, playing many of their finest songs and sounding exquisite throughout. It is a classic album – classic in the sense of ‘the best, the highest quality’, but classic also in its timelessness. It deserves a place on the shortest of shortlists of the greatest live albums of all time.


More about Genesis


1974

Bonsoir. We visit Montreal as part of the Selling England by the Pound tour

1976

London’s Hammersmith Odeon: it’s Phil’s first tour as Genesis front man

1978

And then there were three … plus two: the first tour without Steve Hackett