Piper Club 2000, Viareggio, August 20, 1972

Piper Club 2000 Viareggio, Italy August 20, 1972
Early Show

Overall:

This is a mostly terrible sounding audience recording from the Foxtrot tour. Lots of hiss and distortion which is a shame, because the band sound in great form. The tape is also heavily edited, missing large swaths of Watcher of the Skies, Return of the Giant Hogweed, and The Knife. On the good side, there are rare perfmances of Can-Utility and the Coastliners and Harold The Barrel. From the genesis-movement's database, it looks like other recordings of this show exist. I would love to hear it.

Sound: * * 1/2
As mentioned above, there is a lot of hiss and distortion, particularly in the loud passages. I'm guessing the taper had weak batteries.

Mix: * * * *
Sometimes it can be hard to tell a good mix when the overall sound quaility is bad, but not here. During the best parts of the recording, it's easy to tell that there was a good, balanced mix going. Steve is especially audible here.

Performance: * * * * *
There's no doubt that the band were having a good night. It would be great if a better recording of this night were to surface.

Raw Notes:

1. Watcher of the Skies - Loud hiss. Recording starts late, at the last verse. Some distortion. Sounds like it was a good performance based on these last few minutes. Good crowd response. Then some considerable chatter. Peter introduces a song from the new LP called Foxtrot.

2. Can-utility and the Coastliners - "A translation of which is impossible". Long pause. This is a rare live recording of this song. Sings "All bent their knee" in higher register than on the album. Tony's Mellotron is in a good mood this night... sounds nice even over all the recording hiss. Curious glitch toward the end... sounds like about a half second of the tape was recorded over by another song. Very strong performance. Tony plays a brief organ riff from Salmacis before Pete introduces it. Crowd applauds mention of Nursery Cryme.

3. Fountain of Salmacis - Someone shushes the chatty crowd around the taper before the first notes. Mike's bass is very evident here. Another strong performance. The band were having a good night. Steve nails his riff going into "Away from me cold blooded woman". He can be heard quite well here. Good balanced mix. Pete still sings "ever still beneath the lake... somewhere." Crowd cheers! Man predicts Musical Box to his mates. Pete intro's Twilight Alehouse and translates the title into Italian. Introduces "Phillip Collins and his world famous triangle."

4. Twilight Alehouse - Crowd chats during quiet intro. Pete's vocal nearly disappears during the chorus. Perhaps his famous microphone technique? The distortion gets quite loud in this one. Gets a bit better in the long instrumental section. Picks up tempo a bit. Tony rocks on his pitch-bending organ in the finale. "Another from Foxtrot..."

5. Get 'Em Out By Friday - Another long pause. Peter hasn't started in with the stories yet. Extreme distortion for a moment. Guessing auto-levels picked in to save it. Good performance, but rough sound here. Crowd is fairly quiet during the "Genetic Control" section. Sings "Here is announcement...". Very different from the album. Hiss increases. Seems to be dodging the high notes. Batteries fading on the tape recorder.... music fades., then stops and jumps to.

6. Return of The Giant Hogweed - Last minute or so only. Shame, the band sounds like they were nailing it. Crowd starts to chant "Knife... Knife..."

7. The Knife - We get the intro, but gets cut off and goes to to quiet "Wanting freedom" section. More shredding from Steve audible above the din of distortion. Crowd is into it.

8. Harold the Barrel - Another rare performance. It's a shame the quality is so bad. Hiss increases again... music barely audible. Band does a little riff at the end instead of holding out "take a running juuuuuummp." Tape ends abruptly.

City Hall, Sheffield, April 17, 1980

City Hall
Sheffield, UK
April 17, 1980
TM Productions

Overall:

Sheffield '80 is one of the best live mixes I've heard on a Genesis boot. The band is in high spirits for this show, perhaps happy to be back in the UK. Phil is a bit hoarse on some of the high notes, but he doesn't shy away from them too often. Good performances abound, especially toward the end. Something to listen for here is the band having some fun with the rhythm on "I Know What I Like" which makes for a surprisingly pleasant listen, even after having heard this extended version hundreds of times. Highly recommended.

Sound: * * * * 1/2
There is a slight hiss throughout and just a bit of artifacting in the cymbals on a few songs, but on the whole, the sound is outstanding.

Mix: * * * * *
Possibly the best mix I've heard on any unofficial live Genesis recording. Rivals Philadelphia '83 closely.

Performance: * * * * *
The band is energetic and playful, especially toward the end of the show, beginning with "Dance On A Volcano".

Raw Notes:

Disc 1
1. Deep In The Motherlode - The thump-thump at the beginning might give you the impression that you're about to hear "In The Cage", but not yet. It seems strange to think that the band every opened a show with a song from ATTW3, but there it is. The sound here is wonderful--near live album quality with just a bare hint of hiss in the quiet passages. Nicely detailed mix. And this is a good performance. I like it better than the studio version.

2. Dancing With The Moonlit Night (opening section) - Phil dodges the high notes in the beginning. Nice ballad-y version. Band uses CP-70 piano instead of 12-string guitar. Great version, but too short!

3. Carpet Crawler - Crowd cheers opening notes. And again on the first sung line. A bit of artifacting in the highs, particulary the cymbals. Nice emotion going into the latter verses. Great intensity! Nailed. "Good evening, everybody!" Sounds like something was edited here, going right into...

4. Squonk - Phil a bit hoarse on the high note "He's a shy, he's a sly one". Good energy. "You better watch out, boy, you'd better watch out!" Tony's CP-70 sounds interesting on this one. "Just a pool of tears! Why oh, why?" Phil in good spirits. Very nice performance. "Well, it's been a while since we played here, innit?"

5. One For The Vine - Mix is so clear, I find myself listening closely to Chester's drumming in the early section. Mike does some interesting bass counterpoints against Tony's piano in the quiet part just before "He walked into the valley". Good intensity going into loud instrumental section. You can tell Phil has moved on to his drum kit during this part. Separate channels for the drummers. Does Phil sing "They leave me no choice" part from his drum kit? Good performance. "I remember my first beer, too!" Story of Albert. Crowd is having fun. "The Duchess was into S&M". Crowd cheers mention of the Duke album. Introduces "Music From Our Album Called Duke"

6. Behind The Line - Comes in quite loud! Very good intensity, if just a hair fast. Full of youthful energy! Segues, of course, into...

7. Duchess - Crowd quiet for the drum machine solo in the beginning. Tony taking it easy on the piano. Breezy and pleasant. Chester begins playing over the machine... and it's into the song proper. Good emotion. "And the street and the odds". Phil definitely getting hoarse here, but giving it his all! Segues, of couse, into...

8. Guide Vocal - Just Phil and the CP-70. Tony slows things down a bit. Synth adds some orchestration. Then bass pedals. Crowd cheers as we quickly move into...

9. Turn It On Again - Rhythm guitar more present in the intro than in other performances. Adds an interesting texture. Nicely done. Phil doesn't yet have his rapid-fire "Turn it on, turn it on...turn it turn it" going yet. Nails the landing.

10. Duke's Travels - Phil gets back on the drums and plays along with Chester on some of my favorite Genesis. The end of an era in a way. The mix is amazing! A bit restrained in the beginning, but technically perfect. Picks up steam as it goes. The rhythm guitar from Turn It On Again re-appears. Is that Daryl? Excellent coming to the climax and final vocal. Nailed! Segues, of course, into...

11. Duke's End - Something seems to be missing on the opening chords of this. But it recovers quickly. Thundering drums! Moving at a slightly fast tempo toward the ending. Nice!


Disc 2
1. Introduction (The Story of Sidney) - Liked to drink. "Come with me to a seedy bar."

2. Say It's Alright Joe - I like the studio version of this song, but the extended pauses in the verses get a bit annoying here. Still, it's good to hear anything live from ATTW3. The choruses are quite nice. Nice extended outro, as well. Crowd likes it. "And now a bit of melodrama". Audience participation. "A bit disappointed to see so many transvestites in the audience tonight."

3. The Lady Lies - Tony must use his whole rig on this song as moves between sounds. Can't hear the audience participating over the music. Tony nail his solo. Who sings the low part during "So glad you could make it?" Daryl wails in lead in the background during the outro. Nails the landing!

4. Ripples - Pleasant intro and verse. Phil's tambourine on the chorus is a bit too loud. Missing Steve Hackett's gentler touch on the 12 string. Again, interesting to hear the CP-70 on an older song. Second chorus is quite nice without the tambourine. Into the ominous instrumental. Daryl does an admirable job with Hackett's weeping solo. Good intensity going into the final chorus. Very good performance, overall. Introduces Frank, the bisexual drum machine. And then the rest of the band. Daryl and Chester get a warm response.

5. In The Cage - Phil starts singing with any thump-thump intro. Building the intensity and speed. Again, the mix is wonderful! Not sure what Tony used in place of the Mellotron here, but it sounds a lot like it, although it seems to lack some of the bottom end. Tony accidentally hits two keys at once during the flurry of notes going into "Rain drops keep falling..." But it goes by very quickly. Daryl shreds as always during "Round... round...". Segues into...

6. The Raven - Never heard Tony miss a note on this one. Excellent performance. Segues nicely into...

7. Afterglow - Still a slightly subdued performance, like on the album. Phil would take this to new heights on the next (Abacab) tour.

8. Follow You, Follow Me - And we enter the encore for this evening. Somewhat similar to the version on 3SL since it came from this tour.

9. Dance on Volcano - Tony's Moog sounds slightly buzzier against the guitars than usual. Perhaps just a bit louder. Nicely atmospheric going into "On your left and on your right" section, building in loudness as instruments fade in. This is a unique performance of this. Phil and band are focused and intense. Cuts off with an extended bridge section going into...

10. Drum Duet - Damn! Fast! Holy $%^^! But short. Segues into...

11. Los Endos - Band has pulled out all the stops at this point. High-speed, high intensity. Amazing as always. WTF? Loud strange sound going into Squonk reprise. Sounded a bit like synth percussion. Ah, the bass pedals! The choir! Amazing that the band is able pull of a great performance of this without the Mellotron, but they always have.

12. I Know What I Like - ...and it isn't the 10 minute version of this song. Oh, well. Another strange sound in the percussion in the intro. Sounds like a steam valve. I wonder what new equipment is being used here and then dropped later. Minor tape glitch, but very short. Steam valve returns during tambourine dance. "I'm just a lawnmower, mate!" Chester (or Phil) changes up the rhythm a bit. Add some interest to a relatively simple song they've played many, many times. They do it again during the "Stagnation" teaser. I've never heard a performance like this one. Even Tony's changing things up a bit during the long instrumental. Even get some light slap-bass from Mike going into final chorus. A surprisingly pleasant listen. "Thank you, good night!"

The Point Depot, Dublin, March 8, 1998

The Point Depot
Dublin, Ireland
March 8, 1998
A Single Lonely Voice

Overall:


From the first elephant trumpet of "No Son Of Mine", the long-time Genesis fan will notice that something is amiss. The song's key has been lowered to accommodate the new singer. (Ten years later, it would later be lowered to accommodate the original.) This would be repeated several times during the night. There are some loose performances at the beginning, but starting with the second half of "Domino", the band starts to turn it around. A highlight is Mike's extended solo at the beginning of "Dividing Line" and Nir's drum solo a bit later in the same song. Ray turns in surprisingly fun performances on the hits "Invisible Touch", "Thowing It All Away", and "I Can't Dance".

Sound: * * *
Decent audience recording.

Mix: * * *
Mostly balanced. There's no bass at times. At other times, the keyboards are too loud.

Performance: * * *
The '98 lineup was nowhere near as tight as the one from '78-92, and unfortunately, they never would get the chance to improve. The show has its moments, though, particularly toward the end.

Raw Notes:

Disc 1
1. No Son of Mine - Lower key. Ray tries, but the song doesn't have the intensity in this pitch. The band sounds a bit tired. Decent mix. Good sound for an audience recording. Curiously, the kick drum can be heard, but Anthony Drennan's bass guitar is lost somewhere. Good crowd response, though.

2. Land of Confusion - Lower key. Can't hear the crowd sing the "Oh oh oh's". Still no bass. Mike's guitar is just audible. Again, it just doesn't get off the ground. For better or worse, Phil owns these first two songs.

3. The Lamb Lies Down on Broadway - A bit surprised to find this one transposed. Intro sounds interesting on Tony's new rig. Ray's sounds odd at "Rael Imperial Aerosol Kid", but he's putting some intensity behind it. Sings "down, down, down" like Phil. Different outro than I've heard before. "If anybody mentions Phil, I'm sorry, but you have to leave."

4. Calling All Stations - In the right key. Ray seems more at home here. Band performance is very similar to album. Mike's solo cuts through nicely, as do Nir's drums. Not bad. MUCH better ending than on the fade out album. Ray intro's Carpet Crawlers as the first Genesis song he ever heard.

5. Carpet Crawlers - I think this is in the right key. Ray dodges some high notes. He sounds quite good on the verses, but struggles with the choruses. "The eagle pack lifts up their pitchers they carry on their backs?" Ray tells the story of becoming the new lead singer. Talks about having to work up lyrics on the spot.

6. There Must Be Some Other way - Bass is suddenly audible. Intro sounds a bit empty for some reason. Dodges some of his own high notes. No background vocals. No intensity in the first couple of verses. Into keyboard solo. Doesn't soar. Last verse. Ray puts himself into the last chorus.

7. Domino - Lower key, slower tempo. Some audience chatter. Nir picks up the tempo for the Last Domino section, now that he's not bound to the drum machine. Nice pounding! Almost gathering some intensity. Song damned nearly gets off the ground for a moment. Second half easily the best performance so far. Nir thunders toward the ending.

8. Firth of Fifth - Instrumental section. Good tempo. Good intensity. Anthony's big moment as he becomes the third guitarist to perform this solo with Genesis. Not quite as flashy as Daryl. More true to Hackett's original, but he definitely puts his own spin on it. Very nice. Tony's choir not quite as strong as on previous tours. Could be the mix. Nice performance!

9. Congo - Band seems to be warming up a bit. Intro goes well enough. A bit different from the album. Background vocals! Who is that? Sounds like Ray runs out of breath. Nice unexpected guitar solo. Is that Mike? Again, it ends much better than the album version. Band has definitely hit their stride.

Disc 2
1. Home By The sea - Ray's voice works pretty well for this one. Sounds like it's in the right key, but I might be wrong. Seems a bit odd without Phil's tambourine after the first verse. Dodging more high notes. Good enough going into Second Home. Decent intensity and tempo. Nir gets the bit bored with the repetitious drumming, starts changing it up, throwing in accents here and there. Chugging along nicely toward the mid point of the instrumental. Ray returns. Decent. Talks about the album launch. Intro's unplugged set. Tony on acoustic guitar, just like the old days! Well, not really.

2. Dancing With the Moonlit Knight (opening section) - Ray's voice works here as well. "You know who you are, you don't give a damn."

3. Follow You, Follow Me - Crowd sings along. Flubs the lyrics a bit in the last verse.

4. Lover's Leap (from Supper's Ready) - Ray goes for the high note on "Hello, babe" and "Hey, my baby!" "It's been a long, long time, hasn't it?" Yes it has.

5. Not About Us - Short, bitter-sweet and completely acoustic. Not bad.

6. Mama - Keys sound somewhat different here from earlier tours. Darker sounding overall. Goes for the high note again on "getting so hard!". Some distant cheers after the first laugh section. Tony's keyboards suddenly get loud going into "Can't you see me". Ray gives it all in the last two verses! "I'm gonna make the pain, make it go away." Better performance than I would have imagined. Crowd liked it!

7. Dividing Line - Nice crunchy chords from Mike at the beginning. Then he changes sounds a bit... maybe a change in pickups. Then back. On second thought, he must be playing with his effects pedals. Extended intro. Pretty cool. Nir does some drum improv. Mike wailing along nicely! Keys come in loud and step on the guitar. Too bad. Was one of the better moments on this boot. Ray comes in. Nir launches into a nice drum solo after the vocal section. Crowd cheers as we come back! Good stuff! Good intense ending! Definitely a highlight. Uh, no. Drum machine signals...

8. Invisible Touch - Could have done without this. "She's got a built in ability to shake everything she sees." Not really a bad version of this. Sings "Ask me, I know" like Phil did live. Yikes! Screeches on one of the "YEah...yeah.. yeah...". Dodges the rest of the high notes. "She seems to have it all, anything she wants."

9. Turn It On Again - Lower Key. Sounds very different from... well all previous performances. Tony's keyboards sound a bit cheesey here, strange choice of sound. This is just wrong. The song does not work in this key at all! Yuck. Ray introduces the band. Wow, pronounces Nir's surname! "..and from Scotland, Me!"

10. Turn It Again (cont.) Finally start to get up some intensity as the song ends. We listen for a good two minutes as crowd awaits the encore. Drum machine.. oh, no it's...

11. Throwing It All Away - No Dee Dah Day? Ray's voice works here for some reason. Someone shouts the missing background vocal. Ah, replaces Dee Dah Day with "Awayyyyy! Surprisingly good version, this.

12. I Can't Dance - Ray is getting intimate with the crowd. Grabs someone named Karen to dance with. HA! "You know what my problem is? I'm not Phil Collins." No one can accuse Ray of taking himself too seriously. Crowd sings "I Can't Dance" lines. Again, not a bad version at all. Not what I would have expected. Who is playing the harmonica at the end? Good job!

Olympiastadion, München, July 17, 1992

Olympiastadion
München, Germany
July 17, 1992
Post-FM
TM Production

Overall:


This is an extremely well-recorded and mixed broadcast from the We Can't Dance tour. It's hard to believe that TM captured this from an FM radio. Sound is balanced and richly detailed. Like most of this tour, some of the songs are too similar to the album versions and the band, at times, doesn't seem able to put the songs over the top. But the crowd makes up for any lack of energy on the band's part, clapping along and cheering throughout. This is possibly a better recording than The Way We Walk.

Sound: * * * * *
Damned near perfect.

Mix: * * * * *
Very well balanced. Every single instrument is audible and well-defined. Perhaps could haved used just a touch of reverb, but that's just a matter of preference.

Performance: * * * *
Some of the songs lack that energy that this lineup was capable of putting behind the songs. Phil has some trouble with his voice in the beginning, but it loosens up a couple songs in. On the whole, though, there is little to complain about here.

Raw Notes:

Disc 1
1.No Son of Mine - Excellent mix and sound quality. Tony's Wavestation keys are crystal clear. Echo effect on "to find a way out..way out.. way out". Phil might be having some trouble with his voice on the high notes. Definitely one of the best sounding boots. Mike's guitar solo cuts through nicely in the right channel. Phil chats in German (and a bit of English). I do recognize "We have some new songs and some old, old, old songs." Introduces "Driving The Last Spike".

2. Driving The Last Spike - Opens very much like the album. Chester's drums are bright and clear. Even Phil tambourine comes through. Phil's voice is warming up and stretching out a bit. Not quite the intensity of the album version as we get to "We worked, how we worked" section. Daryl's bass comes to the front. Mike's rhythm guitar is a bit low in the mix at end, keeping the song from quite reaching it's heights. Still a damned good performance.

3. Throwing It All Away - De Da Day... Zee Da Lay. Tony's "piano" sounds quite nice here. Performances of this song tend to sound the same to me. Pleasant enough. Crowd loves it! Phil intro's Old Medley in German. Says "Mr. Rutherford" like on the TWWW CD.

4. Old Medley - "Dance On A Volcano". Tony's choir sound is nice here. His replacement for the analog synth lead stands out, but is interesting. Into the Lamb. Why did Phil change the lyrics to "Ocean winds blowing off the land"? Was it a mistake that no one ever corrected? "Tonight, tonight, tonight, they say the lights are always bright". Into "Musical Box". Applause. Wow... major reverb when Phil sings "She is mine!". Chester's kick drum punches through clearly toward the end. Into "Firth of Fifth"... a lot of folks don't like Daryl's interpretation of Hackett's solo, but it's an amazing piece of guitar pyrotechnics. Tony has a nice Mellotron-like sound going on the strings. Was this the Wavestation? Into "I Know What I Like..." Phil could still do the Tambourine Dance '92. Crowd really into it! "That's All" snippet. "Illegal Alien" following the TWWW performance pretty closely. "Stagnation" teaser. Good performance overall, but perhaps lacking just a bit of energy.

5. Hold On My Heart - This song is so mechanical that it's hard to image performances differing much from night to night over the tour, assuming Phil's voice holds out. Yep, very adequate. Phil does a bit of ad-lib at the end that I don't remember on TWWW.

Disc 2
1. Jesus He Knows Me - Phil tells the crowd about American televangelists in German. "Do any kind of bullshit you've got to do, but get me that 18 million dollars by the weekend." Sounds somewhat different from the album. Daryl's bass chugging along nicely. Interesting. Daryl takes a nice guitar solo at the end which makes me wonder if Mike is playing bass.

2. Fading Lights - Great song. Almost identical to the album version in first half. Good intensity going into Tony's solo. The keys have some white noise mingled with a choir which is a bit too loud. Tony nails the solo. This is probably the best performance of the evening up to this point. Crowd cheers as we enter the final verse. Crowd loved it!

3. I Can't Dance - Crowd is thrilled to hear this one as well. Guess it hadn't been over-played yet. Extended intro compared to album. Nearly identical to TWWW version.

4. Tonight, Tonight, Tonight - The encore. I was always curious why the band never played this whole song, even on the IT tour. "Just try to shake shit loose, cut it free".

5. Invisible Touch - "Ask me, I know" instead of "Now I know". Other than that, not much variation from the other live versions of this one. "she will fuck up your life". Ad libs a bit differently at the end. Ending has a nice crescendo... strange for such a lightweight pop song. Crowd is ecstatic.

6. Turn It On Again - Crowd claps along... then shifts to double-time! Phil says goodbye to the crowd. "We've got to go to bed!" Introduces the band. Good build up toward outro. And the crowd goes wild! Good night!

Melbourne Tennis Centre, Melbourne, December 11, 1986

Melbourne Tennis Centre
Melbourne, Australia
December 11, 1986
Audience Recording.

Overall:

When you put on an audience recording, there's often a jolt to the system that says, this doesn't sound good. But after two or three songs, your ears will adjust and you often find the experience quite enjoyable, as if you are standing in the crowd. Unfortunately, that isn't the case with this recording. While the band is in good form and the mix is well-balanced, the sound seems distant. Listening for over two hours is an exhausting experience as your ears strain to separate the band from the ambient sound. Worse, the tape recorder had auto-leveling which removes all dynamics from a live recording. The highlight here is a performance by what Phil calls The Invisible Touch String Ensemble on a rare live recording of “Your Own Special Way” which the band hadn't played since 1978. Well, they'd played it the previous night, actually... For hardcore fans only.

Sound: * 1/2

The taper was apparently quite some distance from the stage and using a tape recorder with auto-level adjustment. At times it's difficult to make out the band over the ambient noise.

Mix: * * *

When you can hear the band, the balance is quite good. Only in a few sparse places does the guitar drop out. There are a couple of moments where the keyboards aren't as loud as they should be, but overall, had the taper been closer to the speakers, this would have been a top-notch recording.

Performance: * * * *

The band is tight form and energetic for this performance. No obvious mistakes. There is another uninspired version of "That's All" and a couple of the songs from the new album sound a bit too much like the studio versions, but these are minor quibbles.

Raw Notes:

Disc 1

1. Mama - Drum machine sounds quite distant. Crowd is clapping along and cheering a bit. They react as band comes on stage. This was apparently recorded quite far from the stage. Cheers for Phil's first vocal line. Auto-levels. Not a very good recording. Phil dodges some of the high notes. Solid performance. Hmm, my copy has gaps between the songs.

2. Abacab – Good energy at the start. Microphone feedback during first “When we do it”. Again. As the song gets louder, the auto-levels make it hard to hear the band. Some nice heavy thumping by Chester on the toms going into the ending guitar solo. Band is in good form. Tight. “We had some good fun last night, but we're going to have some better fun tonight!” Phil introduces Domino as being about someone inevitably Pushing the Button. Then into the Domino Principle routine with the crowd.

3. Domino – Good mix. Good energy. Phil is warmed up and no longer ducking high notes as before. Phil adds an extra “Now see what you've gone and done” going into the short key solo, then The Last Domino section. Nice performance. Introduces “some friends”. The Invisible Touch Australian String Ensemble. Introduces a “song we haven't done since 1978. Well, we did it last night, actually. And we did in Brisbane as well... and Sydney.... and Adelaide.“

4. Your Own Special Way – Some audience chatter during the first verse. Song sounds nice with strings. Softer songs come through better on this recording. Sings “As the ship moves” instead of “When the ship moves”. Great to hear this one on the IT Tour. Phil sings the chorus in a different order from the studio version. Short story about a guy who's been locked up for a long time. Wondering what his girl is up to.

5. In Too Deep – very similar to album version. Sounds like IT String Ensemble may be playing here as well. But it might be Tony's keys.

6. The Brazilian – Again, very similar the album. If had not been for the different intro, it would have been hard to tell the difference. Crowd chatters through most of it. Drum outro is also slightly different. Interesting to hear the actual ending instead of the fade out.

7. That's All – Crowd cheers and claps along. A bit lacking in energy. I don't think this song ever worked all that well live. Dropped after this tour, I believe. Audience Participation Time. Someone in the crowd shouts “Other world” just before Phil says it. “HA! I hear you say...” Crowd shouts “HA!”.

Disc 2

1. Home By The Sea – Intro was on Disc 1. Auto-levels wreak havoc again. Very nice performance. Mike's guitar is hard to hear during Second Home. Sounds muted. Daryl's bass can be heard although the recording has little bottom end. Tony has been sounding good all evening. Audience response is faded out.

2. Throwing It All Away – De da day. Bit of feedback going into third verse. Very album-like overall like the other IT material. Perhaps because the band were still using all the same gear that was used on the record. Phil intros Daryl and Chester. After Daryl's intro someone screams loudly and the crowd laughs. Phil asks “Do you love him?” (I think that's what he says.) Phil gets crowd clapping the beat going into...

3. In The Cage - ...and crowd quickly gets off beat. Suspect a good, intense performance here, but hard to tell for sure. Tony's solo is a bit low in the mix in places. Phil sings “I am my own bad luck” lower. Hard to hear Daryl's shredding during “Round... round...” section. Into “In That Quiet Earth”. Bass is missing at first. Comes in a several bars into the song. May be pedals missing. Tape flutter. Short gap (tape flip?) heading, as we all know into...

4. Afterglow – Solid performance.

5. Invisible Touch – Starts off with strange sounding drum machine. Hard to hear Phil at first. Can't hear Tony's accents after “Something you just can't trust.” Phil sings “though she will mess up your life” like on the album instead of “fuck up your life” like on other live recordings. I'm thankful the band resisted the urge to stretch this one into ten minutes.

6. Drum Duet – Nailed as always. Amazing stuff.

7. Los Endos – Crowd response sets off the auto-levels. This sounds good even on IT era gear. Seems just a bit rushed going into the Dance On A Volcano reprise. Chester stomps the kick drum hard! Into Squonk section. Like a good Genesis fan, I sing the “There's angel standing in the sun” at the right moments while I type. “Thank you very much!”

8. Turn It On Again (w/ That Damned Medley) – Crowd claps along again, quite loudly at the beginning. Phil tries to get the crowd to sing “I... I...” but if anyone does it, it didn't make it onto the tape. “We're so pleased to be back in our hometown of Melbourne, Australia.” Does the full “Someone to Love” section with band intros. ...into Satisfaction. ...Twist and Shout.... I'll Be There...You've Lost That Lovin' Feeling... Pinball Wizard... In The Midnight Hour... and back into Turn It On Again. Crowd applauds for some time after the band leaves. Phil returns and offers more thanks.. (I think). Fade out.

Syria Mosque, Pittsburgh, April 13, 1976

Syria Mosque
Pittsburgh, PA
April 13, 1976
SB04

Overall:


Probably the best unofficial recording from the Trick of the Tail tour. A post FM radio show, I believe. The sound is decent, but not great. There are several tape glitches and some distortion here and there. But this tour contains a number of rarities making this boot a must-own. Most notably, the drummer is ex-Yes, ex-King Crimson player Bill Bruford. Also, there is a rare and curious performance of White Mountain with Phil on vocals.

Although Bruford is an amazing drummer, for some reason he isn't a good fit with Genesis and this entire recording is evidence of that. Something just doesn't work, especially on the very early material. I think it was a wise move for both the band and Bruford that they went their separate ways after this tour.

Sound: * * *
At times, it's difficult to hear the bass and the tape itself has some issues, including some distortion.

Mix: * * *
As mentioned above, the bass is hard to hear at times, especially early in the recording. Also, the Mellotron is quite loud which may be a treat for some listeners.

Performance: * * *
The band hasn't quite yet filled the void left by Gabriel. Tony chooses some odd, sometimes grating sounds to replace the flute. Also, much of Bruford's drumming sounds out of place and even off-time. But the band is also quite tight in places.

Raw Notes

Disc 1

1. Dance on Volcano - Abrupt crowd noise. Bill Bruford on drums. Mellotron choir a bit loud. This is the only tour where they play the whole song. Probably the only tour where Phil sings "Out of the night and out of the dark." Bill's approach to drumming is interesting here. Band is a bit weak going into second half. Phil on bongos? And coach's whistle? Song ends... a bit of retuning guitars between tracks. Phil mistakes Pittsburgh for Baltimore. Only 40 miles away?

2. The Lamb Lies Down on Broadway - Tony's electric piano is right up front in the mix. Not much bass in the mix, but the rest of the instruments are well-balanced. Steve is a bit low in the mix, but audible. Piano loud again during "Lamb seems right out of place". Phil comes in early for "Suzanne tired..". The band either compensates or they rehearsed it that way. Segues into...

3. Fly On a Windshield - Instrumental section only. Bass pedals are audible. Good performance. Into Broadway Medley... still instrumental. Segues into...

4. Carpet Crawlers - Intro sounds a bit clunky. Doesn't really take off like later performances. May be Bill's drumming? The band doesn't seem...comfortable for lack of a better word.. Phil already singing "Stickleback...back...back." on his first tour as singer. Decent performance. Crowd likes it! Phil: "This is far too embarrassing. You're not allowed to clap like that this early on!" Romeo and Juliet story. Phil seems just a bit nervous, but doing well.

5. "Cinema Show" - Nice wind chimes (or bell tree?) in the intro. Bill adds some nice percussive touches throughout early verses. Does a bit of a strage start/stop thing going into first chorus, though. Sounds like a mistake at first, but if it is, he does it a second time. Strange wind sound effect. Wow, background vocals during "Na na na na..." section. Nice! Into synth solo. Phil on drums with Bill. Nice! Bass pedals and Mellotron choir distort a bit. A few dropouts in the recording (probably more clipping). Tony nails it! Good drumming! Tony noodles on organ and Mellotron while Phil talks about Harry the Criminal. "Before Harry could say Patty Hurst"...

6. Robbery, Assault & Battery - A lot of reverb on the vocal. Vocal drops low in the mix during the chorus. Good performance. Bass is audible. Tony nails his solo again. Phil on tambourine. Vocals still sound odd in last first. Mike tells story of the Wolf finding a copy of Trespass. "One-Eye, the straggly old wolf from Pittsburgh.

7. White Mountain - The reason to own this recording. The band plays the song from the very beginning, resisting the temptation to chop the eerie intro. Phil sings "Where no wolf may go" instead of tread, which changes the rhyming pattern. Tony plays a bit of synth in background which wasn't on the original recording. No drums? Bill just does some cymbal swells. Mellotron choir loud with some synth notes following the bass. Tambourine, but still no drums. Sounds a bit odd. Drums come in at the end of the last verse? Is that Phil whistling? Band does the full outro. Phil introduces Mr. Bill Bruford.

8. Firth of Fifth - Piano intro is gone, never to return. Steve has an unusual sound going during his solo, but nails the performance. Bass pedals/Mellotron distort again. (or tape drops out). Steve switches to a cleaner sound going into final verse. Phil holds out "...constant chaaaannge" until almost the end.

Disc 2

1. Phil introduces Steve who introduces Entangled. Mentions lyrics based on Kim Poor painting.

2. Entangled - Bill on xylophone? Two maracas... More background vocals. Not sure who it is. Might be Bill. Strange, eerie performance. Very different from the album version.

3. Squonk - Feels a bit uninspired and sluggish in the beginning. Low intensity... never really gets off the ground. More tuning and noodling. Mike tells us three things we need to know to play in a group. Number three is tap dancing. Phil tap dances. "Did you know you're on the radio tonight?"

4. Supper's Ready - an early Phil performance. More xylophone from Bill during first verses. Phil a bit flat on the "Moon seems very bright". Nice atmosphere early on, although some of Bill's percussion gets a bit distracting. Sanctuary Man a little sluggish. Tony chooses an annoying sawtooth waveform to replace Pete's flute at the end of the section. Phil having some trouble with high notes, using falsetto. "...cannot contain my emotion. Oh, no, no, no....". Phil doesn't seem comfortable with this one yet. A bit sloppy going into Willow Farm. "Everyone... we're growing everyone." Nice atmosphere going to 9/8... Tony chooses another annoying sound for Pete's flute part. Phil really intense into "Guards of Magog!" Loud delay on the vocals. Almost shouts himself hoarse. Nice, though. Band maintains some intensity through the whole section. Firing on all cylinders for the "666" section! Crowd responds at the end, going into "And it's hey babe..." . Phil stretches his vocal cords rather than do falsetto like earlier. Nice ending! The second half of this is the only time I haven't noticed the new drummer.

5. I Know What I Like - This is where the song begins to get drawn out into an extended jam, but the eight minute version would wait until the next tour. Bill does a strange pause after "I can always hear them talk". No tambourine dance. No Stagnation fragment yet, just an extra chorus. This was a good length for the song. Tony plays with the Mellotron while Phil thanks the audience for waiting in the cold.

6. Los Endos - The only tour where the this song is played from from the beginning. As much as I still love the drum duet, I always missed this intro. Phil and Bill don't quite have the drum pattern down live yet. In fact, the drums sound quite odd here at the beginning. Not quite yet the show stopper it would become on the next tour. Performance improves toward the end. Good intensity. End is chopped of slightly on this recording. Good crowd response.

7. It/ Watcher of the Skies - Encore. Some tuning. Phil starts on the tambourine before everyone else is ready. Good mix. Steve and Mike are tight on the twin leads. Slowly, the Mellotron fades in to take us to Watcher. Much looser performance than ended up on the UK version of Three Sides Live. Great way to end the show! Audience is faded out quite quickly.

The Summit, Houston, October 22, 1978

Houston
The Summit
October 22, 1978
Pre-FM King Biscuit/Streaming Wolfgang's Vault

Overall:


An energetic performance from the end of the And Then There Were Three tour. This partial show was recorded by King Biscuit and carefully remastered by GRaSP and TM Productions. The sound is excellent, with a well-balanced mix throughout. At this point, new guitarist Daryl Stuermer was completely integrated into the live band. The show itself is incomplete, but if you're looking for an hour of well-recorded live Genesis, you could do a lot worse than this.

Sound: * * * 1/2
The sound quality overall is very good, although some of the recording comes from internet streaming, this as been compensated for as much as possible.

Mix: * * * *
The mix of instruments will well-balanced throughout most of the show. There are one or two places where the music gets loud and just the mix gets just slightly muddled, but these are few, and possibly the result of streaming.

Performance: * * * * 1/2
The band is energetic, even at this late date in the tour. Phil is slightly hoarse at the beginning, but gives it 100%. The only lag in intensity is "Deep in the Motherlode" which feels a bit uninspired, as if the band might be tired of playing it.

Raw Notes:

1. Introduction-King Biscuit..

2. In The Cage - Good balanced mix. Bass audible. Good energy. Just realized that Phil has been singing the line "Dressed to kill" from the beginning. Sounds just a bit hoarse, but the performance is firing on all cylinders at a slightly fast tempo. Daryl already doing his fast scales during "Round...Round..." section. Strange to hear this one this without the medley that would follow later.

3. Deep in the Motherlode - Seems a bit slow at the start. Quite a contrast from the break-neck pace of Cage. There's some distortion here, like white noise, but I can't quite tell where it's coming from. Disappears during "All along the wagons." Think it was a guitar effect. A tad uninspired. Perhaps the band is tired of this one at this late point in the tour.

4. The Lady Lies - Better tempo. Phil's voice cracks on "Wine and food, too". Having some fun with vocals. Solid performance. Nice solo from Daryl at the end. ...and they nail the landing!

5. Cinema Show - Nice first sections. Daryl does some interesting tapping and slides during the quiet part after "More earth than sea". Mostly faithful to Steve's original leads. Phil sings "And you know for me there's no mystery." Somber, moody... going into keyboard solo. Tempo picks up. Nice Mellotron choir! Very good mix. Several bars of Chester and Phil's drumming...lead us into Riding The Scree instrumental played at dizzying speed. Little bit of Quiet Earth tacked on the end.. segues into..

6. Afterglow - Phil is still mostly following the original and less dramatic studio version here. Not bad, though. Still getting a very good mix. Of course, the band would soon shorten Cinema Show and combine this whole thing with In the Cage.

7. Follow You Follow Me - Opening notes get a good crowd reaction. Must have been getting some airplay at this point.

8 Dance On A Volcano - Drums thunder nicely in the intro. Good energy again. Tambourine very audible at first, but you can hear Phil move away from the microphone. Nice performance. Segues into...

9. Drum Duet - Damn! Never cease to be amazed by this and the subtle changes Phil and Chester make between performances. The GRaSP notes in the CD state that part of this had to be taken from a Knebworth performance to replace missing tape, but the splice is seamless. Segues into...

10. Los Endos - Solid performance. Strange noise going into the eerie dance section, but I think it was intentional. Into the Squonk reprise... More awesome Daryl lead. Great finale! I ask again, are there any bad performances of this?

11. I Know What I Like - the ten minute version. Zzzzzzzz... Nearly identical to most other performances of this. ...except Phil sings "Me, I'm just a lawnmower, mate!" Stagnation teaser, check. Jam section, check..... slowly building up to finally get back to that final chorus and... "It's your show!"

Winterland Arena, San Francisco, March 25, 1977

San Francisco Winterland Arena March 25, 1977 GASP - 020

Overall:

A clear and detailed soundboard recording from the Wind & Wuthering Tour. The sound is good except that there isn't much bass to be heard most of the time. When the pedals come through, they're deafening. Much of the new material doesn't seem to work in a live setting, giving us some insight as to why Afterglow was the only W&W song to make the live Seconds Out album. I wanted to blame it on being early in the tour, but we're several months in at this point. Steve's guitar sound is obnoxious and all over the place on this recording, at times drowning out other instruments. The show doesn't really come together until Supper's Ready.

Sound: * * *
Inconsistant. Through most of the show, Tony, Phil, Chester. and Steve come through quite clearly. Mike is inaudible most of the time. The bass pedals rattle the speakers when they can be heard. At times, Steve's guitar drowns out everything with an obnoxious, nasal sound. I'm wondering if he was having trouble with his effects rack.

Mix: * * *
See above. Inconsistant.

Performance: * * *
The new songs just don't seem to work, but the older ones are performed tightly. The show doesn't really take off until toward the end, however.


Raw Notes

Disc One
1. Squonk - Left channel drops out for the first minute or two. Seems like this could have been fixed. Good stereo mix. Good tight performance, especially toward the end. Phils tambourine can be heard clearly. Crowd is there, but seems distant like many soundboard records. Phil chats up the crowd as Tony tests the Mellotron.

2. One For The Vine - Steve's guitar in the intro sounds a bit nasal with lots of echo. Something is missing during "Then one whose faith had died...". Maybe Tony moving from the electric piano to Mellotron. Phil's voice dissappears during the falsetto "Follow me". Phil blows his whistle during the instrumental section coming out of the quiet part. This loud section is quite different from the Duke tour version on 3SL. Not enough power during "They leave me choice". I don't think band were quite comfortable with this song yet. Probably why it was left off Seconds Out. But this is the only tour where we hear Steve play these W&W songs.

3. Robbery, Assault & Battery - Story: Harry the robber robs the Rice-a-Roni factory (for the San Fran crowd). I just figured out what's missing: Mike Rutherford. There doesn't appear to be much bass on this recording. Strange becasue everything else is clear and distinct. Tight performance. Some bass suddenly kicks in at the very end.

4.Your Own Special Way - Mike's story: Myrtle the Mermaid. A sailor demonstrates the mating dance of Myrtle? I'd like to be able to see this. Heh, "The new single is roaring up the Venezulean charts." Tony uses an annoying shrill synth sound over the nice strummed guitar. Phil flubs the lyrics... "You've followed me long, long enough." Again, the band seems uncomfortable with the new material. Can definitely see why this one was left off Seconds Out. Static in the left channel throughout.

5. Firth of Fifth - Phil introduces Steve as the only used car dealer who plays guitar. Steve intro's the song. "This one is short. Only seven minutes. Short for us." Still not enough bass, but this leaves lots of room to hear Steve. Phil changes the melody on "An inland sea, his symphony". Sounds like Chester is drumming on a wood block during the quiet instrumental section. Very nice performance of the loud instr section and guitar solo which Steve plays almost note-for-note from the record. Wow, bass pedals! Mike is back in the mix. So loud, it almost distorts. You can even hear some bass guitar.

6. Carpet Crawlers - Recording cuts directly to this song. ...and the bass is MIA again. No wait... it's there. Mike must be over on the next street somewhere. Decent performance. Could use a bit more energy.

7. ..In That Quiet Earth - Phil gives a scary laugh, then introduces Chester. Introduces this as three songs, but it's really two. They don't play Unquiet Slumbers. Something doesn't sound right at the beginning. Does Steve start on the wrong note? No bass. Chester and Phil do some syncopation. Drums and lead guitar are about the only things clear here. Again, new material. They are trying hard, though. Seques, of course, into...

8. Afterglow - This is the only song from W&W that made it onto Seconds Out. The lack of bass really hurts this one. Wow, then the pedals and Mellotron kick in and we have a wall of sound! Steve's guitar still sounds tinny.

9. I Know What I Like - The tambourine announces that it's time. Here we go, a fun three minute song stretched out into an endless nine. Phil's voice fades in the chorus and we can hear the background vocals pretty well. Not sure who that is. The Dance. Chester hits a gong at the end of it. Reference to the Gong Show which was on the air at the time? The Stagnation bit sounds nice as always, but too short.

Disc Two
1. Eleventh Earl of Mar - Mike introduces. Tells the crowd where Scotland is. Heavy stereo effect on the guitar. I know the lines kind of overlap, but it seems like someone could have sung the "Eleveth Earl of Mar couldn't get them very far" line. It is the title of the song, after all. "See the bishop on fire?" Steve's buzzy, tinny guitar fades between channels. Chester on wind chimes and sleigh bells during the quiet instrumental. Nice. A great song, but I've yet to hear a great live version. Though this one has a lot of energy, it just doesn't quite take off. Mellotron choir rattles the speakers. Tape Flip.

2. Supper's Ready - Phil Story: Romeo and Juliet in the back of his '57 Chevy. "Romeo, Romeo. Don't come one step closer with that thing!" Some hiss in left channel. "We will rock you, little snake" recording a bit loud. Lyric change: "The fight has begun, we've been released."Steve makes some wild sounds during Willow Farm that I've never heard before. At first, I thought the right channel was dropping out going into Apocalypse, but it's that heavy stereo effect on the guitar again. Loud echo effect on Phil's voice. Sounds cool when he holds out the note on "Better not compromise, it won't be easyyyyyyyyyyy!" Bass is gone again during the organ solo. Echo makes it sound like he sings "6666". Eggs is Eggs played a bit slow, but it works. Steve's final solo sounds like it's coming through a cheap transistor radio. Very nice performance. Some bass even audible in places. Easily the high point of the show so far.

3. Dance on A Volcano - Some guitar tuning before the song. Tony tests the Mellotron again. Never heard the band mess this one up. Steve's strange guitar sound finally doesn't sound out of place. Good job all around. "You'd better start doing it right... you know what I mean?" Seques into...

4. Drum Duet - Played a bit faster than usual... nailed as always. Short, but amazing. Segues into...

5. Los Endos - Cymbals jump between speakers. You can hear Steve scrap his hand across the strings clearly. During the Squonk reprise, his guitar effect finally goes out of control and starts to drown overthing else out. Good performance.

6. The Lamb Lies Down on Broadway - after a tape flip. Tony sometimes hits some sour notes trying to play this intro on an electric piano, but not here. Nice performance. Segues into...

7. The Musical Box (closing section) - Hey, bass pedals! Phil really growls the "NOW NOW NOW NOW NOW!" part. Good job! Tape cuts off immediately.

Convention Center, West Palm Beach, January 10, 1975

West Palm Beach Convention Hall,
January 10, 1975
Soundboard
SAB 06

Overall:

A good clean recording from the Lamb tour. The band seems loose and uninspired in the early songs, but pulls it together about a third of the way in, beginning with "Hairless Heart". The sound is stark and clear, but raw. The mix could have used a tad of reverb, but it's well-balanced between the instruments. The Mellotron is quite loud through most of the recording, so if the listener is a fan of Banks playing, they might want to give this one a listen. Also, one can hear the infamous Slipperman costume making it hard for Peter to sing into the mike. There is occasional feedback and Peter struggles with the lyrics in places, but overall a worthy listen.

Sound: * * * *
Crisp, stark soundboard recording. Could use some reverb for ambiance.

Mix: * * * *
Well-balanced. Mellotron slightly loud in places.

Performance: * * *
Starts out somewhat uninspired, but redeems itself about a third of the way through.

Raw Notes

1. The Lamb Lies Down On Broadway - Fades in during the opening notes of the song. Very dry keys and vocals. Feels a bit slow. Good mix balance, but no ambiance whatsoever. Peter a bit flat. Surprisingly uninspired performance. Tony flubs some notes during "The lamb seems right out of place".

2. Fly On A Windshield - Crowd responds. The Mellotron choir is distinct and a little loud. Leaves a noticable hole when Tony stops playing. Better performance, if still a tad slow. Nice intensity.

3. Broadway Melody 1974 - This is the boot for Mellotron fans. Distinct and loud. Peter seems to be waking up here.

4. Cuckoo Cucoon - Pete's mic malfunctions. Strange vocal effect. Flanger? Tempo finally feels better.

5. In the Cage - Thump-thump, thump-thump. Crowd responds. Peter on tambourine? Straining on some of the high notes. Interesting to hear background vocals on this which aren't there once Phil takes over lead. Tony nails the keyboard solo. Tempo picks up. Peter completely loses the lyrics in the last verse. Growls the "round...round.." part. I love the untitled instr passage at the end.

6. Grand Parade of Lifeless Packaging - Another effect on the vocals. Works better here. Another lyric flub. ..and another. Not Peter's night. Wow, Mellotron choir buries everything! Good audience response. Rael's story part 2. "Erogenous Zones and Where to Find Them".

7. Back in NYC - A bit slow again. Feels lazy, like LLDOB above. Peter avoids the high note at "filled up high with gasoline", but mostly, he's hitting them. "Off we go" section sounds clunky at this tempo. Bass pedals rattle the walls. Microphone feedback.

8. Hairless Heart - Steve's showcase. Is that Phil on xylophone? Nice somber performance. Nailed!

9. Counting Out Time - Good fun performance. Bands seems to be enjoying themselves. Peter and Phil having some trouble syncing up on the vocals.

10. Carpet Crawlers - Interesting to hear the full intro, which I miss on later performances of this song. Nice to have the background harmonies. Again, these would disappear after this tour. Nice performance. Instruments drop out while Peter and Phil continue singing the last chorus.

11. The Chamber of 32 Doors - Nice intensity in the intro. Band seems to have hit their stride since Hairless Heart. Good balance of instruments. Mike's 12-string sounds clear. Nice smooth performance. Nailed.

Disc 2

1. Story of Rael Part 3 - Meeting with Death. "One snuff and you puff it" oops! Slippermen have lumps and bumps, like Phil!

2. Lilywhite Lillith - Tight. Phil tears loose on the drum fills. You can hear him over the Mellotron! Nice.

3. The Waiting Room (Evil Jam) - Hmm, how to judge this? The band does a good job making scary noises. Crazy stereo effects on Steve's guitar. Tony tortures the Mellotron choir. The synthesizer meows. Strangely similar to the album version. Mike starts the guitar riff to slowly carry us into the instrumental section. Tony uses the "meowing" sound on the solo. Good performance.

4. Anyway - Applause probably meant for Waiting Room. "Time to meet the fish?" Peter has some more lyric trouble during "enrich the soil". Nice somber peroformance, though. Good intensity when other instruments kick in. Last verse just a bit slow.

5. The Supernatural Anesthetist - Phil does the high part "He's such a fine dancer" like on the album. Great job on the guitar solo. Extended eerie instrumental at the end, probably for Peter's Lamia costume.

6. The Lamia - Peter seems out of breath while he sings first verse. Operating that costume was probably taxing. Nice vibraphone. Microphone feedback. Nice emotional performance.

7. Silent Sorrow in Empty Boats - One of my fave Genesis instrumentals. Mellotron choir is loud again... but passes through like a breeze. Gorgeous. Nailed it!

8. The Colony of Slippermen - The band doesn't pause to update us on Rael; it's right into the strange instrumental passage that opens side four of the original album. I have to imagine Peter's theatrics during this. Phil counts 1,2,3,4.... into the main part of the song. More mike problems. You can hear where Peter was having trouble getting the mike close to his mouth. Tony nails his famous Raven keyboard solo. Peter is singing in a lower range than on the album. Really hard to hear him during some parts, but a good performance.

9. Ravine - Another great instrumental. Comes across a bit clunky. Mike's fade-in/fade out 12-string strumming on the guitar is not as smooth as the album.

10. The Light Dies Down On Broadway - Starts abruptly. May have had a tape edit going into this. Peter sings "Hey John!" in the first verse instead of "My Home!". Decent performance.

11. Riding the Scree - Nice transition into this. Tony nails his solo again, I think, but unfortunately he's buried in the mix. Very good performance. Sounds like a phaser on the drums after "Here I go!".

12. In the Rapids - Mike's 12-string is nice here. Good performance.

13. It - Nice, smooth transition into the last Lamb song. Steve's guitar stands out nicely here. Even more mike feedback. Lot of that on this recording. Peter sounds a bit winded again as the lyrics come fast and furious. Has some trouble with the high notes "It is shaken, not stirred". Return of the Mellotron strings toward the end. Nice, energetic performance.

14. Musical Box - Phil talks to the crowd. "We're going to play an older song." Crowd is thrilled to hear something they know. Intro is played very slowly. Some reverb trouble on the vocals in the first verse. This is the last tour where we'll hear this entire song. Some shows featured "Watcher of Skies" also for the last time in their entirety. A bit slow and meandering during the quiet section, but picks up nicely once the drums kick in. Good intensity during the guitar solo. Hard to hear Tony's organ. Peter has fun during the "She's a lady" section. Peter holds nothing back at the end! NOW! NOW! NOW! NOW! NOW! Very good performance.

Festhalle, Frankfurt, October 30, 1981

Festhalle
Frankfurt, Germany
October 30, 1981

AM Main

TM Production

Overall:

There is an odd shortage of live recordings from the Abacab tour which makes this TM Production essential to a live Genesis collection. The band were in great form. Phil has fun speaking German to the Frankfurt crowd and translates some of it into English. The show isn't without its glitches as Mike hits the wrong bass note during the intro to the Lamb, then slides up the neck to the correct one.

Sound: * * * * *
A well EQ'd and balanced recording.


Mix * * * * *
Excellent, clean stereo mix. May be the best of available live shows from the tour.


Performance * * * *
Nearly perfect other than the bum note during the Lamb and odd timing in "Dance On A Volcano".

Raw Notes

Disc 1

1. Behind the Lines - Energetic intro. Excellent sound. Excellent bright mix. Chester thunders on the toms. Tony is prominent in the mix. Performance nailed. Segues, as we all know, into...

2. Duchess - Some folks don't care for the extended intro with the drum machine, but I love it for its moody atmospheric feel. The clean mix continues to impress. Mike's (might be Daryl's) crunchy guitar chording sounds great when the vocal starts. Phil flubs the lyrics. Sings "Soon all she had to do was step into the light" again instead of "Soon every time she stepped...". Nailed. Drum machine continues for a few seconds into...

3. The Lamb Lies Down on Broadway - Yikes! Bass mistake on the first chord! Guitar sounds a little too fuzzy here. Phil is having fun. "Don't you look at me, bitch, I'm not your kind!" Repeats "Rael Imperial Aerosol Kid" section and chorus at the end. Slightly sloppy performance.

4. Dodo/Lurker - Phil intros in German. Doesn't do the "Ocean! Ocean! O-CEAN!" line like on Three Sides. Tempo drags just a bit on Lurker. Good performance. Chester's count goes right into...

5. Abacab - Good sound on Mike's guitar in the beginning. Good performance.

6. Carpet Crawlers - Background vocals are surprisingly up front. Very good performance.

7. Me & Sarah Jane - Phil tells a story of Sarah Jane and translates his German into English. She had large breasts and she was depressed because her father wouldn't stop playing with them. This is one of my favorite Tony Banks songs. This performance is better than Three Sides. More power. "Words of joy" instead of "tears of joy". Still, nailed.

8. Misunderstanding - I like the studio version of this song, but it's difficult to tell the live versions apart, probably because it was only performed on two tours (Duke and Abacab). Maybe a little faster here than Three Sides. Good performance as always.

9. No Reply At All - Starts with drum machine like the mix on the "Abacab Complete" boot. The drum pattern sounds a lot like the one Phil would use a few years later on "Take Me Home". "Shit, there's no reply at all." This song sounds good without the horns. One of the best performances I've heard of this one, not that I've heard many. This was the only tour for this song.

10. Firth of Firth - Phil in German, I'm guessing: "This is an old, old, old, old, song..." This performance is interesting if for no other reason than to hear Tony play it on the Abacab era keyboard rig. The Yamaha CP-70 Electric Piano works well here. I'm thinking that's the Prophet 5 on the famous instrumental section. Daryl's lead seems very different on each tour, but he switches to Hackett original in the important parts. Bass pedals rattle the speakers. The non-Mellotron strings here stand out a bit. Very nice, tight performance.


Disc 2:

1. Man On The Corner - "Everybody thinks he's a bit stupid." "I remember my first beer, too." Sounds like Phil gets away from the mike during the story. Delay effect on the vocal. This song worked well live. Very good performance.

2. Whodunnit? - You can hear all the weird things Tony is doing with the keyboards here. Annoying song, but a great mix. Phil plays with the delay on the vocals during "We know, we know".

3. Cage Medley - Phil introduces the band. Introduces Chester as "the real drummer". Starts out nearly identical to Three Sides. You can hear Mike hammering his bass hard during the first key solo after "...their wasted wings". Daryl wails during "Keep on turning...". Into Cinema show. Nice! never heard a bad performance of this one. Nailed.

4. Afterglow - Nice chiming guitar. This and the Cage Medley are very similar to the Three Sides Live versions.

5. Turn It On Again - Again, very similar to Three Sides

6. Dance On A Volcano - Slight timing issue between the drums and guitars in the intro. Phil changes the lyrics again during "into the fire and into the fight". Vocals get a bit buried in the last verse.

7. Drum Duet - Incredible. Nailed.

8. Los Endos - This is Tony's first tour without the Hammond organ and second without the Mellotron, both replaced by synths. I'm betting his roadies were much happier. The Mellotron choir is missed in the end section before the Squonk reprise, although the synth (Prophet 10?) does an admirable job considering that it's 1981 technology. Never heard a bad performance of this one.

9. I Know What I Like (Encore) - This version just goes on and on like the Energizer bunny. Phil tries to get the audience to sing the chorus. "I like Frankfurt in the Springtime" "Oh, Frankfurt, you're my kind of town". Sings the line "You can tell me by the way I walk" rather than speaking it. Toward the end, during the jam, Tony plays the some chords on the ARP Quadra that sound like Abacab.

University Sports Arena, Montreal, April 21, 1974

University Sports Arena
Montreal, Canada
April 21, 1974
Post-FM
A Classic Broadcast Revisited
PRRP - Special Anniversary Edition

Overall:


If you're a fan a Steve Hackett, this post-FM boot is for you. An exceedingly well-balanced mix, overall. The highlights on this one are the complete Dancing With The Moonlit Knight and The Cinema Show played by the original five members only on this tour. These songs wouldn't be played on the next tour, and after that, Peter was gone along with his voice and flute. A must-have.

Sound: * * * * *

Mix: * * * * *
Strangely, the keyboards disappear for a minute or so in the middle of The Musical Box. But glitches aside, it's an outstanding live mix.

Performance * * * *
Excellent for the most part. Firth of Fifth never really takes off. The Battle of Epping Forrest isn't the best live song. But the intensity remains high throughout most of the show.

Raw Notes

Disc 1

1. Watcher Of The Skies - The mighty Mellotron fills the hall with virtual violins. The bass rattles your speakers. We're off to a fine start. Do'h! Small glitch in the 'tron! Unusual echo effect on the vocals. Tony is doing something different with the organ rhythm, adding odd pauses. At first, I thought it was a mistake, but he does it more than once. Unusual performance. Crowd loves it!

2. The Story of Britannia - Told by Peter in French.

3. Dancing With The Moonlit Knight - I believe this is the only tour where they played the entire thing, complete with the "musical pond" at the end. This is a nice balanced mix. Steve's guitar is definitely audible here. Peter gets the "Round table talking down we go" lyric right, unlike the Rainbow Show on the Archive Box Set. A slightly rough and ballsy performance. I think I like the "pond" better than the studio version.

4. The Story of Romeo and Juliet - Again, in French. I don't speak the language, but the crowd seems amused.

5. The Cinema Show - Nice to hear Phil do the background vocals. This is the only tour that had them. Played a bit slowly, but that adds to the somber mood. Peter's flute solo is another feature that happened only on this tour. Nice intensity during the sublime instrumental section. I doubt a better recording of this song exists. Nailed.

6. I Know What I Like - The band performs their first hit single. Again, we get Peter and Phil singing together. That sounds like a sitar playing the main riff. Peter plays his flute along with Tony's synth solo at the end. Pleasant and concise performance before the song was drawn out into a nine minute snooze-fest.

7. The Story of Five Rivers - French

8. Firth Of Fifth - Complete with piano intro, played on electric piano. This always gave Tony trouble and this performance is no exception with at least three sour notes. You can see why they dropped the intro. The song itself is played a little too slowly in the beginning. The famous instrumental section is better, but on the whole, the performance never quite gets off the ground like it would later.

9. Story of Henry and Cynthia - You guessed it, French.

10. The Musical Box - Phil really goes all out this time with imitating effects pedals with his mouth. "Here it comes agaiiioooowwoowowowow". Steve Hackett owns the song at this point. The lead guitar growls and screams! Another rough and ballsy performance. Nice. The keys disappear for a while in the second driving instrumental section. All guitars and drums. Technical glitch? Peter really gets into character during the "She's a lady" section.

11. Horizons - Sounds almost like an electric guitar or an acoustic with electric pickup.

Disc 2:

1. The Battle of Epping Forrest - Phil's snare starts and the audience responds immediately. Kick drum comes in hard! Who is singing the high part in background during the chorus? Band seems to be having fun with the song. An echo effect is used to generate the triplets in the middle section. Going into the Reverend section. Peter: "..to see what the trouble was." Phil: "What's the trouble, then?" This is the only tour where the song was played. Good performance.

2. Story of Old Henry - Parlez-vous français? Seems to be the same story told in English on the box set. Includes Phil and Peter whistling "Jerusalem".

3. Supper's Ready - Similar to the box set version. Nice intensity. Excellent mix. Steve is once again quite prominent. The band seems to run out of steam slightly in the Apocalypse section causing the tempo to drop, but that's a only a minor quibble. Good performance, but not one of their best. The last tour where we hear the chimes at the beginning of Eggs Is Eggs. Replaced by a guitar when Phil takes over vocals.

4. CHOM-FM Radio Intro / Station ID / Sign Off

Hallenstadion, Zürich, July 2, 1977

Hallenstadion
Zürich, Switzerland
Zürich Revisited
July 2, 1977
Digital Brothers
Soundboard / Audience Matrix

Overall:
This is a Digital Brothers merger of a soundboard recording and an audience recording of the same show. Generally soundboard recordings have a good mix of the band, but tend to not capture the audience and ambiance of the concert hall. Audience recordings tend to do the opposite, so it makes sense to combine the two into a single recording. For the most part, it works. There are some glitches here and there which are immediately noticeable in the vocals. But overall makes for a pleasant listening experience.

Sound * * * *
Mostly quite good beyond the very occasional matrix sync issues.

Performance: * * * *
There are slightly dodgy renditions of "Eleventh Earl of Mar" and "...In That Quiet Earth", but once the band hits "Supper's Ready", they're unstoppable. Also contains a rare performance of Inside and Out which had just been released on Spot the Pigeon.


Raw Notes

Disc 1:

1. Squonk - The high notes seem to be giving Phil some trouble here. Very good performance. Bass pedals are well defined in the mix.

2. One for the Vine - Phil speaks both Deutsch and French to the crowd. Some strange audio artifacts in the beginning. Beautiful clear Mellotron. Excellent mix. I like this performance better than the one that made it onto Three Sides. Guitars are somewhat buried, but the keys are pristine.

3. Robbery, Assault and Battery - Story in German. I know the word "kaput". Phil does funny sound effects for the story. Makes me think a little of Robin Williams. Matrix gets a tad out of sync in the beginning of the song, evident in the vocals. Steve is more audible here. Tony's solo is amazing. Loud tambourine. Good energetic performance.

4. Inside and Out - a rare performance of this outtake from Wind and Wuthering in promotion of its release on the Spot the Pigeon EP. Who is singing background on the chorus? Band nails the instrumental second half. Nice!

5. Firth of Fifth. Steve does the intro. Someone shouts "The Knife" just before the song starts. Audience cheers. Matrix gets a bit out of sync again during "The waterfall, his madrigal." Instrumental section sounds a little loose compared to other performance. Steve nails his solo. Again.

6. Carpet Crawlers - Someone drops something in the audience recording--I'm thinking a bottle? A little audience chatter in the quiet opening. Phil's vocals phase slightly, probably another sync problem. Nice background vocals. We're these on Seconds Out? Great performance. Crowd chants "GEN-E-SIS"

7. In That Quiet Earth - Phil introduces Chester. One of my favorite Genesis instrumentals. Wish they had played the Unquiet Slumbers section as this starts a bit awkwardly. A tad fast. Doesn't seem to quite come together. The band does a better job of this in the (sacred) Cage Medley in '83. Segues, of course, into...

8. Afterglow - Chester does a fill going into the song that isn't on the album. Interesting to hear the band perform this when it was new. Nice mix. Doesn't quite reach the dramatic heights it would on later tours. Closer to the album version.

9. I Know What I Like - Phil's tambourine at the beginning is unmistakable. We know what song is coming. Good mix. Crowd cheers Phil's tambourine dance. Little bit from Stagnation. Chester does a double snare hit that gets the crowd clapping along. This was all probably fun if you were, but gets somewhat monotonous when listening to the recording. It's your show. Return of the "GEN-E-SIS" chant. Phil introduces Mike who says "Thank you". Disc ends?

Disc 2:

1. Eleventh Earl of Mar - Phil introduces Mike again. Mike intros the song. Nice stereo effect in the beginning. Was this done live or added by the Digital Bros? This song always worked better in the studio than live. Never really reaches the heights it did on the record. I can see why it was left off Seconds Out. The band gives it their all, though. The quiet part sounds quite nice, but then Phil's vocals go out of phase again. Really nice Mellotron choir. Stereo effect returns.

2. Supper's Ready - Romeo and Juliet intro in German? This isn't Cinema Show! Is that a vibraphone chiming in behind the guitars during Lover's Leap? Who is playing it? "We will rock you little snake" recording comes in a bit too loud after nice performance of the Sanctuary Man. Good intensity for Ikhnaton section. Steve positively nails the solo here. Audience is strangely quiet for How Dare I Be So Beautiful. Background recording comes in loud again for "All Change!". More stereo effects on the guitar going into Apocalypse. Good intensity again. Phil's vocals get buried briefly during "I've been so far from here". Nice guitars during Eggs Is Eggs. Great performance. Nailed.

3. Dance On A Volcano - Damn... I don't think I've heard a better performance of this one. I'll just say Nailed.

4. Drum Duet - Fast and amazing! Nailed.

5. Los Endos - The band is on fire at this point! Maybe running a bit fast, but it doesn't matter. Stereo effects on the cymbals. That heavenly Mellotron choir again. The Wind and Wuthering show effectively opens and closes with Squonk. Very nice! "GEN-E-SIS!"

Encore

6. The Lamb Lies Down on Broadway - This intro must have been hard to play on the electric piano. Band still full of energy. Segues into...

7. The Musical Box (closing section) - Crowd cheers. Phil's voice sounds like it might be giving out during NOW! NOW! NOW! NOW! NOW! Nice performance.

Le Ferme Woluwe, Belgium, March 7, 1971

Le FermeWoluwe, St Lambert
Belgium
March 7, 1971
Remastered as Hogweed #12

Overall Rating:
A terrible sounding audience recording, but a must-have for any collector of Genesis live shows. Not only was Le Ferme Genesis' first overseas gig, but it is the earliest known live recording of the band. And it contains the only known recording of a song called "The Light" (see the raw notes below). Hogweed productions has taken great pains to make this CD listenable. They have also provided extensive artwork and liner notes which are available at http://www.genesis-movement.org/ . Earns an extra half Albert for historical significance.

Sound: * *
A poor audience recording barely salvaged as a Hogweed production.

Mix: * *
The band have said that they didn't have the best equipment at this time. It shows here somewhat, but it could have been much worse.

Performance: * * *
Peter is a bit intimidated by the crowd. Some of the performances are loose and threaten to fall apart. Still the band nails Stagnation, an early version of The Musical Box and The Knife.


Raw Notes:

1. Announcer's Intro / Peter's Intro - Peter seems very nervous and speaking some French. Introduces a song about a man who eats his fingernails.

2. Happy The Man - Loose, slow performance. Strange choice to open the show.

3. Cheese and Onions Crisps Man Story - A song for people with bad breath. Man laughs.

4. Stagnation - Taper fidgets with recorder in the early seconds. Phil follows Mayhew's original drumming pretty closely here in the beginning. Broody instrumental churns along nicely. Peter's tambourine is louder than the drums. Nice performance. No backing vocals apparent during "Then let us drink" section.

5. Intro - One of those long, embarassed pauses Peter remembers.

6. The Light - The only known recording of this song. The main musical idea would later become Lilywhite Lilith. Because of the poor sound, I've never been able to make out most of the lyrics. Different sections don't mesh well, but some the individual sections are remarkable. The band isn't quite able yet to pull off something this elaborate. But it's a fascinating study in the direction they were heading. The song itself is attributed to Phil, but I'm betting Tony had a huge hand in the instrumental passages. The audience likes it.

7. Another embarrassed pause. Audience chats. Peter laughs nervously a couple of times.

8. Twilight Alehouse - I believe this performance pre-dates the studio version. Vocals get buried under the organ. Band builds a fairly good level of intensity.

9. Story - More pause.

10. The Musical Box - First minute cut. Somewhat different arrangement from the one that would end up on Nursery Cryme a few months later. Things really begin to come together here. I mentioned above that the band wasn't quite ready to pull off these elaborate arrangements, but they're getting damned close here.

11. Intro - The hiss gets bad here during Peter's French intro. Refers to Trespass as "the album". The band had already written off FGTR.

12. The Knife - Peter is already tweaking the lyrics to the second verse here on the earliest live recording. He must have been unhappy with the words. Surprisingly powerful early performance of this one, especially given that Steve had only been with the band for a couple of months.

13. Calls for Encore / Intro - Another pause.

14. Going Out to Get You - A leftover track from Trespass. Performed with good intensity, especially Tony's organ. The band is very comfortable with these last couple of songs. Crowd cheers! Merci.