Genesis start rehearsals for 2021 tour

Photos have emerged this week of Genesis in rehearsal in London for their The Last Domino? tour, due to hit the UK in April 2021. Tony Banks, Phil Collins and Mike Rutherford have been joined by guitarist Daryl Stuermer and Phil’s son Nic on drums. The band was originally to have toured in November and December of this year, but the concerts were postponed due to the Coronavirus. Whilst it is by no means certain the band will be able to fulfil the dates next April, we keep our collective fingers crossed.

Genesis

The dates for the tour are:

APRIL 2021

Thursday 1, Glasgow SSE Hydro
Friday 2, Glasgow SSE Hydro
Monday 5, Birmingham Utilita Arena
Tuesday 6, Birmingham Utilita Arena
Wednesday 7, Birmingham Utilita Arena
Friday 9, Newcastle Utilita Arena
Saturday 10, Newcastle Utilita Arena
Monday 12, Manchester Arena
Tuesday 13, Manchester Arena
Thursday 15, Dublin 3Arena
Friday 16, Dublin 3Arena
Sunday 18, Belfast SSE Arena
Wednesday 21, Leeds First Direct Arena
Thursday 22, Leeds First Direct Arena
Saturday 24, Liverpool M&S Bank Arena
Sunday 25, Liverpool M&S Bank Arena
Tuesday 27, London O2 Arena
Thursday 29, London O2 Arena
Friday 30, London O2 Arena

Book Review – GENESIS – 1967 TO 1975: THE PETER GABRIEL YEARS (2020) by Mario Giammetti

GENESIS – 1967 TO 1975: THE PETER GABRIEL YEARS (2020) ****½
by Mario Giammetti
This paperback edition published by Kingmaker Publishing, 2020, 252pp
First published in Italy by Giunti Editore, 2013
© Mario Giammetti, 2013/2020
ISBN: 978-1-913218-62-1

Blurb: The definitive biography of the early years of one the world’s greatest rock bands! The book contains numerous exclusive interviews with band members and with all the important personalities who were part of the story of Genesis between 1967 and 1975. Features a number photographs which have never been published previously, plus interviews carried out with individual members of Genesis during listen through of each of the band’s first six albums. Mario Giammetti is an Italian music journalist with over 30 years experience. He has written for numerous leading Italian music magazines. In 1991 he founded Dusk (www.dusk.it) the only printed magazine in the world dedicated to Genesis. He has written 14 books related to the world of Genesis. Genesis 1967 to 1975: The Peter Gabriel Years is his first book to be published in English.

Comment:  This is the English language release of Mario Giammetti’s biography/chronicle of the period of Genesis’ history when Peter Gabriel fronted the band. It covers the band’s transition from schoolboy songwriters at Charterhouse Public School to becoming one of the top progressive rock acts of the 1970s. For many older fans of the band this is the so-called “classic” period encompassing six studio albums and an extensive touring programme. Although billed as a “biography” the book largely focuses on the music. It draws extensively on interviews with each of the band members and their associates, conducted by the author and Mike Kaufman (the latter extended from those included in the 2006-8 remix box set Extras DVDs) over the period 2000 to 2015 – so there is a small amount of new material to update the Italian language version published seven years ago.  Giammetti’s book makes for a fascinating read and unearths a lot of new detail (to those unfamiliar with the Italian language) around the writing and recording of each of the band’s albums during this period. Three of the band members (Tony Banks, Steve Hackett and Anthony Phillips) were also involved in listening sessions with the author on the albums, so were able to offer fresh perspectives on the material. For me (having recently completed my own book on the band’s output) this was the most interesting part of the book and there were a number of new details I discovered as a result. The book is well organised chronologically by album and tour and handsomely illustrated, with a number of rare photos. For a Genesis fan – particularly of that period in the band’s history – this is a must. It stands proudly alongside Armando Gallo’s classic I Know What I Like and the band’s own Chapter & Verse in its coverage and the insights it offers.  The book ends with the words “To be continued” and I eagerly look forward to part two of the story. I hope too that Giammetti’s other output on the band and its members gets the translation treatment on the back of this excellent book.

Book Review – A GENESIS IN MY BED: THE AUTOBIOGRAPHY (2020) by Steve Hackett

A GENESIS IN MY BED: THE AUTOBIOGRAPHY (2020) ****
by Steve Hackett
This hardback edition published by Wymer Publishing, 2020, 167pp plus index)
© Stephen Hackett / Wymer Publishing, 2020
ISBN: 978-1-912782-38-3
      Marketing Blurb: The long overdue autobiography from guitar great and former member of Genesis, Steve Hackett. As with his music, Steve has written a highly detailed, entertaining and embracing tome that charts his life in full, but with a firm emphasis on his years with Genesis that saw the band’s meteoric rise to become one of the most successful British bands of all time. Steve talks candidly about his early life, his time with Genesis, and in particular his personal relationships with the other four band members, with great insight into the daily goings on of this major rock band. Naturally A Genesis In My Bed also regales stories of Steve’s career since leaving Genesis and the many different journeys that it has taken him on. With his flair for the creative, and a great deal of levity, A Genesis In My Bed is a riveting read. Indispensable for Genesis fans but also essential for general music lovers and avid readers of autobiographies full of heartfelt and emotive tales.
      Comment: The first thing you notice about Steve Hackett’s autobiography is the brief page count. This is both a blessing and a curse. It makes the read quick and concise but also sketches over details that dedicated fans may have wanted, notably on his later solo career. That said I found the book hugely enjoyable and after reading it felt, as a result, I knew much more about what makes Hackett tick – his insecurities in particular. His writing is literate and informative and full of anecdotes. The book is effectively split into three sections: Growing up and family life pre-Genesis; the Genesis years and his post-Genesis solo career. The first section gives much insight into the formation of Hackett’s personality. A shy youngster lacking in self-confidence, but with a natural musical ability, striving to find his niche. His ultimate link up with Genesis, via an interesting Melody Maker ad, is well known through band biographies.
Hackett’s time with the band highlights his initial reticence to assert himself, although he was instrumental in the band purchasing a Mellotron, which helped transform their sound. He grew in confidence once Gabriel had left the band – Hackett had recorded his first solo album, in the interim between The Lamb Lies Down on Broadway and A Trick of the Tail. His newfound confidence through solo compositions became more apparent on Wind & Wuthering, but also sowed the seeds for his leaving Genesis when his intention to continue a solo career alongside the band was vetoed by Tony Banks and Mike Rutherford. His ultimate departure was swift, during the mixing of the live album Seconds Out. At the time Hackett let some of his frustrations out in subsequent press interviews. Here, looking back with the benefit of hindsight, he is more objective and sees how if he had been more patient he may well have been able to combine the two further down the road – as became apparent once Banks, Rutherford and Phil Collins launched their own solo careers only two or three years later. Hackett is very complimentary of his former bandmates and makes it clear they all get on well, despite occasional disagreements and insensitivities – notably the editing out of Hackett’s solo career from the band’s 2004 documentary Together and Apart.
The latter part of the book, covering Hackett’s post-Genesis solo career is the most sketchy and therefore least informative – although he candidly documents the stresses of managing his solo career as well as his post-punk struggles with the record companies and the music press. Hackett comes across as an immensely likeable bloke, whose desire to nurture talent and have a settled and supportive partner has been his driving force. His third wife Jo has been a keen supporter and soulmate. Hackett’s return to the Genesis archive to mix the band’s songs with his own solo output in his live set confirms he has come to terms with his inner self and is probably the happiest he has ever been. His final words, “I have finally found home,” confirm this. A pleasurable and heartwarming read.

First review of “The Songs of Genesis”

This month’s Classic Rock Magazine has a review by Max Bell of my book “The Songs of Genesis: A Complete Guide to the Studio Recordings” on page 94.  In his review max notes the book is “intensely detailed and meticulously researched… and there’s enough personal colour to drive the narrative.”

“The Songs of Genesis” now available from McFarland

My new book The Songs of Genesis: A Complete Guide to the Studio Recordings was published by McFarland & Co. on 14 April and is available to order from their site. The book will be available from most online booksellers at some point in May. Kindle versions are available now from Amazon.

Title agreed for my forthcoming Genesis book

I have had confirmation from my publisher, McFarland & Co., that the suggestion of title for my forthcoming Genesis book has been agreed and is The Songs of Genesis: A Complete Guide to the Studio Recordings.  I’ll post further updates as the book progresses toward publication.

Image result for genesis 1975
Genesis in February 1975. L to R: Steve Hackett, Mike Rutherford, Tony Banks, Peter Gabriel and Phil Collins. Photo by Chris Walter.

News on my latest book covering the songs of Genesis

The manuscript for my latest book is now with the publishers. The provisional title is: The Songs of Genesis: A Complete Guide to the Studio Recordings. It does what it says on the tin. It’s been twenty years in the making. I wrote an early version of the book way back at the start of the Millenium, not having written anything before. Having struggled to get interest from publishers back then, partly because the music scene had moved on from Genesis and probably largely because my book could have been better, I parked it.
 
Over the last three years, I have sharpened it up, expanded it and got it to a finished state that I am happy with. McFarland, who published my first book The World of Shaft, were keen and are now going about formating and preparing the manuscript for publication. I’m hoping it will be out early next year.
 
In the meantime, Sticking It to the Man: Revolution and Counterculture in Pulp and Popular Fiction, 1950 to 1980 (edited by Andrew Nette and Iain McIntyre, published by PM Press), to which I have contributed a chapter on the Shaft books, is now due out in November.

Magazine Review – GENESIS – THE ULTIMATE MUSIC GUIDE (2017)

GENESIS – THE ULTIMATE MUSIC GUIDE (2017, Uncut, 122pp) ∗∗∗∗

Blurb: The Ultimate Music Guide: Genesis, then, seeks to explain the whole shapeshifting brilliance of the band. We’ve delved deep into the archives of NME and Melody Maker, finding interviews with the members that have languished unseen for decades. You’ll see characters emerging and plans being formulated, key figures stepping in and out of the spotlight. A career path being mapped out that does not always appear obvious, but which incrementally builds Genesis into one of the biggest bands of their era. Alongside all these revelatory interviews, we’ve written in-depth new reviews of every single Genesis album, from their 1969 debut right up until 1997’s Calling All Stations, stopping off at all auspicious points in between. We’ve also investigated the significant solo careers: not just of Peter Gabriel and Phil Collins, but of Steve Hackett, Anthony Phillips, Mike Rutherford and Tony Banks, too. It’s a tricky tale, but an endlessly rewarding one.

Uncut‘s series of The UltimateMusic Guide finally gets around to Genesis. The magazine stretches to 122 pages covering all aspect of the band. Each album is reviewed by a different writer, which ensures they get a dedicated hearing, but also means there are some inconsistencies in terms of judgement and comment. Having said that, there is an admirable balance across the whole of the band’s output as the writers resist falling into the trap of siding with the 5-man line-up or the trio. What this means, however, is that some tracks within the albums are not rated according to their status within the fan base. Classic Genesis songs like Firth of Fifth, I Know What I Like, Los Endos, Afterglow, Duke’s Travels/Duke’s End, Home by the Sea, Domino and Fading Lights  all receive just 3-stars, which is hard to accept. However, everyone will have their own favourites and there are some compelling arguments here for the stance taken. The interviews pulled from the archives of NME and Melody Maker are weighted toward the early years. Both papers took with the punk crowd in the late 70s and were savage in their treatment of Genesis thereafter –  the later review extracts demonstrate this. The band members’ solo careers are also covered, with particularly interesting perspectives on the output of both Peter Gabriel and Phil Colins. Despite its flaws, this is a good read and an interesting take on a band that, despite its popularity with the music buying public, continues to divide opinion amongst critics.

Book Review – NOT DEAD YET: THE AUTOBIOGRAPHY (2016) by Phil Collins

Image result for phil collins not dead yetNOT DEAD YET: THE AUTOBIOGRAPHY (2016) by PHIL COLLINS (2016, Century, 448pp) ∗∗∗∗∗

Phil Collins tells his life story as he would put it, “warts and all”. It is a fascintating, touching, funny and sad read showing how his dedication to his career resulted in domestic disharmony and ultimately psychological issues, alcoholism and failing health. A man who could do no wrong in the 1980s became pilloried in the 1990s, following what he terms as “Faxgate” – for which he puts the record straight here, and ultimately retreated into a form of semi-seclusion following his so-called “retirement”.

Collins has always been honest and forthright in his interviews and he is brutally honest here about his descent into depression and alcoholism over an 8-year period from 2005-2013. He is frank about how this affected those around him and he is big enough to lay the blame with no-one else but himself. He is riddled with guilt over how he put his career before his family and this is a constant theme throughout the book. It is sometimes hard to read as Collins lays bare his soul and his increased self-loathing, which obviously fuelled his near self-destruction. Fortunately he had people around him who cared enough, but it was a long hard and ugly road that has left many scars on himself and those close to him.

But the book is also balanced and is often very witty and funny.  Collins tells of his adolescent years as a child actor and his early musical influences visiting clubs like the Marquee to watch his favourite bands; a strange tale of how, as a 19-year old star-struck percussionist, he was left off George Harrison’s first post-Beatles album All Things Must Pass; his audition and early touring years with Genesis then his ascension to group singer following Peter Gabriel’s departure in 1975. He describes 1987s four-night stint at Wembley Stadium (touring Invisible Touch) as the point where Genesis hit their peak and demonstrates great affection for all his former band mates.

His divorce from his first wife, Andy, set the tone for his song-writing inspiration and led to solo success and his elevation to the pop stratoshpere. He becomes in demand from the musical good and the great (John Martyn, Eric Clapton, Robert Plant, Bob Geldof, et al) and flattered he finds it hard to refuse his friends. The result is a constant workload throughout the eighties that bred contempt from non-fans and music journalists. When his second marriage broke down in the early nineties – this time through his own infidelity – the press had a field day and this was the catalyst for Collins’ gradual withdrawal from the limelight.

Fans of Collins will likely be shocked as to how self-destructive he became in the 8-year period from 2005-2013, when he was lout of the public limelight for long periods, excepting a brief Genesis reunion, work on a Broadway production of Tarzan and his Motown covers album Going Back. It’s incredible none of his issues became public at the time – although the press had probably moved on to other targets. Non-fans may find Collins’ humility refreshing and be prepared to re-assess their views of a likeable man who undoubtedly likes to be liked and is hurt by “unwarranted” criticism. But, he is ultimately harder on himself than any of his critics.

That Collins has retained his sense of humour is encouraging and this book will undoubtedly have acted as a release for him. It is a sobering parable of how a single-minded dedication to your career will ultimately lead to unhappiness and loneliness. But there is always the hope of redemption if you are willing to see past the psychological wall and admit your failings. Collins is loved by all his children and is on good terms with two of his three ex-wives. An unwritten postscript to the book is that Collins is now reunited with Orianne, his third wife, and living a family life again,. He has also come out of retirement to tour again – on his own terms – with his son, Nic, on drums.

When I finished the book there was a sense of a story incomplete. Maybe there will be a happy ending for Collins after all – his music is being re-appraised and many modern artists have come out to say he was an influence. His fans have not deserted him and the tour sold out instantly. So, there may be a few more twists to the tale. Collins says at the outset the book is his story as he remembers it and no-one can deny it is a compelling and cautionary tale.

Music Review – PHIL COLLINS: …BUT SERIOUSLY (1989) and THE ESSENTIAL GOING BACK (2016)

The final pair of remastered re-releases of Phil Collins’ studio albums completes the Take a Look at Me Now campaign. A 2-CD and 3-CD collection of his singles (unimaginatively but accurately titled The Singles) will follow in October alongside an autobiography (Not Dead Yet).

...BUT SERIOUSLY (1989) ∗∗∗∗∗
THE ESSENTIAL GOING BACK (2010/2016) ∗∗∗½

…But Seriously was Collins’ monster hit album. It is a slickly produced affair with a very strong collection of songs. Thematically Collins veers between social conscience (“Another Day in Paradise” – the plight of the homeless and “Colours” – racial oppression); relationships (the slow ballad “Do You Remember” and the lighter, upbeat “Something Happened on the Way to Heaven”), regret (the reflective “All of My Life” and bluesy “I Wish it Would Rain Down”). There are also the contrasting tempos from the stomping white soul of “Hang in Long Enough”, the mournful lament at the troubles in Northern Ireland in “That’s Just the Way it Is” and the jazzy instrumental short “Saturday Night and Sunday Morning”. The album closer is a plea to “Find a Way to My Heart” and with this album many listeners did just that. Whilst …But Seriously may lack the adventure of Face Value, it is perhaps the strongest example of the quality of Collins’ songwriting abilities and as such is the most representative album of his solo career. The second CD contains a collection of b-sides, live material and demos.

Collins apparently felt there was too much material on Going Back, Collins’ 2010 release of meticulously authentic Motown covers. The Essential Going Back is therefore an edited version of that well-received album. The biggest debate will be around what songs were left on and what were taken off and as such this release may not find a home in the racks of those who own the original. But the second CD contains a live performance of the songs that makes this an essential purchase for fans.