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.
The dates for the tour are:
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
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.
I received the following e-mail from McFarland promoting a 2-week 40% discount offer on popular culture books, which will include my titles The World of Shaft and The Songs of Genesis:
From our founding in 1979, McFarland has championed serious scholarship about popular culture. Longtime customers remember the classics like Bill Warren’s Keep Watching the Skies!—how many of you own the original hardcover in yellow cloth binding? Today, popular culture studies is perhaps our best-known line, with more than 2,000 books about horror and science fiction film, old time radio, biographies from the Golden Age of Hollywood, current television series, theatre, dance…whatever your interest, you’re sure to find it here. To express our appreciation for readers old and new, we’re offering 40% off ALL titles about popular culture through May 17 with coupon code POP40.
We wanted to fill you in so you can spread the word or take advantage of it yourself. The sale will be shared on McFarland’s website and social media sites first thing on the morning of Monday, May 4…we welcome your likes/shares/retweets.
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.
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.
MY BOOK OF GENESIS (2017) ****
by Richard Macphail (with Chris Charlesworth; Foreword by Peter Gabriel)
Published by Argyll & Bute, 2017, 234pp
Blurb: School friend, aide-de-camp and tour manager, Richard Macphail was for almost five years the glue that held Genesis together, and in his affectionate memoir My Book of Genesis he tells his own unique story of the group’s early years. Richard was the singer in Anon, the Charterhouse school group that included Mike Rutherford and Anthony Phillips, which would later merge with Peter Gabriel and Tony Banks’ group The Garden Wall to become Genesis. Richard then became their one-man road crew, shepherding them from gig to gig, providing a cottage where they could live and rehearse and offering support when it was most needed. Richard was there when Phil Collins was auditioned, when Steve Hackett was recruited to replace Anthony Phillips and when Peter Gabriel left for a solo career. He was in the thick of it as they fulfilled their ambitions, signing to Charisma, touring Europe and America and recording a series of albums that fans fondly remember as the bedrock of Genesis’ extraordinary career. In his book’s final chapters he describes his ongoing relationship with Peter, Mike, Tony, Phil and Steve, a friendship that has endured for over 50 years. Featuring contributions from all the members of Genesis and co-written with former Melody Maker journalist Chris Charlesworth, My Book Of Genesis is both revealing and forthright, an insider’s account that fans will treasure.
An interesting account of the rise of a rock group in the days when bands had to work for their success. Some lovely stories and anecdotes of the author’s time with Genesis, from their beginnings at Charterhouse through to them cementing their prog-rock status in 1973 with “Selling England by the Pound”. Macphail was the unsung hero and his enthusiasm and encouragement helped to see the band through some early setbacks. He was the band’s champion, driver, technician, sound engineer, road manager and cook through their formative years and all the band contribute to his story, confirming their gratitude toward a free spirit who they saw as a sixth member.
Having last seen Phil on tour with Genesis ten years again, since when (bar a Motown covers album) he has been largely inactive musically, I had feared that that was it. Talk of retirement followed by health issues involving some vertebrae and back operations that have left him unable to drum or even stand for any length of time, plus his well-publicised battle with the bottle, led me to believe I would not see Phil or Genesis in concert again.
It was therefore enormously pleasing to see Phil and his band in such excellent form last night at Manchester Arena. His body may be battered, but his voice retains its soulful character and a set of great songs had the whole audience on its feet in the home run during the second set. His 16-year old son, Nic, filled in on drums and is most definitely a chip off the old block. A confident and powerful drummer he surely has a great career ahead of him. His 14-piece band was tight and powerful, conjuring up atmospheric moods with “Another Day in Paradise” and “In the Air Tonight” and grooves with “Something Happened on the Way to Heaven” and all of the aforementioned home run. The sound was amazing – the best I have ever heard at an arena venue.
Yes, I missed Phil’s mobility – he was confined to a seat throughout – but the energy of his vocal performance and the superb band more than made up for his lack of physical movement. If anyone was worried PC may not have it in him any more they can be reassured, this was a top performance. Reviews of the shows have been excellent and it seems Phil’s music is being re-appraised. He has already announced a tour to South America in 2018 and I am sure he will follow up in the US and maybe other territories. There are hints at writing new material and as he stated last night he is still in touch with his Genesis colleagues having met up again the previous evening – so you never know.
Against All Odds (Take a Look at Me Now)
Another Day in Paradise
One More Night
Wake Up Call
Follow You Follow Me
Can’t Turn Back the Years
I Missed Again
Hang in Long Enough
Who Said I Would
Drum Duet (Nic Collins & Louis Conte)
I Don’t Care Anymore
Something Happened on the Way to Heaven
You Know What I Mean
In the Air Tonight
You Can’t Hurry Love
Dance Into the Light
Mike Rutherford – Guitar, Bass, Drum Programming
Andrew Roachford – Vocals, Keyboards
Tim Howar – Vocals
Gary Wallis – Drums
Luke Juby – Keyboards
Anthony Drennan – Guitar
Clark Datchler – Piano (5, 6 & 9)
Zak Kemp – Drum Programming (5 & 6)
Patrick Mascall – Drum Programming (8 & 11)
Let Me Fly Choir (1)
Tracks 1-6 Produced by Mike Rutherford, Brian Rawling and Paul Meehan
Tracks 7, 9, 10 and 12 Produced by Harry Rutherford and Mike Rutherford
Tracks 8 and 11 Produced by Mark Taylor and Mike Rutherford
Recorded at The Farm Studios, Metrophonic Studios & Mike’s Home Studio
1 Let Me Fly (Rutherford/Datchler/Roachford) ∗∗∗∗∗
Classic Mechanics. Uplifting anthemic chorus heightened by gospel choir and Roachford’s soulful vocal.
2 Are You Ready? (Rutherford/Datchler/Howar) ∗∗∗∗
Up-tempo rock number with a catchy chorus and moody middle-eight.
3 Wonder (Rutherford/Datchler/Roachford) ∗∗∗∗
Piano based mid-tempo song reminiscent of Don Henley/Bruce Hornsby. Its gliding groove gets under the skin.
4 The Best is Yet to Come (Rutherford/Datchler) ∗∗∗
Poppiest song on the album. Selected as the second single.
5 Save the World (Rutherford/Datchler/Roachford) ∗∗∗∗
Heartfelt ballad delivered with real passion by Roachford.
6 Don’t Know What Came Over Me (Rutherford/Datchler/Roachford) ∗∗∗∗
First single has a chorus that stays with you.
7 High Life (Rutherford/Drewett) ∗∗∗
Nice little understated diversion with a delicate vocal from Howar.
8 The Letter (Rutherford/Taylor/Mascall/Datchler/Roachford) ∗∗∗∗∗
Great repeated riff from Rutherford and a more complex structure with room for a brief guitar solo. Along with the title track the strongest cut. Reminiscent of Silent Running.
9 Not Out of Love (Rutherford/Roachford/Howar) ∗∗
The least successful song on the album is a mid-tempo chugger lacking a strong hook.
10 Love Left Over (Rutherford/Datchler/Howar) ∗∗∗∗
Gorgeous ballad showing Howar can deliver a soulful vocal as well as out and out rock. A real grower.
11 I’ll Be There for You (Rutherford/Taylor/Mascall/Roachford) ∗∗∗
Another of the poppier songs on the album. It has a more modern programmed sound.
12 Save My Soul (Rutherford/Roachford/Thorneycroft-Smith) ∗∗∗
Low-key finish to the album with lush keyboards underpinning a soulful delivery from Roachford. Moody guitar adds to the late evening feel.
Mike + The Mechanics’ eighth album in a career spanning 32 years is the band’s best since Beggar on a Beach of Gold back in 1995. Singers Andrew Roachford and Tim Howar return, having appeared on the band’s previous album The Road (2011), which had been an inconsistent affair with the new band trying to find its feet. Here, after intervening years of touring, the band is more relaxed and the quality of the songs is stronger. There are echoes of earlier Mechanics albums in some of the tracks – a deliberate move by Rutherford to recapture the sound of those early days. The album shows the band still has much to offer and Rutherford is a writer of well-crafted, classy songs.
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.