Show #93: Turn It On Again
I noted earlier this week that the 3-man line-up of Genesis has gotten back together. To mark the occasion, I'm posting a show with this version of the band along with the sidemen who are returning for next year's tour: Chester Thompson and Daryl Stuermer.
Genesis became a 3-piece in late 1977 when guitarist Steve Hackett left the band. The following year, they released …and then there were three, the first of 6 albums featuring this line-up of Tony Banks, Phil Collins, and Mike Rutherford which lasted until 1996 when Collins left to pursue his solo activities. For me, this period can be further broken down into three sub-groups.
During 1978 – 1980, the band released 2 albums: the aforementioned …and then there were three and Duke. Although each one saw the band's sound changing, they still come across to me as the 3-piece doing the old Genesis thing. In 1981 they released Abacab which heralded the real changes. Hugh Padgham replaced long-time producer David Hentschel and he gave the band a fresh, new sound. Not only could fans finally hear drums that didn't sound like they were, in his words, "recorded in a cardboard box", but Padgham's work with The Police, Peter Gabriel, and XTC, in my opinion, helped shape the songs. Abacab was followed up by Genesis in 1983 and they form a pair, to my mind. Invisible Touch and We Can't Dance, released in 1986 & 1991, respectively, close out this era.
(Photo by Carlos Policella.)
I chose a Mama Tour (1983-84) show mainly because I think that a lot of music that the band made during the 1981-83 period was among the best they've ever done and that the songs from this period do a good job at balancing the new and the old. There's a good mix of acoustic and electronic drums & drum machines; Collins was a little more restrained but there was still plenty of his very "melodic" drumming style; Banks kept piano & organ but also brought in new sounds via synthesizers; and lyrically, there were straightforward love songs as well as songs that were weirder and more oblique. I think that, after this period, this balance was, on the whole, lost.
This week's show was recorded on 27 November 1983 at The Spectrum in Philadelphia, PA. The band's show that night was recorded by King Biscuit for their radio show, the King Biscuit Flower Hour, and the source here is from the vinyl LPs given to radio stations that carried the program. It was "remastered" by the folks at the Coaster Factory, a group that took recordings of Genesis concerts and spruced them up using today's technology. This release was called A Phantastically Phabulous Philly:
Digital remastering: Stephen Sussman and David Kempler
Analog Remastering: David Kempler
Cover: Willem Beens
Setlist:
Dodo/Lurker
Abacab
That's All
Mama
Illegal Alien
Home By The Sea
Second Home By The Sea
Download show
Genesis
(Photo provided by Jim Hyzy & Doug Schifano.)
Genesis became a 3-piece in late 1977 when guitarist Steve Hackett left the band. The following year, they released …and then there were three, the first of 6 albums featuring this line-up of Tony Banks, Phil Collins, and Mike Rutherford which lasted until 1996 when Collins left to pursue his solo activities. For me, this period can be further broken down into three sub-groups.
During 1978 – 1980, the band released 2 albums: the aforementioned …and then there were three and Duke. Although each one saw the band's sound changing, they still come across to me as the 3-piece doing the old Genesis thing. In 1981 they released Abacab which heralded the real changes. Hugh Padgham replaced long-time producer David Hentschel and he gave the band a fresh, new sound. Not only could fans finally hear drums that didn't sound like they were, in his words, "recorded in a cardboard box", but Padgham's work with The Police, Peter Gabriel, and XTC, in my opinion, helped shape the songs. Abacab was followed up by Genesis in 1983 and they form a pair, to my mind. Invisible Touch and We Can't Dance, released in 1986 & 1991, respectively, close out this era.
(Photo by Carlos Policella.)
I chose a Mama Tour (1983-84) show mainly because I think that a lot of music that the band made during the 1981-83 period was among the best they've ever done and that the songs from this period do a good job at balancing the new and the old. There's a good mix of acoustic and electronic drums & drum machines; Collins was a little more restrained but there was still plenty of his very "melodic" drumming style; Banks kept piano & organ but also brought in new sounds via synthesizers; and lyrically, there were straightforward love songs as well as songs that were weirder and more oblique. I think that, after this period, this balance was, on the whole, lost.
This week's show was recorded on 27 November 1983 at The Spectrum in Philadelphia, PA. The band's show that night was recorded by King Biscuit for their radio show, the King Biscuit Flower Hour, and the source here is from the vinyl LPs given to radio stations that carried the program. It was "remastered" by the folks at the Coaster Factory, a group that took recordings of Genesis concerts and spruced them up using today's technology. This release was called A Phantastically Phabulous Philly:
Digital remastering: Stephen Sussman and David Kempler
Analog Remastering: David Kempler
Cover: Willem Beens
Setlist:
Dodo/Lurker
Abacab
That's All
Mama
Illegal Alien
Home By The Sea
Second Home By The Sea
Download show
Genesis
(Photo provided by Jim Hyzy & Doug Schifano.)
posted by Palmer at 10:58 AM
7 Comments:
Interesting breakdown of the eras. And then there 3 and Duke were worlds apart both musically and lyrically, yet both remain my favorites from the post-Gabriel era. The metaphorical (Burning Rope) sometimes sappy (Snowman) lyrics vs. the personal struggles of Phil in what could truly be called a reality concept album (Duke) create a amazing contrast. The albums after this slowly fade in depth and scope, and the artistic growth begins to stagnate and the sounds become mainstream. I hope they highlight this great period and we can see and hear the changing of the guard in this great band once again. - TGL
Hi Tim,
Are you from Relayer? I agree that those 2 albums are different as you indicate, but I think they're similar enough to be lumped together here. Duke harkens back to what came before more than what was to come, IMO. It is definitely a transitional album. The band are supposed to do songs from 1973-1991 but, from what I've heard, the tour is likely to be very similar to the We Can't Dance tour.
Take care
yes I am a Relayer guy. I didn't mean to post my name - but my mac had it pop up in the box. I'm not disagreeing with you by any means, in fact I am a big fan of this site and have very similar tastes and opinions. I just felt like juxtaposing these 2 albums a bit - it's the art history major in me I guess. I don't think Genesis could do a reunion with Gabriel anyway - what would he do during songs like "Follow you Follow me" - dance on the side of the stage? I'm just trying to be positive and enjoy looking back some great music from a horrible era of pop.
Love the site - I'll be back -TGL
Palmer - I have some questions about Madison in general. Wondering if you could contact me sometime. - TGL
As much as I enjoyed going to Genesis concerts in the altes 70's and all through the 80's, I would have to consider the setlist before laying down mega $$$ for a ticket to the U.S shows. If the setlist is dominated by I Can't Dance (worst single of all time) and much of invisible Touch, then what is the point of this so called reunion. On the other hand, if songs like Squonk, One For The Vine, Firth of Fifth, Cinema Show, Behind the Lines, Musical Box, and Crapet Crawlers are amongst the chosen, I am there. Would be nice to have them rehearse about 35 songs and mix it up a bit each night. They were on automatic pilot back in the 80's. Phil even said teh same jokes every night word for word.
TH20 - I agree with you - I'd be very reluctant to drop a lot of cash on tickets for a show that is really similar to the performances from 1991-92. The press conference indicated that they'll be doing songs from all albums dating back to Selling England except Calling All Stations, which is understandable.
I am in total agreement with you as far as mixing things up as I think that'd be great. But I won't hold my breath. I guess we'll just have to wait until the summer and see what the European setlists are like.
Tim - can you shoot me an email? I'd be happy to answer any questions about Madison you may have.
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