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This programme
contains strong language
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CHANTING: Genesis. Genesis.
Genesis. Genesis...
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CHANTING CONTINUES
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MUSIC: Turn It On Again
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Yeah, forget about all this
other bullshit.
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We are entertaining people,
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and if they're entertained
we've done our job properly!
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MUSIC: Invisible Touch
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# She seems to have an
invisible touch yeah
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# She reaches in and she grabs right
hold of your heart... #
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No, I love this.
It's great having hits.
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MUSIC: Jesus He Knows Me
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# Cos Jesus he knows me
and he knows I'm right... #
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In those days there were no real
rules. I think
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we were just trying to be
a bit different,
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because the canvas
in those days in the '60s
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and the '70s was pretty blank.
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MUSIC: The Knife
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# Carry their heads
to the palace of old
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# Hang them high
let the blood flow... #
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The basic feel was radically
different
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than anything I'd ever done.
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Very British, actually!
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Aye, aye, aye, ah!
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It's not country, it's not rock,
it's not jazz, you know,
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it's Genesis.
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# There must be
some misunderstanding... #
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A very competitive band,
no doubt about that. Very gifted,
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but with those gifts,
you know, there's a certain price.
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MUSIC: I Can't Dance
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It was always, you know,
beating each other into submission.
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# I can't talk... #
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We pulled rank!
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# The only thing about me is the way
that I walk... #
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Peter and I used to fight a lot.
Very close friends but, you know,
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used to argue about silly
little things.
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MUSIC: I Know What I Like
(In Your Wardrobe)
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No, he was a really awkward bastard!
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But we loved each other too,
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you know, there was a real bond.
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They were at the forefront of what
we now think of as prog rock.
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Then in the '80s,
they were a massive
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rock/pop band on both
sides of the Atlantic.
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MUSIC: That's All
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# Just as I thought
it was going all right
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# I found that I'm wrong
when I thought I was right
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# It's always the same
it's just a shame
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# That's all... #
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Genesis were never cool, and Genesis
are proof that, ultimately,
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in rock music brains win out.
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MUSIC: Sledgehammer by Peter Gabriel
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# I wanna be your sledgehammer... #
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There's something in the DNA of that
group that's still connected,
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even though they were
in different places.
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MUSIC: In The Air Tonight
by Phil Collins
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# I can feel it
coming in the air tonight... #
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Whenever, sort of, Spinal Tap
is on or something and you see these
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moments you think, "I've been in a
band like that! That's Genesis".
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No, they don't think so.
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We had something that none of us
could do on our own.
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MUSIC: A Change Is Gonna Come
by Otis Redding
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I was at school, and I remember
exactly which room I was in,
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and I heard this thing coming
out of the radio, and phrew.
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Otis Reading was my hero at that
time, I think.
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It felt very free,
it was sort of hot, sexy, alive,
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and it had obviously come
out of blues and pain and suffering.
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# That change has gotta come, yeah
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# Ooh, yes, it is
oh, my, oh, my... #
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The rigours of that school would have
given them something to kick against.
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There was a revolutionary impulse
within them, which is that -
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despite the constraints of that,
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you know, very traditional public
school education -
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they thought, "We
want to make a living out of music."
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It was music that got them
through their day.
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That's where Genesis developed this
desire to create something
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that was elaborate and big and grand
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and sprawling, that kind of pushed
those rigours out of their life.
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The demo session was Mike
and I saying, "Tony will you come
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"and help us with the keyboards?"
And he said, "Yeah, I'll do it
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"if my mate Peter Gabriel can
come along and sing one song."
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It was called She Is Beautiful
to start with.
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I'm not sure what it ended up as.
It was a lovely song.
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So we hustled our way into
their session.
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# She is beautiful
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# Very beautiful... #
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We'd done these demos and it was
OC's day, Old Carthusian day,
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Jonathan King was spotted there.
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I was a successful pop star,
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the first act on the London
Top Of The Pops show.
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And, of course, I went back to
Charterhouse in glory,
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in my little Austin-Healey Sprite.
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And one of the kids at Charterhouse
rushed up to me
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with a grubby cassette tape,
that I still have to this day,
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and said, "Oh, this is the school
group, listen to it."
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# For them you're just a product
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# For me you're the one I love
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# Baby... #
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The lead singer had THE most
wonderful voice, I thought.
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So I got in touch with them
and said,
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"Look, I really like the sound of
you, I'd like to produce you."
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And they said, "Oh, yes, please".
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I gave them the name Genesis
because that, to me,
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was the start of my production
career.
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We did an album -
From Genesis To Revelation
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which was just bought by us
and our friends.
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And, you know, and then pretty much
that looked like it, and he,
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sort of, was losing interest and
everything, which was fair enough.
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I'm not very good with really good
creative artists.
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I'm actually better with people
just doing as I say,
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because it's my work of art that
I want to do.
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My parents had a cottage near
Dorking in Surrey, quite remote.
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They let us use it.
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You know, it was very turbulent.
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They're very strong characters,
you know, and we were kind of -
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slightly... t was a bit of a
pressure cooker situation.
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The guys never saw their girlfriends
half the time, it was
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positively draconian.
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But we were too serious.
We never went for walks.
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We weren't the sort of group to
go down the pub and have pints
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and, you know, relax.
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Ant was also, probably, the best
musician at the time.
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He was the only one who could
actually do something
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with his instrument.
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And he kind of brought me on really,
he taught me some chords.
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Kind of early days in the writing
sessions
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with Ant it was two guitars.
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Ant and myself playing guitars,
Tony keyboards
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and Pete a bit of keyboards, you
know, but more the vocals really.
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Sneaking away from school to come to
these hippie events,
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to then be offered to perform in an
Atomic Sunrise Festival, it sounded,
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you know,
like a thing we couldn't say no to.
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The Roundhouse was somewhere where,
you know,
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concerts were not just concerts,
they were happenings, you know,
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and it would be somewhere you'd go
to commune with kindred spirits.
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People would sit
and happily close their eyes
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and listen to songs that
lasted 25 minutes.
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And Genesis just at that time
fitted right in there.
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I remember finding it all starting
to get terribly tense,
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and I used to be very frightened.
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# Looking for someone
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# I guess I'm doing that
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# Trying to find
a memory in a dark room
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# Dirty man,
"You're looking like a Buddha"
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# I heard him say... #
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The Atomic Sunrise Festival
I remember mainly for there
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being more people on stage than
there were in the audience.
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Tony and I, particularly Tony, were
both Bowie fans from very early on.
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# Children of the summer's end
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# Gathered in
the dampened grass... #
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Bowie's band were very
theatrical at the time
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and it wasn't sort of
Ziggy-type costumes,
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it was more sort of raiding
the theatre costume department.
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Then of course came the first
official,
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if you like, Genesis album,
with Trespass.
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Where they were starting to
get their proper sound together.
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It's not quite there,
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but you can hear the seeds of what
they became within it.
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And it has, famously, the track
The Knife.
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And I looked at the guitar
and I thought,
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"I haven't got a clue,
not a clue what comes next."
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And then I saw myself playing this
thing, but it was really scary.
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I eventually just sort of went
kerblonk really.
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I tried fighting through it,
but I didn't make it.
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Well, Anthony Phillips was
a fantastic musician,
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he was very much part of
the original collective.
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And when he left, it could have very
easily have been the end of Genesis.
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We wouldn't be having this
discussion,
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because they did very seriously
consider calling it a day.
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That was a very,
very significant loss.
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I mean Ant leaving was far
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and away the most significant
moment in Genesis's history.
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People don't quite realise
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how important a character he was.
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I would say he was...
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very much the driving force.
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I felt it was the right thing to do.
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If I hadn't left they may never
have got Phil Collins.
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So, I mean...
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All I wanted to do was to be
able to play the drums
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and make enough money to live.
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It wouldn't be stardom or anything.
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I was a professional musician
in a semi-professional band.
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The band would have day jobs
and, you know, and we'd all meet up,
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but I was the one that was actually
existing on whatever we earned.
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Phil comes along, Dad's in insurance,
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he's a Hounslow boy, a good
West London boy, but he does bring
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some creativity with him
because Phil's mother, June,
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also worked with Barbara Speake
at the Barbara Speake Stage School.
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The first thing he did was bring
this incredibly direct
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and brilliant musical drumming.
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He can play anything.
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He can play your soul music,
your prog music, your jazz music,
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your fusion. He can play it.
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And he brought that incredible
confidence, I think, to their sound.
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You know, I was a stage-school kid,
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I was from a very different
background.
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I'd been playing music all my life,
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whereas music, to them...
was...a restricted subject.
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You know, I mean, you weren't
supposed to play
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guitar at Charterhouse.
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And they were kind of very precious,
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you know, it really mattered.
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You know, "You're playing what
kind of A chord?
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"No, no, that's not the best
inversion of the A."
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You know, I mean, things like that.
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It was just unbelievable.
The difference?
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I never ever, ever could have
imagined
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in a million years the difference
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a drummer could make.
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Oh, my God, he was...
It was unbelievable.
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He transformed the music.
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It was very apparent to us that he
was a really good drummer,
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you know, had a fantastic
sense of rhythm and stuff,
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which... We were all a bit stiff,
you know?
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He understood and felt things
and, you know,
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it was thank God for me that
I can talk to someone who actually
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knows the realities of life.
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And he had a lightness
as a personality too.
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He could joke and stuff
and everything, you know,
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much better than...
We were very intense.
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It was very incestuous.
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You know, we did nothing but this
so, obviously, you know,
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people got irritated with each
other.
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I remember storming out of...
when we were rehearsing one place,
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00:12:27,080 --> 00:12:28,880
first time with Phil.
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00:12:28,880 --> 00:12:31,440
You know, it just must have been
difficult for him I think.
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I was amazed he stayed.
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All this friction or
sort of tension that was under...
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you know, kind of under wraps
occasionally would boil over
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and someone would get up
and walk out.
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And I'd..."Did I miss something,
what happened?" You know?
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LAUGHTER
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And it would be like...
(MUMBLES) .."Fucking..."
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LAUGHTER
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Off into the distance.
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Because Phil like felt
a professional who'd played with
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other musicians and was just getting
on with the work, whereas we had all
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these intense, sort of, dysfunctional
family arguments going on.
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They discussed these things under
a sort of stifling cloak
240
00:13:08,640 --> 00:13:12,080
of British reserve, which is very
typical of the public schoolboy.
241
00:13:12,080 --> 00:13:14,880
And I imagine that the
workings of that band were quite
242
00:13:14,880 --> 00:13:16,520
mystifying to Collins.
243
00:13:16,520 --> 00:13:19,800
But I imagine he was
something of a breath of fresh air.
244
00:13:19,800 --> 00:13:22,640
It was always, you know,
beating each other into submission.
245
00:13:23,960 --> 00:13:26,680
But that was fun, I mean, I was
in a band, I was in a thinking band.
246
00:13:26,680 --> 00:13:29,760
You know, as far as I was concerned
it made a big change from what
247
00:13:29,760 --> 00:13:31,600
I'd, kind of, been playing.
248
00:13:31,600 --> 00:13:36,040
And that was the first time that it
felt like there was some chance
249
00:13:36,040 --> 00:13:40,720
of this combo gelling and delivering
something with a bit of punch.
250
00:13:40,720 --> 00:13:44,280
Things that had seemed really hard
work, you know, like pushing
251
00:13:44,280 --> 00:13:48,400
this big thing up a hill, suddenly
it was downhill and we could smile.
252
00:13:54,320 --> 00:13:57,120
When Steve Hackett joined it was
another kind of big
253
00:13:57,120 --> 00:13:59,760
moment in the Genesis story.
An absolutely stunning musician.
254
00:13:59,760 --> 00:14:02,040
He could make a guitar
sound like any instrument.
255
00:14:02,040 --> 00:14:06,360
It was really a little bit like
being thrown in at the deep end.
256
00:14:06,360 --> 00:14:12,680
I mean, I'd really been a legend
in my own bedroom at that point.
257
00:14:12,680 --> 00:14:16,520
Yes, I could play screaming solos
very, very quietly on this little
258
00:14:16,520 --> 00:14:21,720
radio that served as an amp, and
then suddenly to work with a band.
259
00:14:21,720 --> 00:14:25,200
And we all met him at Tony's flat.
260
00:14:25,200 --> 00:14:27,840
And he was very dark,
261
00:14:27,840 --> 00:14:30,880
but he always gave the impression
of being very serious, you know,
262
00:14:30,880 --> 00:14:33,760
with his black glasses, black hair.
263
00:14:33,760 --> 00:14:37,200
I sat down and played three
different styles of things
264
00:14:37,200 --> 00:14:39,840
to them, and I remember Pete
famously saying,
265
00:14:39,840 --> 00:14:43,680
"I think we can use the first style,
I'm not sure about the other two."
266
00:14:46,320 --> 00:14:47,800
We liked his approach.
267
00:14:47,800 --> 00:14:50,800
He was a very accomplished guitarist
without wanting to be
268
00:14:50,800 --> 00:14:53,920
a sort of flash guitarist at all,
you know?
269
00:14:53,920 --> 00:14:57,840
And he was interested in, sort of,
combinations and all the rest of it.
270
00:15:06,040 --> 00:15:08,040
Literally, and then there were five,
271
00:15:08,040 --> 00:15:10,960
and that really was the classic
band.
272
00:15:10,960 --> 00:15:13,520
And Steve just had -
he was just perfect.
273
00:15:21,880 --> 00:15:24,920
Nursery Cryme was when they began
to get a few sniffs at what
274
00:15:24,920 --> 00:15:26,520
they were doing.
275
00:15:26,520 --> 00:15:28,560
It went into - you know,
scraped into the Top 40,
276
00:15:28,560 --> 00:15:32,160
and you can hear the sound
coalescing, coming together there.
277
00:15:32,160 --> 00:15:35,960
But at the time, of course,
it was called progressive rock.
278
00:15:35,960 --> 00:15:39,320
Involved no limits, basically, no
barriers.
279
00:15:39,320 --> 00:15:40,960
So they were testing the barriers,
280
00:15:40,960 --> 00:15:43,880
learning how far they could push
this and realising that they
281
00:15:43,880 --> 00:15:47,160
could actually push it a lot further
than 4x4 beach music.
282
00:15:47,160 --> 00:15:49,920
Prog rock to... If you were trying
to explain it to an alien who'd
283
00:15:49,920 --> 00:15:53,760
just landed on Earth - I'd say songs
that last 20-minutes plus,
284
00:15:53,760 --> 00:15:57,000
have mythical allegories
and strange creatures in them,
285
00:15:57,000 --> 00:16:01,480
perhaps, you know, uniforms in the
case of Genesis and standing stones.
286
00:16:01,480 --> 00:16:05,040
There's something very, very
English about Genesis's music that,
287
00:16:05,040 --> 00:16:08,800
to me,
it's an England beyond psychedelia.
288
00:16:08,800 --> 00:16:13,440
# But I am lost
within this half-world
289
00:16:16,320 --> 00:16:20,080
# It hardly seems to matter now... #
290
00:16:21,600 --> 00:16:24,840
The guys were terrible at tuning
the 12 strings
291
00:16:24,840 --> 00:16:28,480
and they would take, sometimes,
five minutes between songs.
292
00:16:28,480 --> 00:16:30,560
Everyone looks at the singer...
293
00:16:33,000 --> 00:16:35,600
.."Entertain us," you know?
294
00:16:35,600 --> 00:16:44,680
So that's what I realised
I had to start doing.
295
00:16:45,560 --> 00:16:48,400
He's not particularly at ease
with an audience
296
00:16:48,400 --> 00:16:51,200
until he became someone else,
you know?
297
00:16:51,200 --> 00:16:53,680
The first time he ever wore
a costume was, obviously,
298
00:16:53,680 --> 00:16:56,320
the infamous time in Dublin
in the boxing ring.
299
00:16:56,320 --> 00:16:58,760
He hadn't told us about it,
which was just as well
300
00:16:58,760 --> 00:17:00,800
because we'd never have let him
do it.
301
00:17:04,200 --> 00:17:07,520
There's quite a long instrumental
passage in the middle
302
00:17:07,520 --> 00:17:09,720
and Peter went off.
303
00:17:09,720 --> 00:17:13,600
He certainly didn't tell Tony Banks
because I think, rightly,
304
00:17:13,600 --> 00:17:16,520
he thought that Tony would veto it.
305
00:17:16,520 --> 00:17:19,880
I was always afraid that these guys,
you know,
306
00:17:19,880 --> 00:17:24,960
would start arguing about any
of the visual costume bit that
307
00:17:24,960 --> 00:17:28,640
I was trying to do,
and so I would bring the stuff in.
308
00:17:28,640 --> 00:17:30,240
I'd smuggle it in.
309
00:17:30,240 --> 00:17:32,280
I'd smuggle it in as
late as possible,
310
00:17:32,280 --> 00:17:36,320
when they were so preoccupied with
getting everything else
311
00:17:36,320 --> 00:17:40,800
sorted, that I could sort of get away
with whatever shit was in my head!
312
00:17:45,360 --> 00:17:48,520
KATE MOSSMAN: Peter's impulse to
dress up in these elaborate clothes
313
00:17:48,520 --> 00:17:51,560
and his wife's dress with
a fox's head.
314
00:17:51,560 --> 00:17:52,800
I mean for him
315
00:17:52,800 --> 00:17:55,240
it was shyness, as I understand.
316
00:17:55,240 --> 00:17:57,640
I mean, he was a beautiful young
man,
317
00:17:57,640 --> 00:18:02,040
but he was not sexually confident
in the stagey way like Jagger was.
318
00:18:02,040 --> 00:18:05,160
And he wasn't even as sort
of committed to the
319
00:18:05,160 --> 00:18:07,880
personas as Bowie was at that point.
320
00:18:07,880 --> 00:18:09,520
So the likes of Bowie were doing it,
321
00:18:09,520 --> 00:18:12,080
the likes of Mark Bolan, you know,
the wearing of make-up,
322
00:18:12,080 --> 00:18:15,080
all that kind of stuff which didn't
go down well across the Atlantic.
323
00:18:15,080 --> 00:18:17,360
Americans - "What are
these Brits doing in frocks?"
324
00:18:17,360 --> 00:18:19,000
You know - "We don't want any of
that.
325
00:18:19,000 --> 00:18:20,680
"We want rock'n'roll. Rock'n'roll!"
326
00:18:20,680 --> 00:18:22,240
MUSIC: The Musical Box
327
00:18:22,240 --> 00:18:24,160
# I've been waiting here for so long
328
00:18:26,520 --> 00:18:31,360
# And all this time has passed me
by... #
329
00:18:31,360 --> 00:18:34,040
It was dark,
it was a sort of dark energy,
330
00:18:34,040 --> 00:18:36,960
and it was scary to people
and shocking.
331
00:18:36,960 --> 00:18:39,720
You know, he didn't run it
via the committee.
332
00:18:39,720 --> 00:18:42,360
He bullishly went ahead and did it.
333
00:18:42,360 --> 00:18:46,000
And if he hadn't, I suspect that
Genesis perhaps would not
334
00:18:46,000 --> 00:18:48,440
have gotten as far so quickly.
335
00:18:54,240 --> 00:18:55,960
CHEERING
336
00:18:55,960 --> 00:18:57,880
It brought the house down.
337
00:18:57,880 --> 00:19:00,760
It put a nought on the end
of our earnings.
338
00:19:00,760 --> 00:19:03,160
The costumes at that point
339
00:19:03,160 --> 00:19:04,720
were not intrusive.
340
00:19:04,720 --> 00:19:07,760
I mean, it kind of just seemed to be
part of what Genesis were,
341
00:19:07,760 --> 00:19:09,080
and I was all for it.
342
00:19:11,760 --> 00:19:15,440
I am the voice of Britain
before the Daily Express.
343
00:19:19,640 --> 00:19:22,080
My name is Britannia.
344
00:19:35,560 --> 00:19:38,080
Foxtrot, I think, is where most
Genesis fans agree that
345
00:19:38,080 --> 00:19:42,440
that's where they really broke the
roof and went to another dimension.
346
00:19:42,440 --> 00:19:44,720
It's one of those things where
you get popular
347
00:19:44,720 --> 00:19:47,240
and then by the time, you know, you
never really get it,
348
00:19:47,240 --> 00:19:49,600
you're sort of, "Oh, my God,
there's all that."
349
00:19:49,600 --> 00:19:52,680
And you get to that level and think,
"Oh, my God, there's all that."
350
00:19:52,680 --> 00:19:56,920
So, we didn't realise until we came
to New York, probably, just how
351
00:19:56,920 --> 00:20:01,960
VAST America was
and how much there was to do.
352
00:20:11,520 --> 00:20:14,680
American rock in the '70s was very,
very American,
353
00:20:14,680 --> 00:20:18,440
and the British rock that they liked
was working with American DNA,
354
00:20:18,440 --> 00:20:21,760
so they liked The Stones
because it was blues.
355
00:20:21,760 --> 00:20:24,600
So you had your, you know, your
Bob Seger and your Lynyrd Skynyrd
356
00:20:24,600 --> 00:20:27,360
and then you had your art rock,
your Iggy and Stooges
357
00:20:27,360 --> 00:20:29,200
and Velvet Underground.
358
00:20:29,200 --> 00:20:32,000
And, in a way,
it was a different language.
359
00:20:32,000 --> 00:20:37,120
It was quite a challenge, you know,
we were not downhearted by this.
360
00:20:37,120 --> 00:20:39,160
You know, we may be big over here,
361
00:20:39,160 --> 00:20:41,160
but over here you don't mean
anything.
362
00:20:41,160 --> 00:20:42,880
This was America, you know,
363
00:20:42,880 --> 00:20:45,960
this was the America that we'd all
heard about and read about.
364
00:20:45,960 --> 00:20:48,880
Just to stay in a Holiday Inn
we thought,
365
00:20:48,880 --> 00:20:52,760
"This is the Holiday Inn!" You know,
"This is a Holiday Inn!"
366
00:20:52,760 --> 00:20:55,360
Because they're famous rock'n'roll
hotels,
367
00:20:55,360 --> 00:20:57,640
you know,
people get banned from these.
368
00:20:57,640 --> 00:21:00,040
So it was all experience.
369
00:21:00,040 --> 00:21:02,040
And I can't remember ever feeling
370
00:21:02,040 --> 00:21:04,320
jaded by it or, like,
depressed by it.
371
00:21:24,840 --> 00:21:27,720
It was like we were touring America,
that's what you wanted to do.
372
00:21:27,720 --> 00:21:30,720
The initial tour which
I was responsible for, 18 cities,
373
00:21:30,720 --> 00:21:32,360
they were totally unknown.
374
00:21:32,360 --> 00:21:37,080
I essentially did something that
I never did before,
375
00:21:37,080 --> 00:21:41,280
for Genesis I had to lie.
376
00:21:41,280 --> 00:21:44,560
Everybody in your city knows
about Genesis because of imports,
377
00:21:44,560 --> 00:21:46,920
the thousands are coming in daily,
378
00:21:46,920 --> 00:21:49,040
and universally loved it, ah,
379
00:21:49,040 --> 00:21:51,280
it's underground, you can't see it.
380
00:21:51,280 --> 00:21:54,720
I can see it, but you can't.
But don't worry, they'll come.
381
00:21:56,320 --> 00:22:02,840
The first time I saw them, I noticed
that the audience seemed to
382
00:22:02,840 --> 00:22:08,840
be elevated, they were lifted
out of the mundane for a moment.
383
00:22:08,840 --> 00:22:10,760
I saw that.
384
00:22:10,760 --> 00:22:15,240
It was like a religious service,
it was very powerful, very palpable.
385
00:22:15,240 --> 00:22:17,880
I was moved along with the audience.
386
00:22:17,880 --> 00:22:21,720
Early Genesis followers,
early Genesis listeners,
387
00:22:21,720 --> 00:22:26,400
almost embraced them as, not a cult,
388
00:22:26,400 --> 00:22:32,520
but some kind of emotional religious
openness to freedom, because
389
00:22:32,520 --> 00:22:37,760
music still does, but especially
back then, it spoke to you.
390
00:22:37,760 --> 00:22:39,600
It touched a part of you.
391
00:22:39,600 --> 00:22:41,840
Particularly with Supper's Ready,
which is
392
00:22:41,840 --> 00:22:44,880
the 23-and-a-half-minute anthem,
which was then side two,
393
00:22:44,880 --> 00:22:49,160
which, I think, stands as the
definitive Genesis work of art.
394
00:22:49,160 --> 00:22:50,800
I can say no less.
395
00:22:50,800 --> 00:22:53,200
Yeah, there is
this sort of spiritual yearning
396
00:22:53,200 --> 00:22:57,040
going on through everything that
I do, and with Supper's Ready
397
00:22:57,040 --> 00:23:02,560
there was a powerful mood
in the audience sometimes that
398
00:23:02,560 --> 00:23:09,480
you just could harness and we could
convert very cynical people!
399
00:23:10,920 --> 00:23:14,160
# Walking across a sitting room
400
00:23:14,160 --> 00:23:18,200
# I turn the television off
401
00:23:18,200 --> 00:23:21,240
# Sitting beside you
402
00:23:21,240 --> 00:23:24,480
# I look into your eyes... #
403
00:23:24,480 --> 00:23:28,760
The opening part was a wonderful
Tony Banks' guitar piece.
404
00:23:28,760 --> 00:23:31,960
And because he doesn't play
guitar very much he chose a shape
405
00:23:31,960 --> 00:23:33,840
I would never have chosen, because
406
00:23:33,840 --> 00:23:36,080
it's just a weird...
407
00:23:36,080 --> 00:23:37,120
finger movement.
408
00:23:40,600 --> 00:23:43,720
A guitarist would never play that,
because you weren't a guitarist...
409
00:23:43,720 --> 00:23:45,600
I played it...
You never were a guitarist,
410
00:23:45,600 --> 00:23:47,840
get that straight. You played sort
of, you know...
411
00:23:47,840 --> 00:23:50,240
That first two or three
minutes of it was just
412
00:23:50,240 --> 00:23:52,560
a chord sequence I wrote,
but I knew it was going to have
413
00:23:52,560 --> 00:23:54,840
a melody on it, I wasn't worried
about that.
414
00:23:54,840 --> 00:23:57,400
I think when we first
started writing we were...
415
00:23:57,400 --> 00:24:00,240
This is going...
Knew it was going to get fucked up...
416
00:24:00,240 --> 00:24:01,840
LAUGHTER
417
00:24:03,920 --> 00:24:06,960
Tony was never short of a solo
or whatever,
418
00:24:06,960 --> 00:24:11,200
and I had always come in and start
wanting to put vocal things.
419
00:24:11,200 --> 00:24:15,680
So it was, sort of, really
decorating around what he did.
420
00:24:15,680 --> 00:24:18,920
And, you know, I think
we had a good partnership.
421
00:24:18,920 --> 00:24:20,760
# Lord of Lords
422
00:24:20,760 --> 00:24:22,760
# King of Kings
423
00:24:22,760 --> 00:24:24,400
# Has returned
424
00:24:24,400 --> 00:24:27,080
# To lead his children home
425
00:24:27,080 --> 00:24:34,200
# To take them to
the new Jerusalem... #
426
00:24:34,200 --> 00:24:40,240
When I sang "the new Jerusalem", I
was absolutely singing from my gut
427
00:24:40,240 --> 00:24:42,280
and I think people could feel that.
428
00:24:43,720 --> 00:24:50,120
Whether it was a sort of spiritual
goal destination, it's a...
429
00:24:50,120 --> 00:24:51,840
powerful word.
430
00:24:51,840 --> 00:24:55,320
And then you have Blake's Jerusalem
431
00:24:55,320 --> 00:24:57,960
and that history as well.
432
00:24:57,960 --> 00:25:01,400
So there was all of that
washed into it.
433
00:25:05,000 --> 00:25:08,160
I think when we got it right,
we had something that none of us
434
00:25:08,160 --> 00:25:10,520
could do on our own.
435
00:25:10,520 --> 00:25:14,720
And there were different musical
histories, you know,
436
00:25:14,720 --> 00:25:17,600
merging together in a powerful way.
437
00:25:23,320 --> 00:25:26,360
# I know what I Like
438
00:25:27,800 --> 00:25:32,480
# And I like what I know
439
00:25:34,080 --> 00:25:40,200
# Getting better
in your wardrobe... #
440
00:25:40,200 --> 00:25:42,480
For me, when Genesis actually
found their feet was
441
00:25:42,480 --> 00:25:45,080
when the tunes started to become
a little bit more robust.
442
00:25:45,080 --> 00:25:47,520
I mean, you can hear in Selling
England By The Pound,
443
00:25:47,520 --> 00:25:50,840
I Know What I Like,
that sounds like a good pop song.
444
00:25:50,840 --> 00:25:52,760
The structures are still proggy,
445
00:25:52,760 --> 00:25:56,240
they're still slightly overblown
and long and mad, in a sense,
446
00:25:56,240 --> 00:25:58,480
but the production is sharper,
that you...
447
00:25:58,480 --> 00:26:02,400
They needed to make
themselves slightly more palatable
448
00:26:02,400 --> 00:26:05,760
to the layman rather than
the prog fan and it worked.
449
00:26:13,880 --> 00:26:15,720
Peter had this idea and he was
450
00:26:15,720 --> 00:26:18,680
quite dogmatic that he wanted to do
this idea,
451
00:26:18,680 --> 00:26:21,040
and we thought,
"Well, you know, OK."
452
00:26:21,040 --> 00:26:23,760
But it meant him writing pretty much
all the lyrics as well.
453
00:26:23,760 --> 00:26:27,840
You know, if you really want to
define a world you have to
454
00:26:27,840 --> 00:26:31,000
let one person paint it.
455
00:26:31,000 --> 00:26:34,440
There weren't many novels
created by committee.
456
00:26:34,440 --> 00:26:38,920
The Lamb Lies Down On Broadway
was a complex beast in every way.
457
00:26:38,920 --> 00:26:42,120
It pretty much broke up the band
in terms of Gabriel leaving.
458
00:26:42,120 --> 00:26:44,680
He said there were autobiographical
elements in there,
459
00:26:44,680 --> 00:26:49,240
but then again there were bits
of dreams and bits of surrealism.
460
00:26:49,240 --> 00:26:54,320
We all were in thrall to bands
who could create a weirdness,
461
00:26:54,320 --> 00:26:56,440
an almost Monty Python-like
462
00:26:56,440 --> 00:26:59,640
side to music at that point.
463
00:26:59,640 --> 00:27:03,880
I remember thinking that the two
were almost together at that
464
00:27:03,880 --> 00:27:06,520
point in late '60s, early '70s
Britain.
465
00:27:09,320 --> 00:27:12,840
It's the one time Peter did all the
words himself, bar sort of one song.
466
00:27:12,840 --> 00:27:15,240
Maybe it had to be that
way, I think, actually.
467
00:27:15,240 --> 00:27:19,520
You couldn't have sort of shared the
words in the same way, in my mind.
468
00:27:19,520 --> 00:27:22,600
I'm sure Banks disagrees but I think
you probably couldn't have done.
469
00:27:22,600 --> 00:27:26,400
You know, I think the prime venom
was between Tony and I.
470
00:27:26,400 --> 00:27:28,280
It's a funny period for me.
471
00:27:28,280 --> 00:27:30,760
The Lamb was my least favourite
period during the whole
472
00:27:30,760 --> 00:27:33,200
of the time with the group,
basically because - mainly
473
00:27:33,200 --> 00:27:35,880
because there were problems with
Peter, I think, you know?
474
00:27:35,880 --> 00:27:38,600
You know, because we'd obviously
been very close up to that point
475
00:27:38,600 --> 00:27:41,280
and, sort of, things were going
a bit wrong and all the rest of it.
476
00:27:41,280 --> 00:27:44,720
He just didn't like me getting away
with too much, you know,
477
00:27:44,720 --> 00:27:47,080
or getting into
a controlling position.
478
00:27:47,080 --> 00:27:52,480
So there was, I think, wanting to
keep check on my power as well.
479
00:27:52,480 --> 00:27:54,320
I wasn't really that
excited by the story,
480
00:27:54,320 --> 00:27:56,680
I have to be honest about it,
I never have been.
481
00:27:56,680 --> 00:28:00,560
And that kind of was what the whole
thing was hanging on.
482
00:28:00,560 --> 00:28:01,800
MUSIC: In The Cage
483
00:28:01,800 --> 00:28:05,720
# I got sunshine in my stomach
484
00:28:05,720 --> 00:28:11,680
# Like I just rocked my baby
to sleep... #
485
00:28:11,680 --> 00:28:15,040
Peter was, you know,
he was flashing back and forth.
486
00:28:15,040 --> 00:28:20,280
You know, his birth of his daughter
was fairly traumatic.
487
00:28:20,280 --> 00:28:24,080
So, from his point of view
the writing was very slow.
488
00:28:24,080 --> 00:28:26,560
The problems
with my daughter's birth
489
00:28:26,560 --> 00:28:30,000
and the fact she was in an incubator
for a good amount of time that
490
00:28:30,000 --> 00:28:35,080
was absolutely number one for me,
there was nothing more important.
491
00:28:35,080 --> 00:28:39,440
And there was very little tolerance
and understanding for that.
492
00:28:45,800 --> 00:28:48,280
Meanwhile, the album was being
delayed and delayed
493
00:28:48,280 --> 00:28:51,000
and delayed and then the end result
being, of course, that
494
00:28:51,000 --> 00:28:53,680
the day the album came out was
the first show we did on the tour.
495
00:28:58,960 --> 00:29:01,040
The Lamb Lies Down on Broadway,
I think,
496
00:29:01,040 --> 00:29:02,200
was a massively brave album
497
00:29:02,200 --> 00:29:05,600
to make. Hugely ambitious, you know,
498
00:29:05,600 --> 00:29:08,000
you can't fault
a band for being ambitious.
499
00:29:08,000 --> 00:29:12,000
Prime example of what not to do is
to go on tour with a new album
500
00:29:12,000 --> 00:29:16,120
not released and play
the entire double album live.
501
00:29:16,120 --> 00:29:19,840
Now, that was a risk,
bearing in mind this was a time
502
00:29:19,840 --> 00:29:22,440
they needed to be steadily
building their American audience,
503
00:29:22,440 --> 00:29:26,680
they decide to produce this
out-of-left-field concept album.
504
00:29:26,680 --> 00:29:28,480
MUSIC: The Lamb Lies Down On Broadway
505
00:29:28,480 --> 00:29:32,360
# And the lamb lies down
506
00:29:34,080 --> 00:29:37,440
# On Broadway... #
507
00:29:37,440 --> 00:29:39,480
To go from Selling
England By The Pound,
508
00:29:39,480 --> 00:29:42,720
to go from this English rural
atmosphere to, you know, the mean
509
00:29:42,720 --> 00:29:46,040
streets of New York I think it's
an incredibly brave album to make.
510
00:29:46,040 --> 00:29:49,400
It's an album
I will defend to the hilt.
511
00:29:49,400 --> 00:29:51,840
It is a sort of Pilgrim's Progress
512
00:29:51,840 --> 00:29:54,880
set on the streets of New York
for me.
513
00:29:54,880 --> 00:29:57,920
He was a punk character in a way,
Rael.
514
00:29:57,920 --> 00:30:03,440
It's a journey through which
he learns to destroy oneself,
515
00:30:03,440 --> 00:30:06,160
to open up the space for another.
516
00:30:10,560 --> 00:30:14,000
The Lamb was probably slightly
ahead of its time.
517
00:30:14,000 --> 00:30:17,640
They did it and, from what I know,
518
00:30:17,640 --> 00:30:20,880
the slides that they used on the
back projector failed regularly.
519
00:30:20,880 --> 00:30:24,160
They never quite got it right,
and yet they carried on doggedly -
520
00:30:24,160 --> 00:30:25,400
this will work.
521
00:30:25,400 --> 00:30:28,720
And although it was a troublesome
child, you know,
522
00:30:28,720 --> 00:30:32,240
with the visual side, you know,
I mean, a few nights it actually
523
00:30:32,240 --> 00:30:35,160
worked properly,
but most nights it didn't.
524
00:30:35,160 --> 00:30:37,400
# ..On Broadway
525
00:30:39,880 --> 00:30:43,040
# They say there's always
magic in the air
526
00:30:43,040 --> 00:30:45,680
# On Broadway... #
527
00:30:56,640 --> 00:30:58,720
What I remember about The Lamb
528
00:30:58,720 --> 00:31:01,720
was smoking a little joint
before I went on,
529
00:31:01,720 --> 00:31:07,800
and putting headphones on,
and playing in my own little world!
530
00:31:09,040 --> 00:31:13,320
And I just had a great time every
night, you know?
531
00:31:13,320 --> 00:31:14,960
It was great to play.
532
00:31:14,960 --> 00:31:20,640
# Making a crust
I cannot move in... #
533
00:31:20,640 --> 00:31:28,560
'The Lamb album was the best
we'd ever been on a record.'
534
00:31:29,880 --> 00:31:31,600
INSTRUMENTS KICK IN
535
00:31:39,880 --> 00:31:43,200
It was such a multimedia event
The Lamb,
536
00:31:43,200 --> 00:31:47,600
the screens, Pete's costumes,
the music.
537
00:31:47,600 --> 00:31:51,440
It was just an assault
on the senses, I think.
538
00:32:01,560 --> 00:32:04,280
The problem with The Lamb Lies Down
On Broadway was that
539
00:32:04,280 --> 00:32:07,160
when it was done live it was being
performed, you know,
540
00:32:07,160 --> 00:32:10,080
across North America to audiences
that had never heard it,
541
00:32:10,080 --> 00:32:13,440
that are sitting there going, "The
Knife?" And going, "What is this?
542
00:32:13,440 --> 00:32:17,280
"And why is Peter in a huge bobbly
suit, and what on earth is going on?"
543
00:32:18,920 --> 00:32:21,360
There was with the Slipperman
outfit,
544
00:32:21,360 --> 00:32:26,840
which had this sort of big head,
I couldn't hold the mic properly,
545
00:32:26,840 --> 00:32:30,200
and they didn't have these little
radio mics then,
546
00:32:30,200 --> 00:32:33,160
so you couldn't hear a word
I was singing
547
00:32:33,160 --> 00:32:34,640
when I was in that.
548
00:32:34,640 --> 00:32:37,800
# His skin's all covered in
slimy lumps... #
549
00:32:37,800 --> 00:32:40,280
But in a way, you know,
whenever sort of Spinal Tap
550
00:32:40,280 --> 00:32:42,720
is on or something and you see these
moments you think,
551
00:32:42,720 --> 00:32:44,960
"I've been in a band like that!"
552
00:32:44,960 --> 00:32:47,640
Where the pod didn't open, you know?
553
00:32:47,640 --> 00:32:49,720
That's Genesis!
554
00:32:49,720 --> 00:32:51,680
# ..My grip must be flipping
555
00:32:51,680 --> 00:32:53,600
# Cos his handshake
keeps slipping... #
556
00:32:53,600 --> 00:32:55,440
It was becoming increasingly
difficult,
557
00:32:55,440 --> 00:32:57,920
the way the band was perceived
was getting difficult,
558
00:32:57,920 --> 00:33:00,160
it was seen very much as Peter
and the band, you know,
559
00:33:00,160 --> 00:33:02,680
and that was kind of difficult
for all the rest of us because...
560
00:33:02,680 --> 00:33:05,000
I think it was creating some
jealousies.
561
00:33:05,000 --> 00:33:07,640
Yeah, of course it was, you know,
we were only in our early 20s
562
00:33:07,640 --> 00:33:10,080
and it was a difficult time that,
you know?
563
00:33:10,080 --> 00:33:12,960
And certainly people would
come in the dressing room...
564
00:33:12,960 --> 00:33:16,000
In America I remember the record
company guys, the local guys and
565
00:33:16,000 --> 00:33:19,160
the promoters would come and say,
"Yay, Pete, great show, great show,
566
00:33:19,160 --> 00:33:24,560
"when you put that mask on they
loved it, the kids loved it!"
567
00:33:24,560 --> 00:33:27,800
You know, I'm exaggerating, but it
would be that kind of thing.
568
00:33:27,800 --> 00:33:32,040
And it would be like "Hello,
you know, it's a band, you know?"
569
00:33:32,040 --> 00:33:35,360
And the music was first.
570
00:33:35,360 --> 00:33:37,520
It was a very difficult time,
571
00:33:37,520 --> 00:33:42,600
but I still feel that along with
Supper's Ready it's
572
00:33:42,600 --> 00:33:46,120
one of the things that I feel best
about from my time with Genesis.
573
00:33:46,120 --> 00:33:50,920
We were in a hotel in Cleveland
and Peter came to my room
574
00:33:50,920 --> 00:33:54,760
and said, "Look, I can't do this any
more, I'm at the end of this...
575
00:33:54,760 --> 00:33:56,640
"I'm leaving
at the end of the tour."
576
00:33:56,640 --> 00:33:59,560
MUSIC: The Carpet Crawlers
577
00:33:59,560 --> 00:34:04,160
# There's only one
direction in the faces that I see
578
00:34:05,360 --> 00:34:07,000
# It's upward... #
579
00:34:07,000 --> 00:34:10,000
We had, I remember, a very long
conversation actually about it,
580
00:34:10,000 --> 00:34:12,800
but I knew that he was not -
he was not going to come back,
581
00:34:12,800 --> 00:34:14,920
it was as simple as that really.
582
00:34:14,920 --> 00:34:17,040
But we talked anyhow, really.
583
00:34:17,040 --> 00:34:19,800
"This is the band, man!" You know?
"What are you doing?"
584
00:34:19,800 --> 00:34:21,120
"This is..."
585
00:34:21,120 --> 00:34:25,960
It's... It felt a little bit cheated
586
00:34:25,960 --> 00:34:29,360
and let down by the fact that
someone's going to leave.
587
00:34:29,360 --> 00:34:32,840
For him one of the reasons,
apart from family reasons
588
00:34:32,840 --> 00:34:35,720
and everything else, is something
that I'm sure he'd felt he'd
589
00:34:35,720 --> 00:34:39,880
sort of got to a point that he'd,
sort of, moved on really.
590
00:34:39,880 --> 00:34:43,480
And then we kept it very quiet
right to the end of the tour.
591
00:34:43,480 --> 00:34:45,400
We didn't really make any
announcements
592
00:34:45,400 --> 00:34:47,280
until the end of the tour.
593
00:34:47,280 --> 00:34:51,480
I felt desperate to tell
the audience that I was going,
594
00:34:51,480 --> 00:34:57,320
and it felt like I was betraying
the people who were coming,
595
00:34:57,320 --> 00:35:01,320
who were paying to see us,
that I couldn't be myself
596
00:35:01,320 --> 00:35:05,440
and be real and be honest
and tell them what I was feeling.
597
00:35:05,440 --> 00:35:09,200
We all got quite
emotional at the last show.
598
00:35:09,200 --> 00:35:11,680
It was like talking about someone
dying, I suppose,
599
00:35:11,680 --> 00:35:14,000
but, I mean, no-one had prepared
themselves for this.
600
00:35:14,000 --> 00:35:15,840
MUSIC: The Musical Box
601
00:35:15,840 --> 00:35:18,680
# I've been waiting here for so long
602
00:35:20,960 --> 00:35:24,600
# And all this time has passed me by
603
00:35:27,800 --> 00:35:31,120
# It doesn't seem to matter now... #
604
00:35:32,880 --> 00:35:35,960
I remember thinking, "Oh, my God,
what are we going to do?"
605
00:35:47,040 --> 00:35:50,160
The British press, certainly,
sort of started to write Genesis's
606
00:35:50,160 --> 00:35:52,000
obituary when Peter left.
607
00:35:52,000 --> 00:35:54,280
We knew that we were
going to carry on,
608
00:35:54,280 --> 00:35:57,720
so I said, "Let's just do the whole
thing instrumentally, you know?"
609
00:35:57,720 --> 00:36:00,520
And it was like a cartoon,
it was like -
610
00:36:00,520 --> 00:36:02,960
"Well, let's just do the whole thing
instrumentally."
611
00:36:02,960 --> 00:36:04,680
"Shut up!"
612
00:36:04,680 --> 00:36:07,920
You know? "Are you mad,
are you crazy?
613
00:36:07,920 --> 00:36:12,080
"We write songs, they need to be
sung. Now, just shut up!"
614
00:36:12,080 --> 00:36:14,360
You know, that's the way
I felt it was.
615
00:36:14,360 --> 00:36:16,360
"Sorry, just a suggestion."
616
00:36:22,680 --> 00:36:26,440
We auditioned quite a few singers.
617
00:36:27,840 --> 00:36:32,640
And most of the time Phil would sing
the part to show them what they
618
00:36:32,640 --> 00:36:37,920
were singing and then they'd sing it
and it wouldn't be as good as Phil.
619
00:36:37,920 --> 00:36:39,960
I didn't want to not be the drummer.
620
00:36:39,960 --> 00:36:43,040
You know, this is what I did,
this is my territory!
621
00:36:43,040 --> 00:36:45,680
"I don't want to go,
don't push me out there, sir,
622
00:36:45,680 --> 00:36:47,640
"please don't take me out there,
don't send me
623
00:36:47,640 --> 00:36:50,080
"out there with a microphone."
I didn't want to do that.
624
00:36:50,080 --> 00:36:51,520
You know, it was a question really
625
00:36:51,520 --> 00:36:53,760
whether he wanted to do it more
than anything else.
626
00:36:53,760 --> 00:36:55,560
You know, we did,
as far as I can remember,
627
00:36:55,560 --> 00:36:57,000
we did revisit some of the tapes
628
00:36:57,000 --> 00:36:59,440
and thought, "Is there really
nobody that we've heard?"
629
00:36:59,440 --> 00:37:01,480
You know,
and we decided that there wasn't.
630
00:37:01,480 --> 00:37:02,800
MUSIC: A Trick Of The Tail
631
00:37:02,800 --> 00:37:05,520
# Everyone looks so strange to him
632
00:37:05,520 --> 00:37:09,160
# They've got no horns
and they've got no tail
633
00:37:09,160 --> 00:37:12,440
# They don't even
know of our existence
634
00:37:12,440 --> 00:37:16,800
# Am I wrong to believe in
a city of gold
635
00:37:16,800 --> 00:37:20,560
# That lies in the deep distance
he cried
636
00:37:20,560 --> 00:37:24,200
# And wept
as they led him away to a cage... #
637
00:37:24,200 --> 00:37:26,200
I think the big question mark was
638
00:37:26,200 --> 00:37:29,480
whether he could cut it on the more
rock,
639
00:37:29,480 --> 00:37:32,600
out and out rock stuff,
whether his voice was big enough.
640
00:37:32,600 --> 00:37:36,080
I remember nothing but good
vibes from the audience, you know.
641
00:37:36,080 --> 00:37:39,640
They wanted this to work. They
didn't compare with me with Pete.
642
00:37:39,640 --> 00:37:42,320
I was one of the guys in the band
coming forward.
643
00:37:42,320 --> 00:37:43,920
And I'd been there all along.
644
00:38:00,680 --> 00:38:03,840
I think I had more confidence
in the band being able to be
645
00:38:03,840 --> 00:38:06,760
successful than they did initially.
646
00:38:06,760 --> 00:38:09,120
JOURNALIST: Last May the lead
vocalist
647
00:38:09,120 --> 00:38:10,920
of the British progressive
rock group,
648
00:38:10,920 --> 00:38:12,360
Genesis, left the group.
649
00:38:12,360 --> 00:38:16,040
Now, when this happens a group either
breaks up or dies a very slow death.
650
00:38:16,040 --> 00:38:18,600
But because of the versatility
of each individual at Genesis
651
00:38:18,600 --> 00:38:20,160
they're doing very well.
652
00:38:20,160 --> 00:38:23,040
As a matter of fact, they seem to be
doing better than ever before.
653
00:38:23,040 --> 00:38:26,000
I believe it was your quote,
I am going to not give it verbatim,
654
00:38:26,000 --> 00:38:28,800
that it was like a very big
load off everybody
655
00:38:28,800 --> 00:38:30,640
when he finally did leave.
Is that true?
656
00:38:31,640 --> 00:38:33,720
Yeah. I mean...
657
00:38:33,720 --> 00:38:36,720
now it's paying off in a way.
658
00:38:36,720 --> 00:38:38,360
One feels better about it,
659
00:38:38,360 --> 00:38:40,800
because you've come
out from an underdog situation.
660
00:38:40,800 --> 00:38:45,280
The sad thing is that when someone
leaves, like Anthony and Peter,
661
00:38:45,280 --> 00:38:48,280
there's a sadness because, you know,
you'll never be as close again.
662
00:38:48,280 --> 00:38:49,960
You know, you stay in touch
and you see,
663
00:38:49,960 --> 00:38:54,080
but you lose that bond of sharing
things that I've had with Tony
664
00:38:54,080 --> 00:38:57,840
and Phil for the last, way
too many years.
665
00:38:59,200 --> 00:39:03,360
# Sail away, away
666
00:39:05,560 --> 00:39:06,800
# Ripples... #
667
00:39:06,800 --> 00:39:08,920
A lot of people compliment me
on A Trick Of The Tail
668
00:39:08,920 --> 00:39:11,320
when I wasn't actually there,
so it's...
669
00:39:11,320 --> 00:39:13,080
LAUGHTER
Reflected glory. Yeah.
670
00:39:13,080 --> 00:39:14,920
One of your finest moments.
671
00:39:14,920 --> 00:39:18,160
The band were much more successful
without me than they were with me.
672
00:39:20,400 --> 00:39:26,280
# ..Sail away, away... #
673
00:39:33,240 --> 00:39:35,040
After Pete left,
674
00:39:35,040 --> 00:39:38,920
two years later I was basically
doing the same thing myself.
675
00:39:38,920 --> 00:39:41,360
I feel uncomfortable talking about
it even now.
676
00:39:41,360 --> 00:39:43,360
I feel, you know,
if I reveal too much
677
00:39:43,360 --> 00:39:44,920
it's a man ratting on the regiment.
678
00:39:44,920 --> 00:39:47,440
I'm very grateful to the
regiment for everything it gave me.
679
00:39:52,280 --> 00:39:55,760
MIKE: He's a fantastic lead
guitarist.
680
00:39:55,760 --> 00:39:57,080
You hear one of those songs
681
00:39:57,080 --> 00:39:59,200
and it'll be absolutely unique,
you know?
682
00:39:59,200 --> 00:40:01,960
STEVE: In many ways it was such
a claustrophobic experience.
683
00:40:01,960 --> 00:40:04,960
Harder and harder to find relevant
things for the guitar to do,
684
00:40:04,960 --> 00:40:08,160
so, over time, I started to
amass solo material.
685
00:40:09,360 --> 00:40:13,320
God forgive me, guys, but I just
thought it's the only way to
686
00:40:13,320 --> 00:40:18,080
go to get ideas across is to just
negotiate with myself in the end.
687
00:40:18,080 --> 00:40:20,720
But there you are,
that's the way bands are.
688
00:40:20,720 --> 00:40:22,800
I think there was a certain
amount of, you know,
689
00:40:22,800 --> 00:40:24,960
who shouted the loudest
and got the most grumpy
690
00:40:24,960 --> 00:40:27,240
if their bit wasn't used, you know,
which would be me.
691
00:40:27,240 --> 00:40:28,640
Yeah, well, I mean I did probably
692
00:40:28,640 --> 00:40:31,120
get more on than other people,
you know, and that's...
693
00:40:31,120 --> 00:40:34,040
So, you've either got me
to blame or to love for the music.
694
00:40:34,040 --> 00:40:36,400
We then thought about getting
someone else in,
695
00:40:36,400 --> 00:40:38,640
but I think we felt that
the three of us had gone...
696
00:40:38,640 --> 00:40:41,480
we were so close at that point
in time, such a good working unit,
697
00:40:41,480 --> 00:40:44,280
that to bring a new person in -
I mean it could have worked,
698
00:40:44,280 --> 00:40:49,360
you know, but it wasn't quite
so... It wasn't imperative.
699
00:40:49,360 --> 00:40:57,720
# You, you have your own special way
700
00:40:59,720 --> 00:41:03,600
# Of holding my hand,
keep it way above the water
701
00:41:03,600 --> 00:41:05,120
# Don't ever let go... #
702
00:41:05,120 --> 00:41:08,480
By this point, the music business
had changed a great deal, which we
703
00:41:08,480 --> 00:41:11,320
hadn't sort of really been aware of,
still most of it escaped us because
704
00:41:11,320 --> 00:41:13,760
we were out in America most of this
time, but punk music
705
00:41:13,760 --> 00:41:16,600
had come in and a lot of the old
bands seemed to have disappeared.
706
00:41:16,600 --> 00:41:19,440
If Genesis were all of a sudden
going to start sounding
707
00:41:19,440 --> 00:41:25,120
like The Jam or Johnny Rotten I just
don't think it would have worked!
708
00:41:25,120 --> 00:41:27,360
MUSIC: Anarchy In The UK
by the Sex Pistols
709
00:41:27,360 --> 00:41:29,200
# Anarchy for the UK
710
00:41:29,200 --> 00:41:31,840
# It's coming sometime maybe... #
711
00:41:31,840 --> 00:41:35,080
I mean, the sound
of the Sex Pistols, I thought
712
00:41:35,080 --> 00:41:40,280
they had a fantastic sound,
it just sounded so...legitimate.
713
00:41:45,840 --> 00:41:50,080
So I kind of liked it, and then
I realised that we were the enemy,
714
00:41:50,080 --> 00:41:53,560
you know, we were the people
that they were trying to get rid of.
715
00:41:57,240 --> 00:42:00,080
We sort of seemed to go
through it regardless.
716
00:42:00,080 --> 00:42:01,440
In fact, we were lucky in a sense
717
00:42:01,440 --> 00:42:03,720
that all the opposition had
kind of been killed off.
718
00:42:03,720 --> 00:42:06,160
After Peter left, of course,
Phil came into his own
719
00:42:06,160 --> 00:42:07,640
and the hits started coming.
720
00:42:07,640 --> 00:42:12,440
Somehow, almost by chance,
Genesis redefined their sound,
721
00:42:12,440 --> 00:42:18,160
went for more compressed,
shorter numbers, a less florid sound
722
00:42:18,160 --> 00:42:22,200
and, sort of, almost by chance
started to have hit singles.
723
00:42:22,200 --> 00:42:24,480
MUSIC: Follow You Follow Me
724
00:42:24,480 --> 00:42:26,960
We were lucky with
And Then There Were Three,
725
00:42:26,960 --> 00:42:30,320
which proved to be, you know, our
most successful album at the time.
726
00:42:30,320 --> 00:42:32,760
Follow You Follow Me
actually being a single hit,
727
00:42:32,760 --> 00:42:35,200
first hit we really had, you know?
728
00:42:35,200 --> 00:42:38,240
# Stay with me
729
00:42:38,240 --> 00:42:40,200
# My love... #
730
00:42:40,200 --> 00:42:41,600
Follow You Follow Me
731
00:42:41,600 --> 00:42:44,360
must have just been an interesting
exercise for the band.
732
00:42:44,360 --> 00:42:46,800
You know, they probably set out
and thought,
733
00:42:46,800 --> 00:42:50,240
"Right, how do we write a hit?" And
suddenly, a band that was probably
734
00:42:50,240 --> 00:42:53,160
a predominantly male chin-stroking
audience was being played
735
00:42:53,160 --> 00:42:56,960
at the, you know, the slow dance at
the end of the Friday-night disco.
736
00:42:56,960 --> 00:43:00,600
Actually, Mike was the first one to
really write the love lyric,
737
00:43:00,600 --> 00:43:03,840
which was Follow You Follow Me which
doubled our audience overnight,
738
00:43:03,840 --> 00:43:06,080
suddenly
we were more female-friendly.
739
00:43:06,080 --> 00:43:07,760
# ..Alone with you
740
00:43:07,760 --> 00:43:09,800
# I will follow you
741
00:43:09,800 --> 00:43:12,200
# Will you follow me
742
00:43:12,200 --> 00:43:14,840
# All the days and nights
743
00:43:14,840 --> 00:43:17,640
# That we know will be?
744
00:43:17,640 --> 00:43:20,120
# I will stay with you
745
00:43:20,120 --> 00:43:22,720
# Will you stay with me?
746
00:43:22,720 --> 00:43:25,080
# Just one single tear
747
00:43:25,080 --> 00:43:27,200
# In each passing year... #
748
00:43:27,200 --> 00:43:28,600
I had never met Chester.
749
00:43:28,600 --> 00:43:30,800
You know, I had seen him
play with Weather Report.
750
00:43:30,800 --> 00:43:33,920
And there was a track that
I really liked,
751
00:43:33,920 --> 00:43:37,960
when he played with Zappa,
the Live At The Roxy album.
752
00:43:37,960 --> 00:43:42,800
And him and another drummer, I just
liked his playing on this one track.
753
00:43:42,800 --> 00:43:45,400
So I called him and I said, "Do you
want to join the band?"
754
00:43:45,400 --> 00:43:46,720
He said, "Well, yeah."
755
00:43:46,720 --> 00:43:48,960
And then I was saying,
"Man, I'm going
756
00:43:48,960 --> 00:43:52,200
"over to do rehearsals with this band
Genesis," and he gets this worried
757
00:43:52,200 --> 00:43:53,400
look on his face, says,
758
00:43:53,400 --> 00:43:55,880
"Man, are you
going to have to wear costumes?"
759
00:43:55,880 --> 00:43:58,920
And I thought, "Oh-oh,
what am I getting into here?!"
760
00:44:09,720 --> 00:44:13,760
What we were missing in the visual
department with Peter not
761
00:44:13,760 --> 00:44:18,000
being there and his costumes,
we suddenly had another facet,
762
00:44:18,000 --> 00:44:22,640
which was two drummers together,
one drummer, another drum...
763
00:44:22,640 --> 00:44:25,880
You know, it was mixing it up a bit.
764
00:44:25,880 --> 00:44:29,360
Well, I think
we traded off quite a lot, actually.
765
00:44:29,360 --> 00:44:31,600
I got a bit more of, I think,
766
00:44:31,600 --> 00:44:35,040
maybe the sort of his edge in my own
playing.
767
00:44:35,040 --> 00:44:39,120
And I like to think he got a little
funkier over the years, you know?
768
00:44:43,160 --> 00:44:46,840
CHEERING
769
00:44:46,840 --> 00:44:50,080
When I saw that Chester was going to
join I thought, "That's going
770
00:44:50,080 --> 00:44:51,880
"to be a pretty nice band to be in."
771
00:44:56,200 --> 00:44:57,880
Daryl can play anything, you know,
772
00:44:57,880 --> 00:45:00,640
he's an incredibly versatile
musician, a brilliant musician.
773
00:45:00,640 --> 00:45:02,760
We'll go back into the G
as a sort of...
774
00:45:02,760 --> 00:45:05,000
We have to get
the end of Firth Of Fifth, I mean,
775
00:45:05,000 --> 00:45:07,560
are we going to leave that till
another point?
776
00:45:07,560 --> 00:45:08,960
So he has to sort of fit into
777
00:45:08,960 --> 00:45:11,080
a certain style for the piece,
you know?
778
00:45:11,080 --> 00:45:13,840
And when we wrote Firth Of Fifth,
you know, and Steve, obviously,
779
00:45:13,840 --> 00:45:16,480
played a guitar solo on that, he was
quite a, you know, quite a
780
00:45:16,480 --> 00:45:19,960
stiff player, particularly in those
days, a certain kind of effect.
781
00:45:19,960 --> 00:45:21,560
I mean, it's very much a melodic
line
782
00:45:21,560 --> 00:45:23,600
you're playing with Firth Of Fifth,
783
00:45:23,600 --> 00:45:26,880
the main guitar solo and then you
improvise a little bit around it.
784
00:45:26,880 --> 00:45:28,880
MUSIC: Firth Of Fifth
785
00:45:46,520 --> 00:45:49,800
It turned into a very strong
moment, a stronger moment than
786
00:45:49,800 --> 00:45:52,440
we probably ever thought it was
going to be when we first did it.
787
00:45:52,440 --> 00:45:55,600
And I thought it would never work on
a guitar, but it just sounded great.
788
00:45:55,600 --> 00:45:59,440
To me, Genesis is a style already,
that it's not country,
789
00:45:59,440 --> 00:46:03,720
it's not rock, it's not jazz,
you know, it's Genesis.
790
00:46:03,720 --> 00:46:06,240
MUSIC: Deep In The Motherlode
791
00:46:06,240 --> 00:46:08,920
# All along the dusty trail
792
00:46:11,920 --> 00:46:14,480
# 17 years not over a day
793
00:46:16,000 --> 00:46:18,240
# Like children in the wild
794
00:46:18,240 --> 00:46:21,680
# Your mother's milk still wet on
your face... #
795
00:46:21,680 --> 00:46:24,760
ANNOUNCER: The road crew who had
travelled through the night start to
796
00:46:24,760 --> 00:46:28,520
unload five tonnes of equipment
from three giant trucks.
797
00:46:28,520 --> 00:46:31,640
Sound and lighting rigs are taken
into the theatre in preparation
798
00:46:31,640 --> 00:46:33,880
for the evening concert.
799
00:46:33,880 --> 00:46:36,320
CROWD CHEERING
800
00:46:51,360 --> 00:46:54,600
I've come here so early as to meet
the band. Get the autographs.
801
00:46:54,600 --> 00:46:55,960
Yeah, get the autographs.
802
00:46:55,960 --> 00:46:58,280
Got quite a few.
You can tell who the real fans are.
803
00:47:01,120 --> 00:47:03,120
OK, cheers.
804
00:47:03,120 --> 00:47:06,560
Yeah, I think Genesis cover
a wide range of musical taste.
805
00:47:06,560 --> 00:47:08,600
The earlier material as well.
806
00:47:08,600 --> 00:47:11,480
Yeah, which will appeal to far
more people than, say,
807
00:47:11,480 --> 00:47:12,880
just heavy metal bands.
808
00:47:12,880 --> 00:47:15,320
I mean, Genesis appeals to
basically everyone.
809
00:47:15,320 --> 00:47:17,040
JOURNALIST: What about your mates?
810
00:47:17,040 --> 00:47:19,160
I get a lot of slagging off
because of Genesis,
811
00:47:19,160 --> 00:47:20,880
they're not a vogue band to like.
812
00:47:20,880 --> 00:47:23,880
I have no idea what it's all about
when people say -
813
00:47:23,880 --> 00:47:26,920
"I listen to Genesis
but don't tell anyone."
814
00:47:26,920 --> 00:47:30,160
What is it all about?
I mean, I really don't know.
815
00:47:30,160 --> 00:47:35,240
It's melodic, it's inoffensive,
it's just good music.
816
00:47:35,240 --> 00:47:38,280
I don't know why there's
a stigma about Genesis.
817
00:47:38,280 --> 00:47:43,160
But I am happy to say that,
"I'm out, I'm out, I'm proud.
818
00:47:43,160 --> 00:47:45,520
"I'm not afraid if someone's..."
819
00:47:45,520 --> 00:47:48,400
I mean, I haven't had
to sit my family down over
820
00:47:48,400 --> 00:47:49,760
Sunday lunch and say,
821
00:47:49,760 --> 00:47:52,160
"I've something to tell you all -
I'm a Genesis fan."
822
00:47:52,160 --> 00:47:53,920
But I don't mind being -
823
00:47:53,920 --> 00:47:56,560
I don't mind the brickbats that
come with it.
824
00:47:56,560 --> 00:47:58,800
It's a bit a mystery,
I don't know what the problem is.
825
00:47:58,800 --> 00:48:03,040
It's an entrenched view in British
rock appreciation that
826
00:48:03,040 --> 00:48:06,200
when the hits start coming
the band's gone off the boil.
827
00:48:13,120 --> 00:48:16,040
# All I need is a TV show
828
00:48:16,040 --> 00:48:18,680
# That and the radio
829
00:48:18,680 --> 00:48:21,960
# Down on my luck again
830
00:48:21,960 --> 00:48:25,000
# Down on my luck again
831
00:48:25,000 --> 00:48:26,800
# I can show you
832
00:48:26,800 --> 00:48:28,680
# I can show you
833
00:48:28,680 --> 00:48:32,280
# Some of the people in my life
834
00:48:32,280 --> 00:48:35,880
# I can show you I can show you
835
00:48:35,880 --> 00:48:40,040
# Some of the people in my life
836
00:48:40,040 --> 00:48:43,040
# It's driving me mad
837
00:48:43,040 --> 00:48:45,960
# Just another way
of passing the day
838
00:48:50,440 --> 00:48:56,080
# I, I get so lonely
when she's not there... #
839
00:48:56,080 --> 00:48:58,320
The post-Gabriel albums,
certainly the first three or
840
00:48:58,320 --> 00:49:01,160
four, are perhaps better than
they're given credit for.
841
00:49:01,160 --> 00:49:04,400
And then by the time of Duke
they were getting - starting to
842
00:49:04,400 --> 00:49:08,480
get the next level of sound,
which was more stadium-friendly.
843
00:49:08,480 --> 00:49:11,600
When we did Duke, which is probably
my favourite album in many ways,
844
00:49:11,600 --> 00:49:14,360
my personal favourite track
on the album, and also one that
845
00:49:14,360 --> 00:49:17,720
I suppose is shorter, although it's
quite long, is Duchess, which sort
846
00:49:17,720 --> 00:49:20,240
of starts in a very sort
of loose kind of way and then builds
847
00:49:20,240 --> 00:49:23,600
to a very concise pop song and then
goes meandering again at the end.
848
00:49:23,600 --> 00:49:26,160
It's one of my favourite tracks
we ever did.
849
00:49:26,160 --> 00:49:29,160
# Times were good
850
00:49:29,160 --> 00:49:33,360
# She never thought about the future
851
00:49:33,360 --> 00:49:36,680
# She just did what she would
852
00:49:36,680 --> 00:49:40,880
# Oh, but she really cared
853
00:49:40,880 --> 00:49:44,200
# About her music
854
00:49:44,200 --> 00:49:47,240
# It all seemed so important
then... #
855
00:49:51,640 --> 00:49:55,280
When my marriage broke up
I had an empty house.
856
00:49:55,280 --> 00:49:59,480
I just used to go down the pub,
and I kind of lived there.
857
00:49:59,480 --> 00:50:02,000
It became my social life.
858
00:50:02,000 --> 00:50:05,120
And I would go home and I'd start
thrashing around on a piano
859
00:50:05,120 --> 00:50:07,360
and start writing songs, some of..
860
00:50:07,360 --> 00:50:10,200
you know, some of them
were pretty sad.
861
00:50:10,200 --> 00:50:12,080
# Oh, I cry a bit
862
00:50:12,080 --> 00:50:14,480
# I don't sleep too good
863
00:50:14,480 --> 00:50:17,120
# But I'm fine... #
864
00:50:17,120 --> 00:50:19,640
Please Don't Ask was probably
the most personal song
865
00:50:19,640 --> 00:50:22,600
I'd ever written, and this was me
really...
866
00:50:24,400 --> 00:50:26,880
..baring my soul, if you like.
867
00:50:29,400 --> 00:50:33,000
# ..When can I touch you
868
00:50:33,000 --> 00:50:34,960
# Again and again... #
869
00:50:34,960 --> 00:50:36,800
And very, very personal.
870
00:50:36,800 --> 00:50:40,680
And, you know, it was strange,
I found myself thinking,
871
00:50:40,680 --> 00:50:45,280
"What am I doing singing this song
on a Genesis record, this is..."
872
00:50:45,280 --> 00:50:50,600
Because I know the people that buy
Genesis's record aren't really...
873
00:50:50,600 --> 00:50:53,280
they're not going to be
touched by this.
874
00:50:53,280 --> 00:50:56,600
But I don't think he'd written
a really particularly good lyric
875
00:50:56,600 --> 00:50:59,000
until he found his voice,
which was really after, you know,
876
00:50:59,000 --> 00:51:01,200
obviously, his marriage break-up
and everything
877
00:51:01,200 --> 00:51:03,840
and he had time on his own,
he started writing these songs.
878
00:51:03,840 --> 00:51:06,280
I played this stuff to
Mike and Tony.
879
00:51:06,280 --> 00:51:10,040
I said, "This is what I've been
doing, pick whatever you want."
880
00:51:10,040 --> 00:51:12,400
We really liked Please Don't Ask.
881
00:51:12,400 --> 00:51:15,200
He played that to us,
a few others like that he played.
882
00:51:17,560 --> 00:51:19,040
And, at the time, if we'd said,
883
00:51:19,040 --> 00:51:21,520
"We want to do all of them,"
he would have said, "OK."
884
00:51:21,520 --> 00:51:23,240
That was kind of, how it was really,
885
00:51:23,240 --> 00:51:25,200
you know, everything went into
the pot.
886
00:51:25,200 --> 00:51:26,800
A question of choosing
one other song.
887
00:51:26,800 --> 00:51:28,840
Misunderstanding,
we knew we were going to do,
888
00:51:28,840 --> 00:51:30,520
we'd heard that a lot,
liked it very much.
889
00:51:35,120 --> 00:51:38,560
# There must be
some misunderstanding
890
00:51:38,560 --> 00:51:42,640
# There must be
some kind of mistake... #
891
00:51:44,680 --> 00:51:47,520
Now, one of the extraordinary
and unique things about the band,
892
00:51:47,520 --> 00:51:50,560
and this is probably also
why they've survived so long,
893
00:51:50,560 --> 00:51:53,600
is that all the members
of the classic line-up have managed
894
00:51:53,600 --> 00:51:56,240
to follow solo careers
and yet still work together.
895
00:52:02,160 --> 00:52:05,120
I think the thing that's always
overlooked is what an amazing
896
00:52:05,120 --> 00:52:07,200
singer Gabriel was and is.
897
00:52:07,200 --> 00:52:09,240
His voice was always
incredibly special.
898
00:52:09,240 --> 00:52:10,680
His first album,
899
00:52:10,680 --> 00:52:13,880
the first Peter Gabriel album was
really interesting.
900
00:52:13,880 --> 00:52:16,520
There's, you know, suddenly a hit
single - Solsbury Hill,
901
00:52:16,520 --> 00:52:18,600
you know, the last thing you
would have imagined.
902
00:52:25,480 --> 00:52:28,760
# Climbing up on Solsbury Hill
903
00:52:28,760 --> 00:52:32,440
# I could see the city light
904
00:52:32,440 --> 00:52:36,240
# Wind was blowing
Time stood still
905
00:52:36,240 --> 00:52:39,240
# Eagle flew out of the night... #
906
00:52:39,240 --> 00:52:44,600
Solsbury Hill is a song of
absolute liberation. It's uplifting.
907
00:52:44,600 --> 00:52:46,840
It's almost like word paint
in a way, it climbs up,
908
00:52:46,840 --> 00:52:49,480
the idea of the expanse
that he's looking over
909
00:52:49,480 --> 00:52:52,800
and the potential
of what the future could be.
910
00:52:52,800 --> 00:52:56,560
I think it's a masterpiece
of elation, that record.
911
00:52:57,880 --> 00:53:01,480
# ..I just had to trust imagination
912
00:53:01,480 --> 00:53:04,920
# My heart going boom, boom, boom
913
00:53:04,920 --> 00:53:06,840
# "Son," he said
914
00:53:06,840 --> 00:53:11,200
# "Grab your things
I've come to take you home." #
915
00:53:11,200 --> 00:53:14,360
MUSIC: The South Bank Show Theme
by Julian Lloyd Webber
916
00:53:15,680 --> 00:53:18,600
Hello. Peter Gabriel made his name
in the rock world in the early
917
00:53:18,600 --> 00:53:22,760
'70s as a singer-songwriter and
often wildly-theatrical performer
918
00:53:22,760 --> 00:53:24,720
with the rock band Genesis.
919
00:53:24,720 --> 00:53:26,200
He left them in 1975,
920
00:53:26,200 --> 00:53:27,960
and since then he's built a new
921
00:53:27,960 --> 00:53:31,280
reputation as a thoughtful solo
artist who takes immense
922
00:53:31,280 --> 00:53:34,440
care in writing
and producing his own material.
923
00:53:34,440 --> 00:53:37,400
His highly acclaimed third album
placed him at the forefront
924
00:53:37,400 --> 00:53:39,960
of one of the most significant
recent developments in rock,
925
00:53:39,960 --> 00:53:41,680
the increasing use of synthesisers
926
00:53:41,680 --> 00:53:43,840
and sophisticated electronic
technology.
927
00:53:43,840 --> 00:53:46,080
MUSIC: Games Without Frontiers
928
00:53:46,080 --> 00:53:48,440
# Hans plays with Lotte
929
00:53:48,440 --> 00:53:50,600
# Lotte plays with Jane
930
00:53:50,600 --> 00:53:53,080
# Jane plays with Willi... #
931
00:53:53,080 --> 00:53:57,120
Peter didn't have a band
around the time of the third album
932
00:53:57,120 --> 00:53:59,960
and so I said, "Well,
I'm doing nothing,"
933
00:53:59,960 --> 00:54:05,200
because I'd been through my great
sorrow, so I volunteered my services
934
00:54:05,200 --> 00:54:07,760
as a drummer, and Peter said,
935
00:54:07,760 --> 00:54:11,320
"I don't want any cymbals, I don't
want any cymbals on this."
936
00:54:11,320 --> 00:54:15,000
And for a drummer that was... You
know, that was a big deal, you know?
937
00:54:15,000 --> 00:54:18,160
"Oh, hang on, well, what's this hand
supposed to do?"
938
00:54:18,160 --> 00:54:20,880
So we set up the drums
so that there was a drum instead
939
00:54:20,880 --> 00:54:24,640
of a cymbal in that particular
position in case I had the urge.
940
00:54:24,640 --> 00:54:26,400
LAUGHTER
You know, it was like...
941
00:54:28,600 --> 00:54:34,880
Peter Gabriel's album was a dream
come true for a recording engineer,
942
00:54:34,880 --> 00:54:37,520
because we were doing, you know,
943
00:54:37,520 --> 00:54:41,600
so much sort of experimentation
with sound.
944
00:54:41,600 --> 00:54:43,600
Just the wind in the pipe is quite
nice.
945
00:54:43,600 --> 00:54:46,440
You think? Yeah. 'It was just great
fun, you know.'
946
00:54:48,480 --> 00:54:50,120
DRUMBEAT PLAYS
947
00:54:50,120 --> 00:54:55,760
So this is Intruder and it
starts off with the drum pattern.
948
00:54:55,760 --> 00:54:58,800
I asked Phil to do a really
simple pattern there,
949
00:54:58,800 --> 00:55:02,760
and it just sounded
like the future of drums.
950
00:55:07,560 --> 00:55:11,240
I was so blown away that
I wanted to strip everything
951
00:55:11,240 --> 00:55:17,760
back off the track and have this be
the absolute centre of it.
952
00:55:20,160 --> 00:55:21,520
Mr Padgham...
953
00:55:23,840 --> 00:55:27,280
Because Hugh Padgham
was the engineer,
954
00:55:27,280 --> 00:55:31,760
the man with the hands on, that's
the reason why I befriended him
955
00:55:31,760 --> 00:55:34,680
and thought he'd be the man
to make my first album.
956
00:55:34,680 --> 00:55:37,720
And I think all creative people,
in the end, are just like dogs
957
00:55:37,720 --> 00:55:40,440
in the park, you know,
you sniff something interesting
958
00:55:40,440 --> 00:55:43,360
and you try and jump on it.
And, you know...
959
00:55:43,360 --> 00:55:44,960
Speak for yourself.
960
00:55:44,960 --> 00:55:47,400
We've always
been like that I think, you know.
961
00:55:47,400 --> 00:55:49,880
You can always tell where we've
been sniffing. Yeah.
962
00:55:49,880 --> 00:55:51,480
LAUGHTER
963
00:55:51,480 --> 00:55:57,120
At a very early stage I established
a principle that the two,
964
00:55:57,120 --> 00:55:58,840
the solo careers
965
00:55:58,840 --> 00:56:03,440
and the Genesis career were always
maintained as very separate things.
966
00:56:03,440 --> 00:56:05,080
We never mixed them.
967
00:56:05,080 --> 00:56:07,320
There was never a time when we said,
968
00:56:07,320 --> 00:56:11,040
"Oh, let's do a Phil Collins song
on a Genesis show," or vice versa.
969
00:56:11,040 --> 00:56:14,680
We always kept the two things
very separate.
970
00:56:14,680 --> 00:56:17,880
I think Phil went off to
do this own thing
971
00:56:17,880 --> 00:56:21,120
because it was very clear that that
career was there for him.
972
00:56:21,120 --> 00:56:24,280
He was probably the last of the band
to make a solo album.
973
00:56:24,280 --> 00:56:27,200
I mean, actually, they had all
gone off and done other things.
974
00:56:27,200 --> 00:56:29,440
He just went off
and did it rather more publicly
975
00:56:29,440 --> 00:56:31,640
because he was a huge success at it.
976
00:56:33,320 --> 00:56:38,400
# I can feel it coming
in the air tonight
977
00:56:39,520 --> 00:56:41,520
# Oh, Lord
978
00:56:43,040 --> 00:56:48,960
# And I've been waiting for
this moment for all my life
979
00:56:48,960 --> 00:56:51,200
# Oh, Lord
980
00:56:53,240 --> 00:56:57,360
# Can you feel it coming in the air
tonight... #
981
00:56:57,360 --> 00:56:59,720
I think it was probably a very
good thing we didn't do it.
982
00:56:59,720 --> 00:57:02,360
If Genesis had done it, I
think we'd have complicated it up.
983
00:57:02,360 --> 00:57:04,400
But, of course,
that's its whole charm,
984
00:57:04,400 --> 00:57:07,640
it's what works about it, is the
fact that it's so repetitive.
985
00:57:09,320 --> 00:57:15,360
# ..I can feel it
coming in the air tonight
986
00:57:15,360 --> 00:57:17,600
# Oh, Lord... #
987
00:57:19,200 --> 00:57:22,440
I'm glad, you know,
I'm glad we didn't use it because,
988
00:57:22,440 --> 00:57:26,520
obviously, I was left to my own
devices on most of the material.
989
00:57:27,960 --> 00:57:30,800
It's down in history now that
Tony Banks claims that
990
00:57:30,800 --> 00:57:33,720
I didn't play him
In The Air Tonight, but I did.
991
00:57:33,720 --> 00:57:35,440
And he didn't play
In The Air Tonight.
992
00:57:35,440 --> 00:57:37,800
It doesn't matter
what anybody tells you.
993
00:57:37,800 --> 00:57:40,960
I don't remember the moment
when I played In The Air Tonight.
994
00:57:40,960 --> 00:57:43,600
I just was very proud of it,
so I don't understand why
995
00:57:43,600 --> 00:57:46,840
I would not have done,
because at that point I hadn't
996
00:57:46,840 --> 00:57:51,120
made my record, so I didn't know how
good or bad it was going to be.
997
00:57:51,120 --> 00:57:53,760
Phil Collins, when he started
writing about the break-up
998
00:57:53,760 --> 00:57:56,880
of his marriage and these love
songs, initially on his solo career,
999
00:57:56,880 --> 00:58:00,120
but there was obviously a cross-over
between the songs he was writing
1000
00:58:00,120 --> 00:58:03,400
for both parties, it did introduce
an element of confessional.
1001
00:58:03,400 --> 00:58:06,720
# How can I just let you walk away
1002
00:58:06,720 --> 00:58:10,920
# Just let you leave without a
trace... #
1003
00:58:10,920 --> 00:58:13,880
I think what Collins did in terms
of channelling those emotions
1004
00:58:13,880 --> 00:58:16,880
in terms of what had happened in his
personal life into his music,
1005
00:58:16,880 --> 00:58:20,520
was something that the band had
never done, as far as we were aware.
1006
00:58:20,520 --> 00:58:23,400
He was very, very emotional,
something,
1007
00:58:23,400 --> 00:58:27,640
if I may say, that we British tend
not to show emotion so much, do we?
1008
00:58:27,640 --> 00:58:29,280
You know, the old stiff upper lip.
1009
00:58:29,280 --> 00:58:33,960
In a way, he's the master
of the romcom romance, isn't he?
1010
00:58:33,960 --> 00:58:35,880
These are extremely emotional songs.
1011
00:58:35,880 --> 00:58:38,240
All through the
'80s, growing up, I thought of him
1012
00:58:38,240 --> 00:58:41,080
as the guy playing the piano with
the pot of paint on it,
1013
00:58:41,080 --> 00:58:45,560
you know, the sort of,
the heartbreaking plaintive ballads.
1014
00:58:45,560 --> 00:58:48,000
# ..Now take a look at me now
1015
00:58:49,200 --> 00:58:52,440
# Cos there's just an empty space
1016
00:58:54,160 --> 00:58:58,160
# But to wait for you
is all I can do
1017
00:58:58,160 --> 00:59:01,360
# And that's what I've got to face
1018
00:59:01,360 --> 00:59:04,880
# Take a good look at me now... #
1019
00:59:06,160 --> 00:59:09,120
We are unique in the fact that
I can't think of any other band
1020
00:59:09,120 --> 00:59:13,200
who's done this
solo/main band career
1021
00:59:13,200 --> 00:59:15,600
and run it for many years
afterwards, you know?
1022
00:59:15,600 --> 00:59:18,440
We always felt that whatever
we were doing is the main
1023
00:59:18,440 --> 00:59:20,880
thing at the time, the band or solo.
1024
00:59:20,880 --> 00:59:23,960
But it wasn't like, if you're doing
that you can't do that, you know?
1025
00:59:23,960 --> 00:59:26,640
And I'm sure it helped us
keep going, actually, the variety
1026
00:59:26,640 --> 00:59:32,080
of work and music was, I think,
gave us a freshness as a main band.
1027
00:59:40,920 --> 00:59:42,920
# Look up on the wall
1028
00:59:44,480 --> 00:59:46,480
# There on the floor
1029
00:59:48,520 --> 00:59:50,360
# Under the pillow
1030
00:59:51,760 --> 00:59:53,840
# Behind the door... #
1031
00:59:55,160 --> 00:59:58,840
I know people who picked up on us
on, say, Abacab or something
1032
00:59:58,840 --> 01:00:01,520
and think that's the best album,
you know?
1033
01:00:01,520 --> 01:00:05,160
We always liked to throw in a bit
more sort of thinking kind of music
1034
01:00:05,160 --> 01:00:07,800
in there, did long songs
and tried to do a few things
1035
01:00:07,800 --> 01:00:09,720
that were slightly more, you know,
1036
01:00:09,720 --> 01:00:11,880
slightly less predictable,
if you like.
1037
01:00:11,880 --> 01:00:14,280
# I didn't, I didn't
1038
01:00:14,280 --> 01:00:16,160
# I didn't do it, uh-ow!
1039
01:00:16,160 --> 01:00:17,760
# I didn't, I didn't
1040
01:00:17,760 --> 01:00:19,600
# I didn't do it, uh-uh-ah
1041
01:00:19,600 --> 01:00:21,200
# I didn't, I didn't
1042
01:00:21,200 --> 01:00:22,960
# I didn't do it, guv, honest
1043
01:00:22,960 --> 01:00:24,840
# I didn't, I didn't
1044
01:00:24,840 --> 01:00:26,600
# I didn't do it, I didn't
1045
01:00:26,600 --> 01:00:28,960
# I didn't, I didn't do it... #
1046
01:00:28,960 --> 01:00:32,400
Another record that was really
big at the time
1047
01:00:32,400 --> 01:00:37,680
was Grandmaster Flash
and it was called "The Message",
1048
01:00:37,680 --> 01:00:41,560
and it had this sort of
"hoo-hoo-ha-ha-ha-ha"
1049
01:00:41,560 --> 01:00:43,360
sort of laugh in it.
1050
01:00:43,360 --> 01:00:47,840
# Don't push me cos
I'm close to the edge
1051
01:00:47,840 --> 01:00:51,480
# I'm trying not to lose my head
1052
01:00:51,480 --> 01:00:53,000
# Ha-ha, ha-ha! #
1053
01:00:53,000 --> 01:00:54,440
Ha-ha, ha!
1054
01:00:54,440 --> 01:00:55,760
# Ha-ha, ha-ha! #
1055
01:00:55,760 --> 01:00:59,560
And we all thought, "That's
fantastic," you know? That laugh.
1056
01:00:59,560 --> 01:01:02,040
What a fantastic idea to have
on a record, a laugh, you know?
1057
01:01:02,040 --> 01:01:04,800
I mean not since
The Laughing Policeman
1058
01:01:04,800 --> 01:01:06,680
was there such a laugh on a record.
1059
01:01:09,760 --> 01:01:12,280
And I just started going, "Ha-ha-ha.
1060
01:01:12,280 --> 01:01:15,240
"Ha-ha-ha!" And everyone would
kind of, you know,
1061
01:01:15,240 --> 01:01:18,080
we were playing, and sort of looked
and laughed and smiled,
1062
01:01:18,080 --> 01:01:21,160
but I knew that it wasn't getting a
grimace, it was getting a smile,
1063
01:01:21,160 --> 01:01:23,520
you know? So I thought, "OK,
well, I'll remember that."
1064
01:01:30,480 --> 01:01:33,320
And the lyrics of Mama
were improvised.
1065
01:01:33,320 --> 01:01:35,760
I was kind of,
that's my kind of Lennon.
1066
01:01:35,760 --> 01:01:38,280
HE HUMS MELODY
1067
01:01:38,280 --> 01:01:43,080
Lennon sort of influence, kind
of with the echo, Be-Bop-A-Lula.
1068
01:01:43,080 --> 01:01:45,120
It was just kind of compression.
1069
01:01:45,120 --> 01:01:47,440
It sounded a bit like a Lennon song.
1070
01:01:47,440 --> 01:01:50,600
# I can't see you, Mama... #
1071
01:01:50,600 --> 01:01:52,840
You had to sort of sneer a bit
when you were singing it.
1072
01:01:52,840 --> 01:01:57,520
# I can't see you, Mama
1073
01:01:57,520 --> 01:02:03,600
# But I can hardly wait... #
1074
01:02:03,600 --> 01:02:08,800
# But I can hardly wait
1075
01:02:08,800 --> 01:02:11,480
# Ooh, to touch... #
1076
01:02:11,480 --> 01:02:15,040
Ha-ha, ha-ha. Oh...
1077
01:02:15,040 --> 01:02:18,520
In all the years, no-one
ever asked, "Why the laugh?"
1078
01:02:18,520 --> 01:02:21,280
Because I thought that people
would be surprised, you know?
1079
01:02:21,280 --> 01:02:24,520
Genesis. Grandmaster Flash.
1080
01:02:24,520 --> 01:02:26,040
Surely not?
1081
01:02:26,040 --> 01:02:28,720
MUSIC: That's All
1082
01:02:37,400 --> 01:02:39,960
# Just as I thought
it was going all right
1083
01:02:39,960 --> 01:02:42,720
# I found out I'm wrong
when I thought I was right
1084
01:02:42,720 --> 01:02:44,040
# S'always the same
1085
01:02:44,040 --> 01:02:47,640
# It's just a shame, that's all
1086
01:02:47,640 --> 01:02:50,760
# I could say day
and you'd say night
1087
01:02:50,760 --> 01:02:53,560
# Tell me it's black
when I know that it's white
1088
01:02:53,560 --> 01:02:55,600
# Always the same
1089
01:02:55,600 --> 01:02:57,920
# It's just a shame
and that's all... #
1090
01:02:57,920 --> 01:03:00,800
The albums that became
huge in America and Britain,
1091
01:03:00,800 --> 01:03:04,320
they're concise, they're effective.
1092
01:03:04,320 --> 01:03:07,160
For me, they're a little clinical
but effective.
1093
01:03:07,160 --> 01:03:10,240
The soul and art rock, if you will,
of the previous albums
1094
01:03:10,240 --> 01:03:11,880
has been side-lined.
1095
01:03:11,880 --> 01:03:14,280
They're more like a well-oiled
machine by that point.
1096
01:03:14,280 --> 01:03:17,320
# ..If I knew you were looking at me
It's always the same
1097
01:03:17,320 --> 01:03:20,000
# It's just a shame, that's all. #
1098
01:03:20,000 --> 01:03:22,200
Stick at a thing for long enough,
you know?
1099
01:03:22,200 --> 01:03:25,000
No, I loved it.
It was great having hits.
1100
01:03:25,000 --> 01:03:27,040
You know, I'd been brought up
in the era of hits.
1101
01:03:27,040 --> 01:03:30,920
In the '60s, you know,
the next Beatles song coming out
1102
01:03:30,920 --> 01:03:33,600
was the sort of high point
of my existence, really,
1103
01:03:33,600 --> 01:03:36,440
and all this stuff, you know?
So hits for me were, you know,
1104
01:03:36,440 --> 01:03:39,080
I loved hits. And to suddenly
have records in the charts,
1105
01:03:39,080 --> 01:03:41,480
having your record... I mean
it's still a thrill for me now
1106
01:03:41,480 --> 01:03:42,840
to hear a record on the radio.
1107
01:03:42,840 --> 01:03:47,200
Right now, for the very first time
on Top Of The Pops, it's Genesis.
1108
01:03:47,200 --> 01:03:50,000
MUSIC: Turn It On Again
1109
01:03:50,000 --> 01:03:52,880
Less obvious hits like
Turn It On Again and Mama,
1110
01:03:52,880 --> 01:03:56,040
neither of which are very totally
straightforward pop songs,
1111
01:03:56,040 --> 01:03:58,960
were able to be hits because we were
kind of, we were accepted now,
1112
01:03:58,960 --> 01:04:01,440
we could be played on Radio One,
whereas in the old days
1113
01:04:01,440 --> 01:04:05,280
we could only be played on sort of
deepest, darkest sort of something.
1114
01:04:19,800 --> 01:04:22,520
# All I need is a TV show
1115
01:04:22,520 --> 01:04:25,760
# That and the radio... #
1116
01:04:25,760 --> 01:04:27,800
Hi, I'm Phil Collins.
I'm Mike Rutherford.
1117
01:04:27,800 --> 01:04:29,280
And I'm Tony Banks. Of Genesis,
1118
01:04:29,280 --> 01:04:30,640
and you're watching MTV,
1119
01:04:30,640 --> 01:04:33,920
the world's first all day/all night
video music channel.
1120
01:04:33,920 --> 01:04:35,320
TOGETHER: In stereo.
1121
01:04:37,520 --> 01:04:41,640
This MTV thing meant that a hit song
was so high-profile
1122
01:04:41,640 --> 01:04:44,280
that it was on every bar, every
restaurant all round the world.
1123
01:04:48,760 --> 01:04:52,000
MUSIC: Invisible Touch
1124
01:04:57,480 --> 01:04:59,720
Once it got to Invisible Touch
and we had, you know,
1125
01:04:59,720 --> 01:05:01,560
in America we had
1126
01:05:01,560 --> 01:05:04,600
a number one single suddenly, you
know. Extraordinary.
1127
01:05:04,600 --> 01:05:07,200
And, you know, half a dozen songs
off that album,
1128
01:05:07,200 --> 01:05:09,480
because the way America calculated
charts
1129
01:05:09,480 --> 01:05:11,520
was on radio play
as much as on sales,
1130
01:05:11,520 --> 01:05:16,160
and we were played everywhere, so we
had all these songs that were hits.
1131
01:05:16,160 --> 01:05:18,600
# ..Nothing could go wrong
1132
01:05:18,600 --> 01:05:21,240
# Now I know... #
1133
01:05:21,240 --> 01:05:23,240
Right now, ladies
and gentlemen, Genesis.
1134
01:05:23,240 --> 01:05:25,720
Genesis!
1135
01:05:25,720 --> 01:05:28,040
The almost all-Genesis weekend.
1136
01:05:28,040 --> 01:05:30,200
Start by casting your vote
in the next round
1137
01:05:30,200 --> 01:05:32,440
of the Friday night video clash.
1138
01:05:32,440 --> 01:05:36,080
# ..She seems to have
an invisible touch, yeah
1139
01:05:36,080 --> 01:05:39,400
# She reaches in
and grabs right hold of your heart
1140
01:05:39,400 --> 01:05:42,960
# She seems to have
an invisible touch, yeah
1141
01:05:42,960 --> 01:05:47,160
# It takes control
and slowly tears you apart
1142
01:05:47,160 --> 01:05:50,080
# Well, I don't really know her
1143
01:05:50,080 --> 01:05:52,760
# I only know her name
1144
01:05:54,240 --> 01:05:57,560
# Ooh
but she crawls under your skin
1145
01:05:57,560 --> 01:06:00,560
# You're never quite the same
1146
01:06:00,560 --> 01:06:02,920
# And now I know
1147
01:06:04,720 --> 01:06:07,360
# She's got something
you just can't trust
1148
01:06:07,360 --> 01:06:11,720
# And it's something mysterious
1149
01:06:11,720 --> 01:06:14,240
# And now it seems, I'm falling
1150
01:06:14,240 --> 01:06:16,080
# Falling for her. #
1151
01:06:16,080 --> 01:06:19,800
# I want to be
1152
01:06:19,800 --> 01:06:22,760
# Your sledgehammer
1153
01:06:24,200 --> 01:06:26,640
# Why don't you call my name?
1154
01:06:28,080 --> 01:06:29,280
# Ha
1155
01:06:29,280 --> 01:06:32,040
# You better call
the sledgehammer... #
1156
01:06:34,360 --> 01:06:37,440
The impact of MTV was enormously
influential
1157
01:06:37,440 --> 01:06:39,640
for Genesis and for Peter Gabriel.
1158
01:06:39,640 --> 01:06:42,280
They were always a very theatrical
band but, of course,
1159
01:06:42,280 --> 01:06:44,400
to very limited audiences
of a few thousand here
1160
01:06:44,400 --> 01:06:45,960
and 20,000 there, or whatever.
1161
01:06:45,960 --> 01:06:50,000
To suddenly be able to channel
those theatrical impulses
1162
01:06:50,000 --> 01:06:54,880
into video on MTV
changed their fortunes for ever.
1163
01:06:54,880 --> 01:06:56,800
MTV brings you Genesis tonight.
1164
01:06:56,800 --> 01:06:59,920
10pm Eastern, 9pm Central.
1165
01:06:59,920 --> 01:07:01,080
7pm Pacific.
1166
01:07:01,080 --> 01:07:04,520
I think the solo careers
of Mike Rutherford and Tony Banks
1167
01:07:04,520 --> 01:07:08,080
are always going to be over-shadowed
by those of Collins and Gabriel,
1168
01:07:08,080 --> 01:07:11,720
because they were the vocalists and,
you know, as is always the case.
1169
01:07:11,720 --> 01:07:14,120
I actually thought about
doing a solo album
1170
01:07:14,120 --> 01:07:16,800
before Trick Of The Tail,
so I did it and, you know,
1171
01:07:16,800 --> 01:07:19,520
I wrote A Curious Feeling.
1172
01:07:21,280 --> 01:07:26,040
# It sure felt good for a while... #
1173
01:07:26,040 --> 01:07:28,400
I was obviously hoping for more
success than it had,
1174
01:07:28,400 --> 01:07:30,000
I have to be honest about it,
really.
1175
01:07:30,000 --> 01:07:31,960
But it did make the top 20,
so, you know, it can't be too bad.
1176
01:07:36,360 --> 01:07:38,560
# Do what you want
1177
01:07:38,560 --> 01:07:40,960
# Do what you want
You've got to... #
1178
01:07:40,960 --> 01:07:43,240
So I did a load of those albums,
you know,
1179
01:07:43,240 --> 01:07:46,480
I did about half a dozen albums,
five albums, I think, solo albums.
1180
01:07:46,480 --> 01:07:50,160
But then the idea came, perhaps
just before I concede,
1181
01:07:50,160 --> 01:07:53,600
I should have a go at doing stuff
with an orchestra,
1182
01:07:53,600 --> 01:07:56,080
and I wrote a couple
of pieces that I thought would work
1183
01:07:56,080 --> 01:07:58,240
really well with an orchestra.
1184
01:08:06,000 --> 01:08:08,600
And, you know, I actually got some
quite good reviews
1185
01:08:08,600 --> 01:08:10,320
from the classical people, even.
1186
01:08:10,320 --> 01:08:13,040
You know, I mean most of them were
sort of, you know, don't want
1187
01:08:13,040 --> 01:08:15,120
to know about rock guys doing
classical music,
1188
01:08:15,120 --> 01:08:16,480
it's somehow beyond the pale.
1189
01:08:16,480 --> 01:08:18,760
But it was, it got some good
reviews.
1190
01:08:18,760 --> 01:08:20,600
Actually it sold quite well,
1191
01:08:20,600 --> 01:08:23,000
far better than anything
I'd done before.
1192
01:08:29,040 --> 01:08:32,400
# I said go if you want to go
1193
01:08:32,400 --> 01:08:35,160
# Stay if you want to stay
1194
01:08:35,160 --> 01:08:39,080
# I didn't care if you hung around me
1195
01:08:39,080 --> 01:08:41,200
# I didn't care if you went away... #
1196
01:08:41,200 --> 01:08:45,280
In order to be a solo artist,
you have to be a singer.
1197
01:08:45,280 --> 01:08:48,640
Without that, it's a bit tough,
as I found out.
1198
01:08:50,480 --> 01:08:53,080
If you write a good song,
you want a great voice
1199
01:08:53,080 --> 01:08:54,720
and that great voice isn't me.
1200
01:08:54,720 --> 01:08:58,000
# ..All I need is a miracle
1201
01:08:58,000 --> 01:09:01,320
# All I need is you
1202
01:09:03,240 --> 01:09:05,080
# All I need is a miracle
1203
01:09:05,080 --> 01:09:08,120
# All I need is you... #
1204
01:09:08,120 --> 01:09:11,440
The fastest rising hit in Britain
and the States,
1205
01:09:11,440 --> 01:09:14,840
written by Scotland's BA Robertson
and Mike Rutherford of Genesis.
1206
01:09:14,840 --> 01:09:18,280
It's called The Living Years
from Mike and the Mechanics.
1207
01:09:18,280 --> 01:09:23,360
# Say it, say it, say it loud
1208
01:09:23,360 --> 01:09:25,600
# Say it clear
1209
01:09:25,600 --> 01:09:28,440
# Oh, say it clear
1210
01:09:28,440 --> 01:09:35,360
# You can listen as well
as you hear... #
1211
01:09:36,960 --> 01:09:40,680
I find the act of collaboration
the exciting part.
1212
01:09:40,680 --> 01:09:43,280
You're sort of, you're feeding
off what the other person's doing.
1213
01:09:43,280 --> 01:09:46,120
# Looking back
1214
01:09:46,120 --> 01:09:49,360
# Over my shoulder
1215
01:09:49,360 --> 01:09:51,280
# I can see
1216
01:09:51,280 --> 01:09:54,640
# That look in your eye... #
1217
01:09:59,520 --> 01:10:04,000
I would have always probably carried
on co-writing, because I like that.
1218
01:10:05,320 --> 01:10:08,880
I was being given fantastic
opportunities, if you like,
1219
01:10:08,880 --> 01:10:12,080
and I just think, "Yeah, how can
I say no to that, you know?
1220
01:10:12,080 --> 01:10:15,160
"Because maybe I won't get asked
again, I should do that,
1221
01:10:15,160 --> 01:10:17,600
"it'll be great fun, you know?"
Whereas in fact you end up
1222
01:10:17,600 --> 01:10:19,840
being everywhere and in people's
faces the whole time.
1223
01:10:19,840 --> 01:10:21,880
# You can't hurry love
1224
01:10:21,880 --> 01:10:24,520
# No, you'll just have to wait
1225
01:10:24,520 --> 01:10:27,160
# She said don't love come easy
1226
01:10:27,160 --> 01:10:29,800
# It's a game of give and take... #
1227
01:10:29,800 --> 01:10:31,960
Ladies and gentlemen, Phil Collins.
1228
01:10:35,880 --> 01:10:38,000
Congratulations on the five Emmy
Awards.
1229
01:10:38,000 --> 01:10:40,520
Yes, the Grammys, yeah.
Grammys, right.
1230
01:10:40,520 --> 01:10:43,640
# ..How many heartaches must I stand
1231
01:10:43,640 --> 01:10:49,400
# Before I find a love
to let me live again... #
1232
01:10:49,400 --> 01:10:52,000
So how about the fellas in Genesis,
are they furious?
1233
01:10:52,000 --> 01:10:54,600
Oh, no, no, no, no.
They're spitting blood I heard.
1234
01:10:54,600 --> 01:10:57,680
The rumour in the music press
is they're spitting blood.
1235
01:10:57,680 --> 01:10:59,880
I mean, it was great for him,
you know,
1236
01:10:59,880 --> 01:11:02,400
he was our friend, we wanted him
to do well but, you know,
1237
01:11:02,400 --> 01:11:05,400
we didn't want him to do that well,
not initially.
1238
01:11:05,400 --> 01:11:09,000
But, you know, it was the thing
and it kind of never went away.
1239
01:11:11,200 --> 01:11:13,320
# ..No, you'll just have to wait
1240
01:11:13,320 --> 01:11:16,720
# She said love don't come easy
1241
01:11:16,720 --> 01:11:19,560
# It's a game of give and take... #
1242
01:11:19,560 --> 01:11:21,600
He was ubiquitous for about 15
years, you know?
1243
01:11:21,600 --> 01:11:23,800
You couldn't get away from him,
it was a nightmare.
1244
01:11:23,800 --> 01:11:28,280
# You'll be in my heart
1245
01:11:28,280 --> 01:11:32,560
# No matter what they say
1246
01:11:32,560 --> 01:11:36,840
# You'll be here in my heart
1247
01:11:36,840 --> 01:11:40,560
# Always... #
1248
01:11:40,560 --> 01:11:43,520
Peter's music changed once
he left Genesis,
1249
01:11:43,520 --> 01:11:46,440
because he wasn't under
the Genesis umbrella.
1250
01:11:46,440 --> 01:11:49,400
Now it's true, of course,
that all the members of Genesis
1251
01:11:49,400 --> 01:11:52,680
were having hits, but it was Peter
who was the one becoming more
1252
01:11:52,680 --> 01:11:56,280
and more involved in politics
and political causes.
1253
01:11:56,280 --> 01:11:59,160
I think the stuff Peter Gabriel
has done politically
1254
01:11:59,160 --> 01:12:00,760
is enormously important.
1255
01:12:00,760 --> 01:12:02,720
And I think he was always
ahead of the curve.
1256
01:12:02,720 --> 01:12:05,040
You know, he always kind of knew
what was going on.
1257
01:12:05,040 --> 01:12:08,440
I mean, songs that I know people
probably get sick to death
1258
01:12:08,440 --> 01:12:10,960
of people banging on about,
songs like Biko and stuff,
1259
01:12:10,960 --> 01:12:12,800
but, you know,
nobody else was doing it.
1260
01:12:12,800 --> 01:12:17,960
A man who was imprisoned, tortured
and killed in a jail in South Africa.
1261
01:12:17,960 --> 01:12:21,320
This is for Stephen Biko.
1262
01:12:21,320 --> 01:12:25,480
Biko's death may have done more
damage to South Africa's image
1263
01:12:25,480 --> 01:12:29,800
abroad than he could have achieved
alive with 1,000 speeches.
1264
01:12:29,800 --> 01:12:33,440
Why were you drawn at the time
to write a song about Biko?
1265
01:12:33,440 --> 01:12:37,640
I think it was a tremendous shock
because I think no-one...
1266
01:12:37,640 --> 01:12:40,400
There'd been a certain amount
of publicity about his arrest
1267
01:12:40,400 --> 01:12:42,920
and no-one was expecting him
to be killed.
1268
01:12:42,920 --> 01:12:46,480
# The outside world
is black and white
1269
01:12:46,480 --> 01:12:51,400
# With only one colour dead
1270
01:12:51,400 --> 01:12:54,600
# Oh, Biko
1271
01:12:54,600 --> 01:12:59,520
# Biko, because Biko... #
1272
01:12:59,520 --> 01:13:02,440
I think had he been allowed to live
he could have been
1273
01:13:02,440 --> 01:13:06,200
a great African statesman, perhaps
sort of crystallised the hopes
1274
01:13:06,200 --> 01:13:10,240
of a lot of young people in the way
that Kennedy did in America.
1275
01:13:10,240 --> 01:13:12,320
And I think it's tragic
the way, you know,
1276
01:13:12,320 --> 01:13:14,960
he was, his life was cut short.
1277
01:13:26,920 --> 01:13:30,160
We'd dreamt of having our own studio
for years, you know, because going
1278
01:13:30,160 --> 01:13:33,000
to these holes in the ground in sort
of, first of all, in London
1279
01:13:33,000 --> 01:13:36,440
and stuff, we just thought it would
be so nice, and then you could
1280
01:13:36,440 --> 01:13:37,880
actually sort of write and record
1281
01:13:37,880 --> 01:13:39,880
in the same place
with no time pressures.
1282
01:13:39,880 --> 01:13:41,960
Invisible Touch
was the first album we did here.
1283
01:13:41,960 --> 01:13:43,960
And when we got here it was
fantastic.
1284
01:13:43,960 --> 01:13:46,400
And the key thing was
being able to sort of focus,
1285
01:13:46,400 --> 01:13:49,680
because otherwise you have to write
an album, rehearse it quite well
1286
01:13:49,680 --> 01:13:51,040
and then go and record it.
1287
01:13:51,040 --> 01:13:53,680
So you'd already sort of decided
how it was going to sound,
1288
01:13:53,680 --> 01:13:56,480
whereas, because we owned the place,
we could sort of write
1289
01:13:56,480 --> 01:13:58,800
and almost record at the same time
and mess around.
1290
01:13:58,800 --> 01:14:02,040
It just it made the whole thing a
lot freer and I think better for us.
1291
01:14:02,040 --> 01:14:04,720
# She don't like losing
1292
01:14:04,720 --> 01:14:09,000
# To her it's just a game
1293
01:14:09,000 --> 01:14:12,120
# And though she will fuck up
your life
1294
01:14:12,120 --> 01:14:15,120
# You want her just the same
1295
01:14:15,120 --> 01:14:17,480
# Ask me, I know
1296
01:14:18,920 --> 01:14:23,400
# She's got this built-in ability
1297
01:14:23,400 --> 01:14:26,440
# To touch everything she sees
1298
01:14:26,440 --> 01:14:28,560
# And now it seems
1299
01:14:28,560 --> 01:14:30,880
# I've fallen, fallen for her
1300
01:14:30,880 --> 01:14:34,440
# She seems to have
an invisible touch, yeah... #
1301
01:14:34,440 --> 01:14:37,200
I think all the other albums
at that time were,
1302
01:14:37,200 --> 01:14:40,040
to a certain extent, treading water.
1303
01:14:40,040 --> 01:14:41,840
The big one was Invisible Touch,
1304
01:14:41,840 --> 01:14:45,640
that was the one that moved them
to the level where
1305
01:14:45,640 --> 01:14:50,600
they could create an album
that 14.5 million people would buy.
1306
01:14:50,600 --> 01:14:53,640
And they never really
topped that moment.
1307
01:14:53,640 --> 01:14:58,760
# I'm so lonely
1308
01:14:58,760 --> 01:15:01,800
# I feel so boxed in
1309
01:15:01,800 --> 01:15:05,160
# I've lost my wife... #
1310
01:15:05,160 --> 01:15:07,520
I'd become one of the people
of the '80s -
1311
01:15:07,520 --> 01:15:10,920
that was one of the reasons
why people didn't like it.
1312
01:15:10,920 --> 01:15:14,800
Just do that small lean forward,
please.
1313
01:15:14,800 --> 01:15:18,280
I used to travel to England a lot
and do videos for Genesis
1314
01:15:18,280 --> 01:15:21,920
and Phil and other bands there, and
I always watched Spitting Image
1315
01:15:21,920 --> 01:15:24,960
on television, because it was
a great show.
1316
01:15:24,960 --> 01:15:27,760
And one time they had a video
of Phil,
1317
01:15:27,760 --> 01:15:32,040
and he was like crying, and it was
about his wife leaving him.
1318
01:15:32,040 --> 01:15:36,120
# As you packed
your toothbrush in your bag
1319
01:15:36,120 --> 01:15:39,160
# At once my spine began to tingle
1320
01:15:39,160 --> 01:15:42,160
# As you shoved the door keys
up my nose... #
1321
01:15:42,160 --> 01:15:45,680
I thought to myself, "This is really
cool, they have a Phil puppet."
1322
01:15:45,680 --> 01:15:48,920
And for a long time I was thinking
it would be great to do
1323
01:15:48,920 --> 01:15:50,440
a puppet video with them.
1324
01:15:53,160 --> 01:15:55,080
I, Ronald Reagan, do solemnly swear,
1325
01:15:55,080 --> 01:15:57,040
that I will faithfully execute
1326
01:15:57,040 --> 01:15:59,280
the office of the President
of the United States.
1327
01:15:59,280 --> 01:16:02,920
Mr President, we have an idea...
1328
01:16:02,920 --> 01:16:05,560
It wasn't a fun decade at all.
1329
01:16:05,560 --> 01:16:08,320
You had such division
in the country. You had riots
1330
01:16:08,320 --> 01:16:09,440
with the police.
1331
01:16:09,440 --> 01:16:12,280
Thatcher was such an abrasive
and divisive person.
1332
01:16:12,280 --> 01:16:13,960
Do you have any piranha?
1333
01:16:13,960 --> 01:16:15,720
As indeed was Reagan.
1334
01:16:15,720 --> 01:16:19,800
# Did you read the news today?
1335
01:16:19,800 --> 01:16:24,040
# They say the danger's gone away
1336
01:16:24,040 --> 01:16:26,640
# But I can see the fire's
still alight... #
1337
01:16:26,640 --> 01:16:30,280
It's a song that is the nearest
I've ever come to actually making
1338
01:16:30,280 --> 01:16:31,560
an out in the open statement.
1339
01:16:31,560 --> 01:16:34,520
I normally make little comments
about things in a subtle
1340
01:16:34,520 --> 01:16:36,800
sort of an aside way.
1341
01:16:36,800 --> 01:16:40,240
It's really about how we live in
a very nice world
1342
01:16:40,240 --> 01:16:42,600
and what a mess we're making of it,
1343
01:16:42,600 --> 01:16:46,200
and how it should all be so easy
and how it's all so difficult.
1344
01:16:46,200 --> 01:16:48,000
It's a kind of '80s protest song.
1345
01:16:48,000 --> 01:16:50,080
# ..This is the time
1346
01:16:50,080 --> 01:16:52,240
# This is the place
1347
01:16:52,240 --> 01:16:55,720
# So we look for the future... #
1348
01:16:55,720 --> 01:16:58,640
The sad thing is, you know,
the puppets are in better shape
1349
01:16:58,640 --> 01:17:01,880
than the people we're caricaturing
these days, you know?
1350
01:17:01,880 --> 01:17:04,480
I hope Phil's doing well
compared to his puppet.
1351
01:17:06,360 --> 01:17:09,120
# ..This is the world
we live in... #
1352
01:17:09,120 --> 01:17:11,160
Yeah, I bought one of my heads.
1353
01:17:11,160 --> 01:17:13,560
Someone in Texas has bought my head.
1354
01:17:13,560 --> 01:17:16,440
Slightly worries me actually.
What's he doing with it?
1355
01:17:21,120 --> 01:17:24,760
I mean, we're just popular,
and there's nothing wrong with that.
1356
01:17:24,760 --> 01:17:27,640
I mean, we just got more popular.
1357
01:17:29,440 --> 01:17:32,600
I won't take the credit and I won't
take the blame, you know?
1358
01:17:52,600 --> 01:17:57,560
With MTV and videos, a hit single
overshadowed the whole album,
1359
01:17:57,560 --> 01:18:00,440
and people started sort of saying,
"Well, you know,
1360
01:18:00,440 --> 01:18:02,160
"you stopped doing long songs."
1361
01:18:02,160 --> 01:18:03,320
We never did, really.
1362
01:18:03,320 --> 01:18:05,800
You know, every album had a sort of
15 minute song on it
1363
01:18:05,800 --> 01:18:08,000
till the very end,
but they're album tracks,
1364
01:18:08,000 --> 01:18:10,080
and so they weren't
on the television,
1365
01:18:10,080 --> 01:18:14,120
they weren't on the radio, but live
they're a big part of the set.
1366
01:18:19,040 --> 01:18:22,040
I always knew the long songs
would always grab them.
1367
01:18:22,040 --> 01:18:23,480
A - they were good songs,
1368
01:18:23,480 --> 01:18:25,680
B - visually they were
very impressive,
1369
01:18:25,680 --> 01:18:28,360
with the varied lights
and the staging.
1370
01:18:28,360 --> 01:18:30,400
# Blood on the windows
1371
01:18:30,400 --> 01:18:33,840
# Millions of ordinary
people are there
1372
01:18:33,840 --> 01:18:37,040
# They gaze at the scenery... #
1373
01:18:37,040 --> 01:18:39,960
So, in a sense, I think
those who came to see us
1374
01:18:39,960 --> 01:18:43,080
because of the singles and the short
songs and the radio tracks
1375
01:18:43,080 --> 01:18:45,200
went away with a different
impression of us.
1376
01:18:45,200 --> 01:18:50,080
# ..But there's nothing you can do
when you're next in line
1377
01:18:52,360 --> 01:18:55,160
# And you've got to go domino... #
1378
01:18:55,160 --> 01:18:58,040
When we played live, the songs
that have really stood out
1379
01:18:58,040 --> 01:19:00,200
are things like Domino
and Home By the Sea,
1380
01:19:00,200 --> 01:19:02,920
which are probably the classic
songs from the later period.
1381
01:19:02,920 --> 01:19:05,320
# Images of sorrow
Pictures of delight
1382
01:19:05,320 --> 01:19:08,200
# Things that go to make up a life
1383
01:19:08,200 --> 01:19:12,400
# Endless days of summer
Longer nights of gloom
1384
01:19:12,400 --> 01:19:15,880
# Just waiting for that
morning light... #
1385
01:19:15,880 --> 01:19:17,920
Well, neither of those were singles
1386
01:19:17,920 --> 01:19:20,040
or even any attempt at being
a single,
1387
01:19:20,040 --> 01:19:22,000
and yet they worked so well live.
1388
01:19:22,000 --> 01:19:24,400
You really build to a climax with
both those songs.
1389
01:19:24,400 --> 01:19:25,640
# ..Help us, someone
1390
01:19:25,640 --> 01:19:28,680
# Let us out of here
1391
01:19:28,680 --> 01:19:32,240
# Living here so long undisturbed
1392
01:19:32,240 --> 01:19:35,680
# Dreaming of the time we were free
1393
01:19:35,680 --> 01:19:38,240
# So many years ago
1394
01:19:39,800 --> 01:19:43,440
# Before the time
when we first heard
1395
01:19:43,440 --> 01:19:45,800
# Welcome to the home
by the sea... #
1396
01:19:45,800 --> 01:19:48,880
It was extraordinary really, and you
knew it couldn't last, actually.
1397
01:20:03,040 --> 01:20:05,840
It was on a divine
visitation that the Lord told me
1398
01:20:05,840 --> 01:20:08,480
that I was to go on the television.
1399
01:20:08,480 --> 01:20:12,560
'Ernest Angley,
and he talked like that,
1400
01:20:12,560 --> 01:20:14,680
'and he was very affected'
1401
01:20:14,680 --> 01:20:16,440
and he would,
1402
01:20:16,440 --> 01:20:21,920
with his beautiful leisure suit
and a very bad wig,
1403
01:20:21,920 --> 01:20:24,120
and he would...
1404
01:20:26,400 --> 01:20:30,640
"Out of the screen, you devil!"
You know, it was awful stuff.
1405
01:20:30,640 --> 01:20:34,520
I mean, it was very, you know,
Bible-belt eccentric.
1406
01:20:34,520 --> 01:20:37,320
# Do you see the face
on the TV screen
1407
01:20:37,320 --> 01:20:39,840
# Coming at you every Sunday?
1408
01:20:39,840 --> 01:20:41,840
# See the face on the billboard
1409
01:20:41,840 --> 01:20:44,760
# Well, that man is me
1410
01:20:44,760 --> 01:20:47,320
# I'm the colour of a magazine
1411
01:20:47,320 --> 01:20:49,840
# There's no question
why I'm smiling
1412
01:20:49,840 --> 01:20:51,760
# You buy a piece of paradise
1413
01:20:51,760 --> 01:20:54,000
# You buy a piece of me... #
1414
01:20:54,000 --> 01:20:58,840
I just had a problem with the whole,
you know, TV evangelists.
1415
01:20:58,840 --> 01:21:01,920
I mean, when I was growing there
was Billy Graham, you know,
1416
01:21:01,920 --> 01:21:03,560
and that was it.
1417
01:21:04,960 --> 01:21:06,880
# ..Jesus, he knows me
1418
01:21:06,880 --> 01:21:09,640
# And He knows I'm right
1419
01:21:09,640 --> 01:21:12,120
# I've been talking to Jesus
1420
01:21:12,120 --> 01:21:14,520
# All my life
1421
01:21:14,520 --> 01:21:16,960
# Ah, yes, he knows me
1422
01:21:16,960 --> 01:21:19,960
# And he knows I'm right... #
1423
01:21:19,960 --> 01:21:22,440
We were improvising and trying
different things,
1424
01:21:22,440 --> 01:21:25,880
and eventually when I was singing.
I'd sing, "Jesus, he knows me."
1425
01:21:25,880 --> 01:21:30,560
And I don't know if Tony and Mike
were really kind of hearing it.
1426
01:21:30,560 --> 01:21:34,440
I don't think they were too sure
about the lyric
1427
01:21:34,440 --> 01:21:37,840
until I'd, you know, finished it.
1428
01:21:37,840 --> 01:21:40,120
Because it was a satire in the end.
1429
01:21:40,120 --> 01:21:42,920
I think they kind of thought that it
was a bit serious.
1430
01:21:42,920 --> 01:21:44,560
It was quite fun, I mean, you know?
1431
01:21:44,560 --> 01:21:47,400
We had the girls in the middle,
didn't we? Yeah.
1432
01:21:47,400 --> 01:21:50,280
We insisted. We'd made so many
videos and we just wanted
1433
01:21:50,280 --> 01:21:52,480
one time to do a video
like David Lee Roth...
1434
01:21:52,480 --> 01:21:54,760
To be near naked women. Yeah!
1435
01:21:54,760 --> 01:21:56,760
So we had this bit
in the middle of that,
1436
01:21:56,760 --> 01:21:58,480
which was an excuse for it, really.
1437
01:21:58,480 --> 01:22:01,440
# ..God will take good care of you
1438
01:22:01,440 --> 01:22:06,000
# But just do as I say
don't do as I do... #
1439
01:22:16,880 --> 01:22:20,520
I can't remember quite when
we started writing We Can't Dance,
1440
01:22:20,520 --> 01:22:23,520
but it was done in a pretty...
1441
01:22:23,520 --> 01:22:26,680
You know, once we started
we kept going till we'd finished it.
1442
01:22:26,680 --> 01:22:30,720
It didn't take a ridiculous amount
of time to write We Can't Dance.
1443
01:22:30,720 --> 01:22:33,040
# I can't dance
1444
01:22:33,040 --> 01:22:34,960
# I can't sing... #
1445
01:22:34,960 --> 01:22:38,760
But I wrote a lot of lyrics
on We Can't Dance,
1446
01:22:38,760 --> 01:22:42,280
and I think I was allowed
to do that.
1447
01:22:42,280 --> 01:22:46,920
You know, I mean I still...
1448
01:22:46,920 --> 01:22:50,600
I still play third in line.
1449
01:22:50,600 --> 01:22:54,320
Unless the lyrics are right.
We're in now.
1450
01:22:54,320 --> 01:22:56,760
We'll probably come back to a vocal,
I don't know where.
1451
01:22:56,760 --> 01:22:58,720
If you want me to sing,
George, I'll sing.
1452
01:22:58,720 --> 01:23:01,960
Want me to sing, I'll sing. If you
don't want me to sing, I won't sing.
1453
01:23:01,960 --> 01:23:04,600
I'm still the new boy, even now.
1454
01:23:04,600 --> 01:23:06,200
It's kind of amazing, isn't it?
1455
01:23:06,200 --> 01:23:08,440
CHEERING
1456
01:23:17,920 --> 01:23:19,840
When we put out We Can't Dance,
1457
01:23:19,840 --> 01:23:21,880
we were very confident
at that point.
1458
01:23:28,400 --> 01:23:31,400
The line "something about the way
we walk",
1459
01:23:31,400 --> 01:23:35,680
I thought was the sort of funniest
line in it, so the feeling I had
1460
01:23:35,680 --> 01:23:38,200
was we should do the choruses
with a silly walk.
1461
01:23:38,200 --> 01:23:41,200
Now, the silly walk was his,
you know? He'd have this walk around
1462
01:23:41,200 --> 01:23:43,960
which apparently you used to
do at stage school or something.
1463
01:23:43,960 --> 01:23:46,640
Yeah, I was at a drama school...
Drama school.
1464
01:23:46,640 --> 01:23:48,680
It wasn't that good.
1465
01:23:48,680 --> 01:23:51,360
You could always tell the people
that really shouldn't
1466
01:23:51,360 --> 01:23:52,960
be doing dancing, you know,
1467
01:23:52,960 --> 01:23:55,280
because they'd do the same foot
and the same hand.
1468
01:23:55,280 --> 01:23:58,440
And it just always struck me
as funny, that.
1469
01:24:11,240 --> 01:24:13,280
# No, I can't dance
1470
01:24:13,280 --> 01:24:15,720
# I can't talk
1471
01:24:15,720 --> 01:24:19,880
# The only thing about me
is the way I walk
1472
01:24:19,880 --> 01:24:22,000
# No, I can't dance
1473
01:24:22,000 --> 01:24:24,440
# I can't sing
1474
01:24:24,440 --> 01:24:29,720
# I'm just standing here
selling everything... #
1475
01:24:33,960 --> 01:24:36,560
And obviously that did well,
the album did very well.
1476
01:24:36,560 --> 01:24:38,920
It was sort of towards
the end of that period
1477
01:24:38,920 --> 01:24:41,840
when we released our final
single from that album,
1478
01:24:41,840 --> 01:24:45,440
a song called Tell Me Why, that
I sort of felt suddenly it was...
1479
01:24:45,440 --> 01:24:49,200
Something had changed, and we didn't
get played on radio and stuff.
1480
01:24:49,200 --> 01:24:51,880
And really from then on, you know,
1481
01:24:51,880 --> 01:24:54,040
suddenly Genesis was sort of phtt,
like that.
1482
01:24:54,040 --> 01:24:56,480
And these things sort of sometimes
suddenly happen
1483
01:24:56,480 --> 01:24:58,160
and you don't quite know why.
1484
01:25:23,320 --> 01:25:26,600
I think the fans thought that they'd
seen the last of Genesis,
1485
01:25:26,600 --> 01:25:29,840
so it came as a real joyous surprise
when they announced that they
1486
01:25:29,840 --> 01:25:33,360
were getting back together
for a final tour in 2006.
1487
01:25:33,360 --> 01:25:35,520
It certainly was a surprise to me.
1488
01:25:35,520 --> 01:25:38,400
I think it is the fact that
regardless of your age, race,
1489
01:25:38,400 --> 01:25:41,840
genre, colour - everybody loves
a little bit of Genesis.
1490
01:25:47,200 --> 01:25:48,520
Have you been waiting long?
1491
01:25:48,520 --> 01:25:50,760
We've been waiting for you 15 years.
1492
01:25:50,760 --> 01:25:52,280
Darling, darling.
1493
01:25:52,280 --> 01:25:55,320
'They're a band that's managed to
straddle so many different phases
1494
01:25:55,320 --> 01:25:58,040
'in the history of British
rock music and they're still around.'
1495
01:25:58,040 --> 01:26:00,520
They were sensible enough
to realise that
1496
01:26:00,520 --> 01:26:03,920
what they had
was worth more than the parts.
1497
01:26:03,920 --> 01:26:06,760
Yeah, there are a couple of old
songs in their entirety.
1498
01:26:06,760 --> 01:26:08,920
Well, just try a few
and see what happens.
1499
01:26:08,920 --> 01:26:12,080
People will investigate that back
catalogue and really realise
1500
01:26:12,080 --> 01:26:14,840
that there really is some
wonderful, artistic, intelligent
1501
01:26:14,840 --> 01:26:17,920
stuff in there, which is exactly
what we're always crying out for.
1502
01:26:17,920 --> 01:26:20,920
We're always moaning, "Where is
the art, where is the intelligence,
1503
01:26:20,920 --> 01:26:23,840
"where is the ambition in
today's simplistic music?"
1504
01:26:23,840 --> 01:26:24,920
Well, it's there.
1505
01:26:25,920 --> 01:26:29,560
# Cry, cry at the top of my voice
1506
01:26:29,560 --> 01:26:31,400
# Crying at the... #
1507
01:26:31,400 --> 01:26:33,640
I think the secret to Genesis's
longevity
1508
01:26:33,640 --> 01:26:36,480
is that they are the progressive
rock band who progressed.
1509
01:26:36,480 --> 01:26:39,320
And progressive rock bands,
according to their fans,
1510
01:26:39,320 --> 01:26:43,400
are supposed to stop about two
albums into progressing
1511
01:26:43,400 --> 01:26:46,840
and progress no more,
and that's why they've survived.
1512
01:26:46,840 --> 01:26:51,480
They're great musicians, great
writers of music, great lyricists.
1513
01:26:51,480 --> 01:26:54,560
And I love the fact
that they also expand
1514
01:26:54,560 --> 01:26:57,160
and explore with other musicians.
1515
01:27:00,320 --> 01:27:02,440
They have straddled so many periods.
1516
01:27:02,440 --> 01:27:05,720
They have been hugely successful
within prog rock in the '70s,
1517
01:27:05,720 --> 01:27:07,640
as a pop and rock band in the '80s.
1518
01:27:07,640 --> 01:27:11,320
Gabriel's had a solo career
that's spanned, you know, decades.
1519
01:27:11,320 --> 01:27:13,000
I think they will be remembered
1520
01:27:13,000 --> 01:27:16,080
because they've written great songs
and they are great musicians
1521
01:27:16,080 --> 01:27:18,560
and, at the end of the day,
that's what's important.
1522
01:27:18,560 --> 01:27:20,920
# And need I say I love you?
1523
01:27:20,920 --> 01:27:23,640
# Need I say I care?
1524
01:27:23,640 --> 01:27:26,960
# Need I say that emotions
1525
01:27:26,960 --> 01:27:29,400
# Are something we don't share... #
1526
01:27:31,320 --> 01:27:35,600
I think it's very flattering,
you know, to be part of something
1527
01:27:35,600 --> 01:27:38,200
that people call the
soundtrack of their lives.
1528
01:27:38,200 --> 01:27:41,080
But they say, you know,
like, "I grew up with your music,
1529
01:27:41,080 --> 01:27:44,120
"and so therefore, you know,
you're pretty special to me."
1530
01:27:44,120 --> 01:27:46,560
You know, and that's like, it's...
1531
01:27:46,560 --> 01:27:50,480
I mean, that's fantastic for someone
that writes.
1532
01:27:50,480 --> 01:27:54,640
I mean, that kind of almost negates
all the negative stuff.
1533
01:27:57,720 --> 01:28:00,360
You can't keep doing exactly
the same thing for ever and ever.
1534
01:28:00,360 --> 01:28:03,400
I don't think. And I think
the reason we lasted so long
1535
01:28:03,400 --> 01:28:06,320
was those changes, which gave us
the chance to actually
1536
01:28:06,320 --> 01:28:08,480
be a bit different each time.
1537
01:28:08,480 --> 01:28:11,520
# Throwing it all away
1538
01:28:11,520 --> 01:28:15,080
# Throwing it all away... #
1539
01:28:15,080 --> 01:28:17,600
We just carried on doing
what we'd always done.
1540
01:28:17,600 --> 01:28:18,920
We just used to write.
1541
01:28:18,920 --> 01:28:21,080
We probably got better at doing
the shorter stuff,
1542
01:28:21,080 --> 01:28:22,560
there's no doubt about that.
1543
01:28:22,560 --> 01:28:24,960
We always liked to throw in a bit
more sort of thinking
1544
01:28:24,960 --> 01:28:26,440
kind of music in there.
1545
01:28:26,440 --> 01:28:29,440
Did long songs, and tried to do a
few things that were slightly
1546
01:28:29,440 --> 01:28:32,440
more... You know, slightly less
predictable, if you like.
1547
01:28:32,440 --> 01:28:34,160
But I mean we just...
1548
01:28:34,160 --> 01:28:37,000
It's a very difficult thing to know,
you just do what you want
1549
01:28:37,000 --> 01:28:40,000
at the time with a particular
combination of people you've got.
1550
01:28:47,520 --> 01:28:51,360
# ..We're throwing it all away... #
1551
01:28:51,360 --> 01:28:56,280
Never underestimate what difference
you could make or what you could do.
1552
01:28:56,280 --> 01:29:00,360
I've seen other people, you know,
at every stage with everything
1553
01:29:00,360 --> 01:29:03,120
I've done, who are smarter and better
than I am,
1554
01:29:03,120 --> 01:29:04,960
and that hasn't deterred me.
1555
01:29:04,960 --> 01:29:08,320
So that's what I say to young people
everywhere, you know,
1556
01:29:08,320 --> 01:29:11,680
don't limit yourself
or limit your expectations
1557
01:29:11,680 --> 01:29:14,440
because if you want to make
a difference,
1558
01:29:14,440 --> 01:29:17,560
if you want to change the world,
it's all there.
1559
01:29:17,560 --> 01:29:18,760
The secret?
1560
01:29:20,600 --> 01:29:22,840
Well, the music.
Are we being serious for a bit?
1561
01:29:22,840 --> 01:29:25,080
For a bit. Yeah. For a bit. OK.
1562
01:29:25,080 --> 01:29:28,840
# Carpet crawlers
1563
01:29:28,840 --> 01:29:34,080
# Heed their callers
1564
01:29:34,080 --> 01:29:41,560
# We've got to get in
to get out oh, oh
1565
01:29:41,560 --> 01:29:46,600
# We've got to get in
to get out
1566
01:29:46,600 --> 01:29:49,080
# Oh, oh
1567
01:29:49,080 --> 01:29:51,880
# We've got to get in
1568
01:29:51,880 --> 01:29:55,560
# To get out. #
125455
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