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By ProgBlog, May 14 2017 06:07PM

Gig review by Mike Chavez


Despite being aware of Steve Hackett since the early 80s it’s taken until now to finally get to see him, and it was hearing the thoroughly excellent Genesis Revisited II last year that swung it for me to get tickets this time. The tickets were bought a good six months ago, and despite getting in very early a huge block of seats near the front was immediately taken, leading me to think that the resellers and touts were seeing this as some kind of beano. So middle of row Z it was then, accompanied by my gig buddies Mike and Lois. Happily the Colston is quite forgiving if you don’t have the best seats, and the sound was excellent too.


The show was billed as Genesis Revisited with Classic Hackett, and there were heavy intimations beforehand about likely plundering of Genesis’ Wind & Wuthering album on its 40th anniversary. In a show of two halves we started with Classic Hackett, including three tracks from the very well received new album The Night Siren, plus half a dozen others including Serpentine Song and the set closer Shadow of the Hierophant.

Despite being not particularly au fait with the music being played I enjoyed it immensely as the material was good and the musicianship excellent. Music played by players at the top of their game is seldom going to be disappointing. The typical guitar, bass, keyboards, drums line up I was expecting was augmented by Rob Townsend on a variety of instruments including flute, percussion and sax. I know now that Rob is a regular on Hackett tours, and he really does add an extra dimension to the music, as well as bringing some interesting jazz and eastern influences. Regular Hackett performers Gary O’Toole (drums) and Roger King (keyboards) were joined by the mighty Nick Beggs on bass and a variety of guitars, presumably killing time between Steven Wilson tours and the myriad of other things he gets up to. Hackett himself was looking very good for his years, and was content to allow the others their chances to shine. Buttering up the crowd he told us how beautiful a place Bristol was…and that he wished he could afford to live here! Come on Steve, the times aren’t that tough mate, even you could probably get a three bed semi in Knowle West.


After the break we got the Genesis Revisited work, which did draw heavily from Wind & Wuthering as predicted. Vocalist Nad Sylvan joined the band for set two, resplendent in a garish long coat that would not have looked out of place on an 18th century fop. We got most of Wind & Wuthering, including One for The Vine, Eleventh Earl of Mar and Afterglow, and the excellent Inside and Out, which was left off the album and included on the Spot the Pigeon EP, a hit single back in 1977. Hackett swapped out a few Tony Banks keyboard lines for his own guitar lines here and there, but then it was his show after all. One of the highlights for me was drummer Gary O’Toole singing Blood on the Rooftops, which he made a great job of, in fact I much prefer his vocal to that of Phil Collins. I would have said it was unusual to hear a drummer do the vocals, but then you can’t really say that about a Genesis track…

The rest of the show was not too dissimilar to the Seconds Out live album, Hackett’s Genesis swansong where his guitar was allegedly mixed down after his announcement to quit: Firth of Fifth (but with the beautiful piano intro restored), Cinema Show, Dance on a Volcano and Musical Box thrilled the crowd, with Slogans (from Defector) and Los Endos as the encore to close a set lasting just shy of 2 ½ hours, and receiving a standing ovation from the audience.


The chroniclers often tell us there are two versions of Genesis, the Gabriel led prog legends and the Collins led pop band. That doesn’t nearly tell the whole story, and it certainly didn’t all change or turn to rats when Gabriel quit the band, in fact both A Trick of the Tail and Wind & Wuthering are great Genesis albums in my opinion. The turning point for me was Steve Hackett leaving, so perhaps the Hackett years and the Collins years is a more appropriate way to segment the band’s career. No offence Anthony Phillips!

I had pretty high expectations for this show, I wasn’t disappointed. I’m just wondering why I waited 35 years to go and see him live.


If you’re quick there are still four UK dates left, with the final one in London on Friday 19th


Full set list:


Set 1 (Classic Hackett):

1. Every Day

2. El Niño

3. The Steppes

4. In the Skeleton Gallery

5. Behind the Smoke

6. Serpentine Song

7. Rise Again

8. Shadow of the Hierophant


Set 2 (Genesis Revisited with Nad Sylvan):

9. Eleventh Earl of Mar

10. One for the Vine

11. Blood on the Rooftops

12. ...In That Quiet Earth

13. Afterglow

14. Dance on a Volcano

15. Inside and Out

16. Firth of Fifth

17. The Musical Box


Encore:

18. Slogans

19. Los Endos



By ProgBlog, Feb 7 2016 11:30PM

Television is not my primary leisure medium. The broadening of choice in a post-analogue world has resulted in an overall decline in televisual standards. I am old enough to remember the early days of three terrestrial channels, when BBC Two was the first channel in Europe to regularly broadcast in colour; it appeared on air in April 1964 and colour transmissions began in July 1967. I remember sitting in my grandmother’s front room on a Saturday afternoon watching Trade Test Transmissions on her black and white rental TV, changing channels using a knob on the wall, intrigued by these short infomercials and being awestruck by the optimistic and futuristic pieces of programming, especially the film of the Evoluon science museum in Eindhoven, the Netherlands, with its soundtrack of electronica and jazz which somehow fitted with the images of this beautiful UFO-like piece of modernist architecture; I’m pretty sure this introduced me to Take Five by Dave Brubeck but I may be mistaken.

I first became aware of the commercialisation of sporting events when Kerry Packer founded World Series Cricket in 1977, in a move to secure broadcasting rights for Australian cricket. Ripples from this move have since spread far and wide. With parallels to prog, cricket is a long-form sport. As a youth my summer breaks were punctuated by periods in front of the TV to watch Test Matches, played over 5 days and unadulterated by wall-to-wall sponsorship (the 65-over-a-side Gillette Cup which became the Nat West Trophy in 1981 came across as being unsullied by corporate interference; this had changed by the time it had become the C&G Trophy in 2001.) It was the tactical approach to the game with its changing conditions that kept me enthralled. I was watching a lot of cricket at the same time that I was getting into progressive rock and reading Tolkien, Alan Garner and Ursula Le Guin; another piece of the cultural landscape that helped form what I’ve become. The Infield Park Gang would play cricket, too, on a local playing field attached to a convent school and, despite being pretty bad at the sport I was drafted in to play 11th man for two Goldsmiths’ College first XI matches which were held in the grounds of Loring Hall, my hall of residence at university.

It seems crazy to me that betting firms should be allowed to sponsor sports and I fully agree with Andy Murray’s recent outburst against sponsorship of tennis by betting companies, just when allegations of match fixing were flying around. I find it outrageous that the deregulation of the gambling industry has created a huge increase in the number of betting shops in poor and deprived areas of the country and that commercial TV is permitted to bombard us with adverts for online gaming. I blame deregulation for both the downturn in quality of programming and the knock on effects of commercialisation of sport; competition in the service industries always ends up as a race to the bottom. The walk out by Liverpool fans at their game against Sunderland yesterday, angry at the £70 price tag on away tickets, was meant to highlight the separation of the beautiful game from the true fans but sadly it’s not going to influence football’s governing body, as corruption appears to run through the veins of world football (and world athletics.) I don’t blame the players for their often ridiculously excessive pay, the responsibility lies with the broadcasters. With ever greater choice of channels it’s become more and more difficult to find anything of quality to watch. If I do sit in front of the TV it’s more likely to be for a film on DVD/Blu-ray or a music DVD than a piece of scheduled programming, mostly because what is aired seems to involve some form of voyeurism or schadenfreude: wannabe celebrity non-entities after their five minutes of fame; former celebrities clinging on to their five minutes of fame; police dogs in helicopters with cameras filming surgery that’s gone wrong... what occupation hasn’t been covered?

My first music videos were Yessongs (from the 1975 film) and Pink Floyd’s Live at Pompeii (the 1974 version), both on VHS format. Yessongs was disappointing because the sound quality wasn’t very good and the synching of music and video was poor. I’d not managed to see the film when it played in UK cinemas so it’s hard to know if the cinematic experience was any better. I was given the Blu-ray version as a present a couple of Christmases ago but the curse of Yessongs struck again: the disc could not be recognised in my Blu-ray player and was returned to the shop, sans the Roger Dean postcards that featured in the revised packaging. Live at Pompeii, on the other hand, remains a firm favourite. I’d been to see the film when it toured the UK and I’ve also visited Pompeii on a couple of occasions where the silhouette of Vesuvius continues to dominate the atmosphere of the site. I always thought it a shame that Echoes was used to bookend the film but it doesn’t detract from the performance, in effect a swan song to the space rock material (which I really like), issuing in the prog of the Dark Side era. The Directors Cut version that I now own on DVD isn’t really any improvement, the space graphics have not aged as well as the music!


I think I first saw the film version of Emerson Lake and Palmer performing Pictures at an Exhibition on TV, a performance from the Lyceum in London in 1970 released in the cinema in 1973. I wasn’t aware that the soundtrack was different from the album (recorded at Newcastle City Hall) until I bought a double-sided CD/DVD in 2003 as it had been so long since I’d watched the film, but I think it remains an important documentary of early prog, attempting a reworking of a classical piece in a rock context.

White Rock, the film documentary of the Innsbruck 1976 Winter Olympics, was another cinema release, opening in 1977 and touring as a double bill with concert footage of Genesis playing live. I don’t remember too much about the Genesis portion of the programme, partly because I’ve never owned a copy of Seconds Out (1977), being far more interested in Rick Wakeman’s return to form with the soundtrack for White Rock. I bought the album shortly after its release, from Boots in Barrow, impressed by the interpretation of speed and grace over snow and ice. I’ve got a couple of other Wakeman videos: Out There (2004), described as a ‘concept DVD’ and a performance of The Six Wives of Henry VIII (2009) at Hampton Court Palace on Blu-ray. Six Wives includes the original album plus three new tracks and, as it’s my favourite Wakeman solo album, I rate it quite highly. I was tempted to get a ticket for the gig but ended up at The Lumiere for Mellofest 2009 instead. The music on Out There isn’t bad and no doubt at the time the graphics were cutting edge, but when viewed ten years after it was released, some of them haven’t really stood the test of time. I saw Wakeman and the English Rock Ensemble promote the album live in Croydon in April 2003, where a major technical hitch with the keyboards forced an early intermission.


Not surprisingly I have quite a range of Yes DVDs, from The Gates of QPR (1993, recorded 1975) to Songs from Tsongas (2005, recorded 2004) via Keys to Ascension (2000, recorded 1996), House of Yes (2000), Symphonic Live (2002, recorded 2001), Yesspeak (2003) and Live at Montreux (2008, recorded 2003). My other Floyd DVDs consist of documentaries about the making of Atom Heart Mother (2007), Dark Side of the Moon (2003) and Wish You Were Here (2005), plus The Pink Floyd and Syd Barrett Story (2006), Roger Waters’ post-fall of the Berlin Wall The Wall Live in Berlin (2004, recorded 1990) and the 1982 Alan Parker film of The Wall, despite me not classifying it as prog; I was fortunate enough to see a preview of the film, filling in a questionnaire on the way out. I look upon critical reviews as being worthwhile. BBC4 produces some excellent music programmes but I was pleased to get hold of Inside King Crimson 1972 – 1975 (2005) to go with my Deja Vrooom (2009) and Neal and Jack and Me (2004).
Not surprisingly I have quite a range of Yes DVDs, from The Gates of QPR (1993, recorded 1975) to Songs from Tsongas (2005, recorded 2004) via Keys to Ascension (2000, recorded 1996), House of Yes (2000), Symphonic Live (2002, recorded 2001), Yesspeak (2003) and Live at Montreux (2008, recorded 2003). My other Floyd DVDs consist of documentaries about the making of Atom Heart Mother (2007), Dark Side of the Moon (2003) and Wish You Were Here (2005), plus The Pink Floyd and Syd Barrett Story (2006), Roger Waters’ post-fall of the Berlin Wall The Wall Live in Berlin (2004, recorded 1990) and the 1982 Alan Parker film of The Wall, despite me not classifying it as prog; I was fortunate enough to see a preview of the film, filling in a questionnaire on the way out. I look upon critical reviews as being worthwhile. BBC4 produces some excellent music programmes but I was pleased to get hold of Inside King Crimson 1972 – 1975 (2005) to go with my Deja Vrooom (2009) and Neal and Jack and Me (2004).

We were made aware that the Camel concert at the Barbican in 2013 was being recorded for DVD release, In from the Cold (2014) which is a superb reminder of a brilliant gig; I also have the two live set collection Moondances (2007.) I have more melodic symphonic prog on DVD in the form of Steve Hackett’s Genesis Revisited: Live at Hammersmith (2013) a 3CD+2DVD package of one of the musical highlights of 2013. The second DVD contains behind the scenes footage and interviews with collaborators, a theme that continues on another recent acquisition, the documentary-like Steve Hackett The Man, The Music (2015.)





Another gig that I should have gone to but didn’t, but which I had to buy on DVD is the Classic Rock Legends Van der Graaf Generator live at Metropolis Studios (2011, recorded 2010) which sits alongside Inside Van der Graaf Generator (2005) and Godbluff Live 1975 (2003.) Earlier this weekend I indulged in some PFM (Live in Japan 2002) featuring four members of the classic line-up.

One good thing about television in the 70s were series like Rock Goes to College and Sight and Sound in Concert. The Bruford gig from Oxford Polytechnic (now Oxford Brookes University) which I remember watching at the time, has become part of my DVD collection and though the camera direction is poor, it’s great to be able to see this footage again. There’s better camerawork on GG at the GG, (2006, filmed 1978, 1976 and 1974) which captures Gentle Giant at the tail end of their career. The earlier material is fantastic but Missing Piece tracks Two Weeks in Spain and Betcha Thought We Couldn’t Do It are relatively poor fare. There was a more recent programme which showed Sylvian and Fripp live in Japan in 1993, during the Road to Graceland tour – it would be terrific if that was released on DVD...







By ProgBlog, Dec 27 2015 11:05PM

I was very fortunate to receive a good collection of prog this Christmas. I try to help family members with a wish list but even better, my wife, who has a history of buying prog for my birthdays and Christmases, gets progressive rock-related suggestions from Amazon. One present I wasn’t expecting was the Steve Hackett: The Man, The Music DVD (Wienerworld, 2015) which is an up-to-date documentary that includes material relating to Wolflight and ends with a dedication to Chris Squire who was interviewed for the release. It also boasts a design that dovetails with that for Hackett’s Genesis Revisited: Live at Hammersmith box set (InsideOut Music, 2013.) Filmed and directed by Matt Groom it includes some insights into the early Hackett family life but the parts that will be of most interest to fans are those that relate to the Genesis period and the subsequent solo (Hackett band) material. The man himself comes across as very thoughtful and very polite when he comes to discuss his former colleagues in Genesis. It may be that those interviews were conducted before the shoddy treatment he received at the hands of the Genesis: Together and Apart documentary aired in October 2014. Keyboard player Roger King features quite heavily because of the value of his long-term musical and production contributions and there are other cameos from brother John Hackett, drummer Gary O’Toole, wind player Rob Townsend, guitarist Amanda Lehmann and inimitable bassist Nick Beggs. There are also discussions between Hackett and Steven Wilson and Hackett and Chris Squire. Footage from a concert at Leamington Spa is very well recorded and it would be interesting to know if there was sufficient material from that gig for a full DVD release.

I was listening to Nursery Cryme (1971) on my commute to and from work one day last week and was surprised to hear For Absent Friends, thinking that I’d not included it when I transferred the album to my mp3 player. Described by Hackett in the DVD as one of his first contributions to the group, I find the song a little throwaway. Hackett confirmed what I’ve always suspected, that Phil Collins featured on vocals on this track though when I won tickets from Capital Radio to see Genesis for their Three Sides Live Tour, the question was “what is the Genesis track where Phil Collins first sings solo?” I answered, on a homemade postcard, More Fool Me from Selling England by the Pound (1973) which has the sleeve declaration “(Vocals Phil)”. As I put the postcard in the post box I did wonder if it was a trick question so getting the ‘congratulations!’ letter came as a total surprise. Overall, The Man, The Music is a well balanced piece of work covering all of Hackett’s output, his personal thoughts, his guitar technique and with some interesting input from collaborators and family. I’d recommend it for any Hackett fan.



Congratulations letter from Capital Radio
Congratulations letter from Capital Radio

My wife also got me David Bedford’s The Rime of the Ancient Mariner (1975), a CD that had been on my wish list for some time. I bought a copy of Bedford’s Star Clusters, Nebulae & Places in Devon / The Song of the White Horse (1983) on vinyl from a record fair earlier this year which I really like, having previously dug out a YouTube video of the fascinating Omnibus documentary about the commission and making of White Horse. I bought a copy of Höstsonaten’s live performance of The Rime of the Ancient Mariner (2013) from Fabio Zuffanti’s stall at the Prog Résiste festival in 2014, which included a DVD of the show from December 2012. That release epitomises Italian progressive rock with its brilliant musicianship and operatic scope and it rekindled my admiration for Coleridge’s poetry; when I was an undergraduate I used to own a copy of Coleridge’s complete works that I lent to an English student who never returned the book. I thought that the David Bedford version, from over 35 years earlier and narrated by actor Robert Powell, would make an interesting comparison. White Horse is truly organic, utilising the blowing stone in the instrumentation and describing a landscape; comparisons with Mike Oldfield’s sublime Bedford-orchestrated Hergest Ridge (1974) seem quite appropriate, whereas I find Ancient Mariner closer in structure to The Odyssey (1976) with less reliance on atonality and dissonance and more on recognisable melody, created with multiple keyboard lines. Having said that, there’s a highly evocative sparse percussive section where the ship is ice bound and it sounds like lanterns and sundry deck equipment is moving in the wind.

It’s interesting that Powell’s narration isn’t a recital of the poem; rather it conforms to what Bedford set out in the sleeve notes for the album, wanting to evoke the mood and atmosphere of certain passages, an effect achieved by using the notes from the margin of the poem. One of these, “No twilight within the courts of the sun” became a track by Steven Wilson on his first full-length solo album Insurgents (2008). I really like Ancient Mariner.

Another present that I’d not accessed before is Beyond and Before - the formative years of Yes by Peter Banks with Billy James (Golden Treasures Publishing, 2001.) Banks (born Brockbanks) died in 2013 and appeared on the first two Yes albums before forming his own band Flash. His style of playing was unique and he’s remembered as being a better guitarist than he was originally regarded. Flash weren’t really prog so I didn’t follow them particularly closely though it was hard to miss their albums in record stores. Banks himself has not really featured in much of the general discussion of the genre despite his excellent guitar work with Yes so this publication can be regarded as going some way to correct that omission. The book suffers from repetition, an excess of exclamations and some poor grammar but it’s gratifying to see very little bitterness in someone who wasn’t necessarily treated as well as they deserved; there aren’t many people he doesn’t like. He reflects upon material on which he performed and though he may have not been pleased with the recorded results at the time, he reassesses the music and generally now appreciates how it has turned out. It may not be deeply analytical but it’s easy and pleasurable to read.



Beyond and Before
Beyond and Before

Cactus Choir (1976) by Dave Greenslade is another album I’ve had on my radar for some time. Recorded not long after the break-up of Greenslade, the production is much cleaner than his previous band efforts but overall it’s less proggy and more bluesy and, in my opinion, less clever. I really liked the dynamic between Dave Greenslade and Dave Lawson and I liked Lawson’s lyrics. Early Greenslade may have sounded a little raw but there seemed to be a very good understanding between the four members. Simon Phillips isn’t a bad replacement for Andrew McCulloch and Tony Reeves features on half the tracks but the vocals are disappointing, with Steve Gould sounding like Elton John on the title track. For me, only Finale reaches the standard of the old band but it’s by no means a terrible effort.

With a remastered copy of GTR (2015), another Steve Hackett connection, Solaris’ Martian Chronicles II (2014) and, from my brother Richard Progeny: Seven Shows from Seventy Two this has been a good Christmas. I really appreciate all my other presents but the prog-related gifts have been exceptional.




Christmas presents
Christmas presents




By ProgBlog, Oct 5 2014 07:56PM

I don’t watch very much television. Broadcasting corporations don’t really cater for my tastes and commercial stations are nauseating because you get meaningless adverts every 15 minutes; the advertising industry is really over-regarded and badly regulated. I’ll watch the odd documentary, Have I Got News for You, Crystal Palace appearing on Match of the Day and Dr Who, though I’m still unsure about Peter Capaldi. I think his Doctor has potential and this potential is helped by some more sinister storylines but I think I may be getting a bit old to make time to watch the programme. I think Matt Smith initially carried the sonic screwdriver pretty well but towards the end of his tenure I was less convinced of his suitability for the role. The writing and Who mythology weaving is admirable and, as fantasy series go, it’s pleasant escapism and easily watchable and touches on that evasive quality of ‘Englishness’ but when I start actively thinking about the suitability of the actor in the lead role, then it’s probably time to move on.

My wife is responsible for informing me of programmes that I should watch, so I was a bit shocked when I got a text from my friend Mark Franchetti yesterday, hoping that I was watching the Genesis evening on BBC2. I’ve known Mark since university and though his musical taste is far, far removed from mine (rock ‘n’ roll) his wife Gina is into progressive rock and has accompanied me on many a mission to seek out and enjoy live prog. The Franchettis frequently remind me of impending musical documentaries but I’ve normally been handed the TV remote and left to get on with it. Yesterday was different but the by-line in the Radio Times may provide Susan with an excuse; the Saturday Choices article on Genesis: Together and Apart begins: “At the vanguard of prog, uncaring of cool, Genesis wrote radio unfriendly epics about lawnmowers and failed Scottish uprisings” but concludes “while the tediously de rigueur rock-doc dissing of the group’s early oeuvre – for many, a thing of rich musicality – is largely shunned.” She may have misread this as meaning the early material was overlooked in the documentary because, when I switched over to watch the programme, 20 minutes or so after it had started, they were just skipping through Selling England on to The Lamb.

This period coincides with the start of my personal appreciation of the band. School friends Alan Lee and Geoff Hinchley were more into Genesis and my first purchase, in 1976, was the token gesture Genesis Live as a cut out distributed by Buddah Records because it covered their early history. I don’t remember where I picked up this item. It seems unlikely that Barrow had any record stores dealing in cut-outs so my guess would be that I bought it in Leeds, possibly Virgin Records, when I went to visit brother Tony at uni. I subsequently went to see Genesis twice, in Liverpool on the Wind and Wuthering tour and at the Hammersmith Odeon in 1982, after winning tickets in a Capital Radio competition. Part of this prize was a signed copy of Three Sides Live, which had been released four months earlier and which I later sold to a friend, Mike Chavez, for £5.

From the moment I began watching the documentary, the narrative closely followed that set out in Mike Rutherford’s autobiography The Living Years and Rutherford seemed to have more to say than the other members of the band. Steve Hackett barely featured, only commenting once after Peter Gabriel had told us that he’d often been congratulated for A Trick of the Tale. There was no mention of Bill Bruford. Not surprisingly, when you look at the Genesis timeline, there was a great dealmore about the post-Hackett Genesis which was of much less interest to me as they slid from prog greats to exceptionally successful middle-of-the-road soft rock. The definitive turning point, in my opinion, is the inclusion of Afterglow as the last track on Wind and Wuthering. Rutherford describes this album as displaying the feminine side of Genesis (he also labels Tony Banks’ chords as feminine) and though musically Afterglow comes across as prog, lyrically it’s venturing into the mundane. There’s no doubt that this lyrical style became more prevalent over the later releases and the complex, multi-section compositions with fantastical or mythical concepts were dropped. Prog isn’t about bearing your soul after a divorce, however painful, that’s more the realm of a more accessible rock medium like the Blues. Rutherford’s belief that he should handle guitar duties was originally somewhat misplaced but he developed a rather mechanical style of picking chords that came to represent a lot of 80s guitar playing; such that it was almost impossible to discern the songs he was playing in Genesis from those he was playing in Mike + The Mechanics. This process was compounded by the reduction in distinct keyboard sounds utilised by both Tony Banks and the Mechanics’ Adrian Lee and the generic soft rock available on the fledgling MTV. Some of the Genesis videos were truly awful.

I managed to watch the missing part of the programme which did include a few more words from Steve Hackett on BBC’s iPlayer. This included thoughts from original guitarist Anthony Phillips and another Charterhouse alumnus, friend and former road manager Richard Macphail. There was some archival footage of the band playing at the Atomic Sunrise festival at London’s Roundhouse, the only video documentation of Genesis with Phillips and drummer John Mayhew.

Despite what appears to be some unresolved rivalry between Peter Gabriel and Tony Banks, it was good to hear Gabriel talking about the band. The film was supplemented by commentary from comedian Al Murray, New Statesman arts critic Kate Mossman, author, former actor and stand-up comedian Mark Billingham, music journalist Chris Roberts and radio DJ Angie Greaves. Mossman interviewed Peter Gabriel for the New Statesman in October last year and she added some useful insight and analysis; the others offered opinion, Murray quite happy with the later, more commercial material.

The idea of Genesis, together and apart, was quite good but still left me feeling slightly unsatisfied. Hackett’s solo work, currently touring Genesis Revisited, was totally overlooked. I rate Voyage of the Acolyte, which features both Rutherford and Collins and easily conforms to prog form circa 1975, as good as A Trick of the Tail and better than Wind and Wuthering and all that came after. He’s the only one of the band that seems to regard their early 70s material as music that continues to deserve an airing, something that would have been worthwhile for the documentary to highlight.


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