Posts Tagged ‘Tony Banks’

Foxtrot, 1972

Today “Foxtrot” sounds as unique, dramatic, thrilling and ambitious as ever. It’s where the classic line-up of the band came fully into being; it’s when they realised how much they could do, how far they could go. “It was about creating a film for the ear rather than the eye,” says Steve Hackett. “And it even got to Number 12 in the charts,” Tony Banks laughs. “Of course the next week it went down to Number 27 or something, but it was our first moment  so we felt that we were underway, that we were heading somewhere different. “Foxtrot” was where we first started, in my opinion, to become a significant band.”

Recorded in 1972, almost exactly a year after the Nursery Cryme sessions, “Foxtrot” saw the group take a huge leap forward – both sonically and visually. Having already performed in Europe, Genesis booked dates in the US for the first time, and worked up a suitably ambitious live show – a key development of which was Peter Gabriel’s adopting of stage costumes.

Genesis, Foxtrot era stage masks

While all of its tracks are strong and inventive, Foxtrot is unavoidably dominated by the 23-minute, seven-part suite which graced what used to be side two. Supper’s Ready is one of the towering landmarks of prog, dovetailing short surreal pieces with moving neo-classical reprises and recapitulations, serene flows with shuddering staccato, parochial realism with pulchritudinous dreams. Across this fire from the skies, Peter Gabriel sings of battles between good and evil and love and war, of firemen, farmers, flowers (‘a flower?’), and a frog who was a prince (who was a brick) (which was an egg) (which was a bird). And of 666 and a new Jerusalem. Startling then, it remains a stunning achievement of vision and scale. Roger Taylor of Queen has called it, “at separate times, homely, beautiful, tortured and epic.” ‘We’ve got everything,’ it declares presciently. ‘We’re growing everything…’.While Supper’s Ready is the main course, Foxtrot should however be appreciated as more than just a set of appetisers leading up to it. It’s strange to learn that the album came about in a relatively ramshackle manner: no great master plan had been conceived.

A surprise to the rest of the band, Gabriel donned his wife’s red dress and a fox mask during their performance of Nursery Cryme’s ‘The Musical Box’ at Dublin’s National Stadium, on 28th September 1972. Further costumes were unveiled as the tour progressed (among them an “old man” costume that came into its own during performances of ‘The Musical Box’), while songs from Foxtrot were marked out by some of Gabriel’s most defining on-stage characters, including Batwing (a cape accessorised with wings, adorned during Foxtrot opener ‘Watcher Of The Skies’) and a large flower-headed guise, visualising the reference to Narcissus in Foxtrot’s epic closer, ‘Supper’s Ready’.

Gabriel, Genesis live, Foxtrot

B-sides are a relatively rare commodity for progressive rock bands. They often refused to stoop to the level of those pop proletarians, issuing singles. Additionally, if they had spare song fragments lying around, they could simply incorporate them into epic side-long suites. The track ‘Supper’s Ready’, which closed Genesis‘ 1972 album Foxtrot, was a bunch of shorter songs juxtaposed into one twenty minute piece.

‘Twilight Alehouse’ was recorded during the sessions for Foxtrot, although the band had been playing it live since 1970. It eventually surfaced as the b-side to ‘I Know What I Like in Your Wardrobe’, a single from 1973’s Selling England by the Pound.

Rather than a half-baked idea, it’s a fully formed Genesis song from their prime. It would arguably have been the weakest song on Foxtrot, but only because Foxtrot is a career highlight. ‘Twilight Alehouse’ bears the trademarks from the group’s progressive era – Peter Gabriel’s husky vocals and flute, Phil Collins’ virtuoso drumming, and Tony Banks’ dominant organ. Steve Hackett’s guitar is more prominent than usual, especially in the mellow opening section, where his rhythm playing is mixed louder than usual.

Because it’s a b-side, it’s hard to find information on who wrote the lyrics, which is always an interesting question for early Genesis – Gabriel was generally the strongest lyricist, but it’s not immediately obvious who penned these words. It’s an unusual lyric, almost like a love paean to wine from an alcoholic.

The band sought a producer who could capture their improving live sound, and to that end had meetings or sessions with Paul Samwell-Smith, John Anthony and Bob Potter. None was quite the right fit so David Hitchcock, whose work with Caravan had impressed, came in, with the more outspoken engineer John Burns.

Steve Hackett was fatigued by the heavy touring schedule and still somewhat intimidated by his fellow band members’ prowess (“these guys are so good”, he’s recalled thinking).

In 2012, having just re-recorded Supper’s Ready and others for his Genesis Revisited II album, he remembers the steps towards Foxtrot more fondly. “There weren’t a lot of days off; we were a hard-working live band,” he says. “Whereas with its predecessor, Nursery Cryme, we’d taken the summer off and written and recorded together as a unit, bonding the team, this time we were on the run, in and out of the studio. I remember flying back from Italy to be in there a day or two ahead of the others, who were travelling by road, just to finish off my guitar parts on the end of Supper’s Ready.”

We generally agreed to a man that we recorded Watcher Of The Skies too fast. To my ears now it sounds like a young band desperate to get the notes right in a race to the finish. Once we’d been playing it live for a while, we relaxed into it and it sounded bigger. The version that ended up on

Genesis Live is more in-the-pocket. That rhythm is almost impossible for any band to play perfectly! It’s full of pitfalls.Yet there’s lots of weird and wonderful stuff; it’s a band at its most creatively eccentric.”

Rehearsals (and writing sessions) in a variety of locations may have coloured the album’s angles and attitudes. Hackett recounts that Foxtrot was worked up in a variety of “drab, functional” places, until they moved (without Gabriel, who added the words later) to the Una Billings School Of Dance in Shepherd’s Bush. “There were girls dancing upstairs, learning their tap-dance and what-have-you. And the sound of that, those rhythms would come down through the ceiling. We were below in what had been a refectory, so you had a counter here and a gobstopper-dispensing machine there. It was all a bit strange, and the atmosphere influenced our subsequent efforts. Much of Supper’s Ready was written in the two weeks there. With the tap-dancing upstairs, you couldn’t be too serious for long, because you’d hear them: clumpety clump clump.

Watcher Of The Skies had grown out of Banks “fooling around” with the Mellotron. “We bought one of the ex-King Crimson Mellotrons,” he notes, “and Robert Fripp insisted it was the one they’d used on In The Court Of The Crimson King. Mind you, he had three, and I’m sure he said that about all of them when he was selling them.”

Hackett too emphasises the importance of that instrument to the album. “I’d kept hammering on that we should get one, saying it’d make our story-telling abilities so much greater. It meant that the band could function as a time machine, with all these various mythologies. The idea was that all the old instruments were there within the Frankenstein that was the Mellotron. It was like an alien orchestra being beamed to you by satellite. And you need to be able to smell the dust from time to time. It had a… cold warmth. I think it’s actually the most influential keyboard instrument in the whole of rock.”

Of course Paul Whitehead’s surrealist sleeve design is as much a part of the Foxtrot “immersion” experience as that pyramid-prism is to The Dark Side Of The Moon. Gabriel certainly dived in, courageously donning his wife’s red dress and a fox-head for stage shows. “It’s interesting how the most cherished albums have the most cherished sleeves,” ponders Hackett. “I think for fans of it there was always that feeling of looking at it and thinking: I’m onto something here that other people don’t necessarily know about. One’s taste becomes tribal: these albums become important bonding elements. Where language leaves off, music begins, and you share a dream.”

Gabriel, Genesis, Foxtrot Era

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Nursery Cryme 1971

Genesis before touring their new album, found themselves looking once more for a drummer – and also a new guitarist. After seeing their advert in Melody Maker, Phil Collins travelled to Peter Gabriel’s parents’ house to audition for the role of drummer, snagging the gig by virtue of his playing and singing skills, and having a personality that fitted the band.

A brief stint as a four-piece followed, before the group found an advert that prospective guitarist in Steve Hackett  who had himself placed in Melody Maker, seeking a band that was “determined to drive beyond existing stagnant music forms”. Duly hired, Hackett joined the new-look Genesis on the road in early 1971, before the group settled in to record their third LP, Nursery Cryme, in August. Genesis transitional Nursery Cryme served more as a signpost for future breakthroughs than a stand-alone accomplishment. The album actually became the bands first U.K. Top 40 album, but that was only after it became clear how important the then-recent additions to the band.

They brought a wealth of new musical ideas and energy to the group, which had released two largely ignored albums before Nursery Cryme arrived on November. 12th, 1971.

“Something definitely changed when Phil joined the band,” singer Peter Gabriel has said. “He was a real drummer – something I had never been too convinced of with [previous members] Chris Stewart and John Mayhew.”

For his part, Hackett eventually found a creative spark as a guitar-playing collaborator especially with keyboardist Tony Banks. “I will say, being in the band with Steve, who is also very masterful with the guitar and could get lots of different sounds with it, the combination of the two of us produced some combinations that were kind of unusual,

Genesis circa Nursery Cryme

Genesis Rehearsals

How important are Genesis, which incarnation their early work under the idiosyncratic vocals of Peter Gabriel intellectural artsy music and the holy grail of Progressive rock with sprawling masterpieces of the 1974 double album “The lamb Lies Down On Broadway” In 1975 Genesis continued with Phil Collins taking the lead vocals and moving from epics like the “Eleventh Earl Of Marl” to poppy songs from “Invisible Touch” but Genesis have made great music in every era from the insanity of “Suppers Ready” to the “Hold On My Heart” the band members recently reconvened for the BBC2 documentary Gabriel, Collins, Hackett, Banks and Rutherford plus there is a 3cd box set that spans the career of the famous five

LOOKING FOR SOMEONE……..taken from the second album “Trespass” full of 12 string guitars and big church organ type sounds the album is bookended by two huge tracks this one building from a soulfull whisper to a thundering Climax and “The Knife” .

AM I VERY WRONG…………from the debut album “From Genesis To Revelation” they were all teenagers when this debut was recorded and with pop producer Jonathan King at the helm this gentle melodic ballad with lush piano from Tony Banks and Anthony Phillips 12 string guitars.

ON THE SHORELINE…………from the “We Can’t Dance” album of 1991 Phil Collins pushes his voice to the tops of his vocal range and with Tony Banks synths drifting through the song like the sea and the mist.

THE LADY LIES ……………with the band becoming a three piece this track was a prog rock tale of a an eager warrior and his demon disguised damsel

TWIGHTLIGHT ALEHOUSE………..recorded during the Foxtrot sessions and a staple of early setlists becoming a b-side for the major hit “I Know What I like In Your Wardrobe”

FEEDING THE FIRE …………..As the B-side of the huge hit “Land Of Confusion” an alluring dark tale with a great chorus with Phil Collins belting out the song “Mama” style

GOING OUT TO GET YOU………..Written during the “Trespass” period and became a highlight of the bands early setlists but was left off that album for the more dynamic “The Knife” this version is taken from the 1968 Archive Box Set 1967-1975.

The FOUNTAIN OF SALMACIUS…….Steve Hackett and Phil Collins made their debut recording on the album “Nursery Cryme” this overlooked closing track this triumphant epic is with its jazzy interludes tony banks mellotron and keyboards are outstanding.