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00:00:00The Vista
00:00:07I always get them all off.
00:00:15It's not on my voice, man.
00:00:17You got better.
00:00:17I know you got better.
00:00:18Actually, I was waking up during the show.
00:00:20Basically, I said, let's get like a knife.
00:00:3030 seconds on the lights go.
00:01:0030 seconds on the lights go.
00:01:3030 seconds on the lights go.
00:02:0030 seconds on the lights go.
00:02:0930 seconds on the lights go.
00:02:2830 seconds on the lights go.
00:02:4130 seconds on the lights go.
00:03:0030 seconds on the lights go.
00:03:2730 seconds on the lights go.
00:03:4030 seconds on the lights go.
00:03:5230 seconds on the lights go.
00:04:0030 seconds on the lights go.
00:04:1130 seconds on the lights go.
00:04:2030 seconds on the lights go.
00:04:2330 seconds on the lights go.
00:04:2430 seconds on the lights go.
00:04:4030 seconds on the lights go.
00:04:5230 seconds on the lights go.
00:10:57Stay where you are.
00:10:58Where I am? Here.
00:11:21Stand by 2, 3, 5, and 6, the blackout, stand by 4, to bump into the keyboards in white, ready
00:11:27spots, and go.
00:11:49There must be some misunderstanding, oh, there must be some kind of mistake.
00:11:58Yeah, cause you left me in the rain for hours, and you were late.
00:12:07Hey, now it's not like me to say the right thing, but you couldn't come to let me know.
00:12:19Well, I changed your number twice, I don't understand it, so I went home.
00:12:29Well, I've been waiting for this weekend, when I thought that maybe we could see a show.
00:12:40Cause I never dreamed I had this feeling, all I thought seeing you is believing.
00:12:49Yeah, that's why I don't know why you didn't show up that night.
00:12:56There must be some misunderstanding, obviously there must be some kind of mistake.
00:13:07Yeah, cause you left me in that rain for hours, and you were late.
00:13:16Well, since then I've been running around, trying to find you.
00:13:22I went to the places that we always go.
00:13:28I ran your house, but got no answer.
00:13:33So I jumped in my car, I went round it.
00:13:38I stood on believing, he was just leaving.
00:13:43Now there must be some misunderstanding, obviously there must be some kind of mistake.
00:13:59But there must be, there must be, there must be, I have misunderstood, there must be, I have misunderstood.
00:14:15Aw, there must be, there must be no love
00:14:21Misunderstandin'
00:14:22Aw, there must be, there must be no love
00:14:27Misunderstandin'
00:14:36Misunderstandin'
00:14:37It must be, it must be
00:14:41Oh, so kind of it's not staying
00:14:49It's okay
00:14:50You don't even miss on me
00:14:51This one is stay
00:14:55Trying to do something
00:14:56Bad stuff
00:14:59This one is stay
00:15:00You don't even miss on me
00:15:03This one is stay
00:15:10Why are you still missing my
00:15:11Oh, oh, oh, oh
00:15:42Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh
00:15:47To be, to fly
00:15:52Dodo would leave, so dodo would die
00:15:57Bargo with fear on his side
00:16:01It can't change, can't change the tide
00:16:09Doubted, agitated
00:16:11Keeps asking questions, says he wants to know why
00:16:16Oh, there ain't no reason that money can't buy
00:16:22Oh, Minky pretty, so Minky must die
00:16:27Must die
00:16:31Must die
00:16:44When your son here given life in his light
00:16:47Is part of the system
00:16:52No, no, he went to Newton
00:16:56Go to the trees, go to the snowman
00:17:05Where does he go, and what does he do?
00:17:10Does he dig the moon, which means the cloud?
00:17:15And then I find the bottom of the sea
00:17:16If she got a hook in his throat
00:17:24If she got problems
00:17:31But where does he go, and what does he do?
00:17:37Does he think he's too small, too cold
00:17:40Where does he go back in the sea?
00:17:46I'm back in the sea
00:18:03Can't take her
00:18:06How I'm moving
00:18:08Only one eye only needs one boot
00:18:12Our sweet lady, she knows she learns good
00:18:18All the vacuum coming for the bright and the fruit
00:18:22Good noise
00:18:26Black smoke
00:18:28He's so big-headed, couldn't see the jaws
00:18:33Now, but it ain't funny
00:18:35Why's the fly on my wall?
00:18:38It's only me, it don't matter at all
00:18:43At all
00:18:47Hello
00:18:48Hello
00:18:49Could he make you through the root?
00:18:53Well, he's got an answer
00:19:00And he's got a dream of love
00:19:03It's deep as the ocean
00:19:07Ocean
00:19:08Ocean
00:19:09Ocean
00:19:10Ocean
00:19:10But where does he go, and what did he do?
00:19:16Did the silent dream
00:19:18He gave a joke
00:19:20And that I'm back at the bottom of the sea
00:19:25I'm back in the sea
00:19:31I'm back in the sea
00:19:41I'm back in the sea
00:20:02Meanwhile, looking by a stone in the mud
00:20:05Two eyes looked to see what I was
00:20:08And then something stopped
00:20:10And this is what it said to me
00:20:33Lose the brush, the hair of brown
00:20:38Someone needs to breathe, no need to read the fire
00:20:43And a heart of stone
00:20:48And the fear of my one, who am I?
00:21:19How are you doing?
00:21:20We sound like we're cities apart, we're only a few rooms apart
00:21:23We're doing this because, Joe, we couldn't stand to be in the same room as you
00:21:26That's cute
00:21:27Just kidding, I'm here with Phil Collins
00:21:30Phil's in town with his band Genesis to do three nights at the Spectrum
00:21:35That's pretty good
00:21:36Sacre bleu, yes
00:21:37We keep adding a night every year we come here
00:21:39In New York, after we finish in Philly, we're going to play the Savoy
00:21:41Before we play Nassau and Meadowlands
00:21:43Oh, so you are doing...
00:21:44We are doing, we're trying to slip in the odd club and small and small
00:21:47Very small sort of theatre club
00:21:49Keeps it fresh, keeps it different perspective each night
00:21:52I mean, we must want to do it because it's occupied nights off
00:21:54And we sort of said, there's a night off here, let's put a gig in, you know
00:21:57Or maybe you don't know what else to do
00:21:59No, we've got plenty of things to do, believe me
00:22:01Why don't we play the title track from the LP
00:22:03Then we'll come back, you can tell us what it means
00:22:05And how you got together with Earth, Wind & Fire
00:22:0893.3 WMMR, let's hear the title track, Abacab
00:22:17We'll be right back...
00:22:402014.28
00:22:41University of Bel instill
00:23:41Tell me, do you think I'm tough right?
00:23:46When we do each other, let me show you stuff instead.
00:23:53Never cares, but anyway.
00:23:57Never cares.
00:23:58If you're wrapping up the world, cause you're taking on someone else's girl.
00:24:13Now when they turn on the pillow, I won't even let me answer the table.
00:24:22Now don't you think that by now, tell me, don't you think that by now?
00:24:30When we do each other, let me show you stuff instead.
00:24:36If you're wrapping up the world, let me show you stuff instead.
00:24:51If you're wrapping up the world, let me show you stuff.
00:24:59Oh, oh, oh, oh.
00:25:04Did you want it?
00:25:05Did you got it?
00:25:06Now I got it, girl.
00:25:07Did you want it?
00:25:08Did you got it?
00:25:10Now I got it, girl.
00:25:18It's an illusion.
00:25:23It's a game.
00:25:26A reflection.
00:25:29Of someone else's name
00:25:33But when you wake in the morning
00:25:35Out you wait
00:25:37On your thud but in celibate
00:25:42Now there's a hole in the subway
00:25:46Yeah, there's a hole in the subway
00:25:49Babe, now there's a hole in the subway
00:25:53I'm there's a hole in the subway
00:25:57When we do it, you're never there
00:26:01And then shall we stop the stare
00:26:04I don't care if you're anywhere
00:26:08I don't care
00:26:45I don't care if you're anywhere
00:31:56Fantastic.
00:31:57Okay.
00:31:58Listen, your new album's fantastic.
00:31:59Oh.
00:32:00I love every bit of it.
00:32:01Glad you love it.
00:32:01And I'll see you at the show tonight.
00:32:03Okay.
00:32:03Going to be there.
00:32:04Thanks, Mark.
00:32:04Bye-bye.
00:32:05Bye-bye.
00:32:06Bye-bye.
00:32:07Bye-bye.
00:32:08Hello, this is Phil Collins.
00:32:09Hello, Phil.
00:32:10I'm curious.
00:32:11Is Chester and...
00:32:12Hello, Curious.
00:32:14I'm curious.
00:32:14Is Daryl and Chester going to be with you again this time around?
00:32:18I hope so.
00:32:19They were here last night.
00:32:21Now, they're going to do with us.
00:32:22They're part of the group, really.
00:32:24I mean, although they don't play on the albums, which is...
00:32:27That's more strategic than...
00:32:28Well, you know what?
00:32:29Threw it off, I guess.
00:32:30And then there were three, you know?
00:32:32Yeah.
00:32:33Well, I mean, on the albums, I mean, we still are a three-piece group.
00:32:36But it's just on the road, obviously, it's...
00:32:39I have a suggestion for a Thanksgiving song.
00:32:43Oh, you do?
00:32:44What's that?
00:32:45Over the fields and through the woods, the grandmothers us we go...
00:32:50You ever hear that one?
00:32:51No, but if you want to come along, you can sing it.
00:32:54Over the hills and through the woods?
00:32:56Yeah, yeah, I...
00:32:57That sounds like the beginning of a porno movie.
00:33:00Not really, but...
00:33:01No, okay, we'll edit it.
00:33:03Over the hills and through the woods.
00:33:05Well, I'll check up on the words of music,
00:33:06and if the other people in the audience might know it, then we'll do it.
00:33:09Now, one more question.
00:33:10Are you a football fan?
00:33:12English football or American football?
00:33:13American.
00:33:14American?
00:33:15I don't understand the rules, man.
00:33:16Ice hockey's more my line.
00:33:18I see, I see.
00:33:18Do you play?
00:33:20No, but I mean, I can understand it easier.
00:33:22There's less people on the pitch.
00:33:24I see.
00:33:24Well, you know, good luck, and I hope to see you tonight down there.
00:33:27I hope so, too.
00:33:28Oh, okay.
00:33:28Good song.
00:33:29Hope you enjoy it.
00:33:30Bye-bye.
00:33:30Bye-bye.
00:33:32Hello, Phil Collins here.
00:33:33Who's there?
00:33:34Oh, Phil Collins?
00:33:35Well, well, um, I just wanted to know, um,
00:33:38this is Rich Cage.
00:33:39Hi, Rich.
00:33:40And I wanted to know, uh, like, you know,
00:33:44we all know how you made your solo album and everything,
00:33:46and we want to know, like, what effect does that have on the, uh,
00:33:50on Genesis?
00:33:51Like, are you going, like, are you thinking of going out on a solo career or what?
00:33:55Well, um, there's really no threat at all to the group's existence by the fact that we all do solo
00:34:03albums.
00:34:03I mean, we've all got this outlet, and so that's the most important thing.
00:34:07We all write lots of songs, and we need the other outlet apart from the group,
00:34:11because one album a year isn't enough time.
00:34:14But, um, I think it's been very positive for the group.
00:34:17You know, I mean, we've all learned a lot from doing albums on our own.
00:34:20We learn the strength of the group,
00:34:22and, uh, it means that we can save our own songs for our own albums
00:34:27and leave the bits that we think we can't finish,
00:34:30we leave those bits unfinished and bring them into the group situation,
00:34:33and we throw them in the air,
00:34:35and everybody else seems to be able to sort of do something with them,
00:34:38and that's why you get something like the new album,
00:34:40which is basically group-orientated.
00:34:54Talk to me
00:34:56You never talk to me
00:35:00Ooh, and it seems that I can't speak
00:35:05Cause I can't hear my voice shouting out
00:35:11Yeah, there's no reply at all
00:35:16Look at me
00:35:18You never look at me
00:35:23I've been sitting, staring me, it seems so long
00:35:29But you're looking through me
00:35:32Like I wasn't here at all
00:35:34No reply
00:35:36You know there's no reply at all
00:35:42Dance with me
00:35:44You never dance with me
00:35:49Ooh, and it seems that I can move
00:35:53I'm close to you
00:35:55Just as close as I can go
00:35:59Yeah, there's no reply at all
00:36:02Shit, there's no reply at all
00:36:14When I get confused and you're trying to tell me
00:36:18Is there something that I should know?
00:36:22What excuse are you trying to sell me?
00:36:26Should I believe in a stop or go?
00:36:29Cause I don't know
00:36:34Be with me
00:36:36Why aren't you trying to sell me?
00:36:38Why aren't you ever here with me?
00:36:41Ooh, and I've been trying so hard to get over there
00:36:46Oh, and I've been trying so hard to get over there
00:37:15And I've been trying so hard to get over there
00:37:45And I've been trying to do the work
00:37:45I'll sell me down the side
00:37:46And I'll lie to you
00:37:49Tell no one else for me
00:37:51Oh, and my back is up
00:37:54I'm on my guard, without the exception
00:38:03Listen to me, why don't you ever listen to me
00:38:10I can see, there's no way out
00:38:15Cause I've been trying, but we cannot connect
00:38:19And there's no reply at all
00:38:23Shit, there's no reply at all
00:38:27There's no reply at all
00:38:31You know there's no reply at all
00:38:34Oh, is anybody listening?
00:38:37Oh, there's no reply
00:38:40There's no reply
00:38:4693.3 WMMR, you like it too, huh?
00:38:49Oh, yeah.
00:38:50I thought it was, it's my favorite fast one.
00:38:52Why don't you put your pictures on the albums?
00:38:54Well, we did on the inside sleeve this time.
00:38:56Yeah, but...
00:38:56That's the first time ever.
00:38:57Why?
00:38:57Well, we've always had this idea that we look the same as everybody else.
00:39:00And so, therefore, you know, you try and put out an image on an album.
00:39:03But the girls wanna see.
00:39:06Well, the girls have to buy the album and open it up this time.
00:39:08Okay, okay. What are you gonna do Thanksgiving? Don't you guys have a Thanksgiving dinner?
00:39:11We'll have a...
00:39:34Was it you or was it me?
00:39:36Oh, was it me, shit?
00:39:38Was it I, oh, was it me?
00:39:39Oh, was it me, shit?
00:39:41Was it you or was it me?
00:39:43Oh, was it me, shit?
00:39:45Was it you or was it me?
00:39:47Oh, was it me, shit?
00:39:52Was it you or was it me?
00:39:54Oh, was it me, shit?
00:39:55Oh, was it me, shit?
00:39:56Oh, was it me, shit?
00:39:56Oh, was it me, shit?
00:39:57Oh, was it me, shit?
00:39:59Oh, was it me, shit?
00:40:00Oh, was it I, oh, was it me?
00:40:05Oh, was it me, shit?
00:40:08Oh, was it you or was it me?
00:40:09Oh, was it me, shit?
00:40:09Oh, was it me, shit?
00:40:09I didn't, I didn't do it Because honest, I didn't, I didn't do it
00:40:15I didn't, I didn't, I did not do it
00:40:19But we know, but we know, we know, we know, we know you, we don't know you
00:40:24We know you
00:40:24We know you
00:40:26We know
00:40:36We know
00:40:37We know
00:40:42Was it you or was it me?
00:40:49Or was it issue?
00:40:50Was it how you wasite?
00:41:01I didn't do it
00:41:04I didn't do it
00:41:04I'm honest
00:41:04I didn't
00:41:05I didn't
00:41:06I didn't
00:41:07I didn't
00:41:07I didn't
00:41:16But we know
00:41:19We know
00:41:20We know, yeah, we don't know
00:42:12We know, yeah, we don't know
00:42:20We know, yeah, we don't know
00:43:10We don't know
00:43:32We know, yeah, we don't know
00:44:03We know, yeah, we don't know
00:44:22We know, yeah, we don't know
00:44:53We know, yeah, we don't know
00:45:20We know, yeah, we don't know
00:46:22We know, yeah, we know
00:46:47We know, yeah, we don't know
00:47:16We know, yeah, we know
00:47:46We know, yeah, we know
00:48:11We know, yeah, we know
00:48:32We know, yeah, we know
00:48:54We know, yeah, we know
00:49:24We know, yeah, we know
00:49:53We know, yeah, we know
00:50:23We know, yeah, we know
00:50:52We know, yeah, we know
00:51:20We know, yeah, we know
00:51:51We know, yeah, we know
00:52:02We know, yeah, we know
00:52:20We know, yeah, we know
00:52:25We know, yeah, we know
00:52:37We know, yeah, we know
00:52:50We know, yeah, we know
00:52:58We know, yeah, we know
00:53:18We know, yeah, we know
00:53:19We know, yeah, we know
00:53:27We know, yeah, we know
00:53:34We know, yeah, we know
00:53:37We know, yeah, we know
00:53:39We know, yeah, we know
00:53:41We know, yeah, we know
00:54:00Just like the dust
00:54:02That settles all around me
00:54:06Well, I must find it beautiful
00:54:10Oh, oh
00:54:14Ways and hurts
00:54:17That used to give me shelter
00:54:22They're all I want to be now
00:54:30Oh, but I would search everywhere
00:54:34Just to hear your call
00:54:42And walk upon the stranger roads
00:54:45And there's one in the world
00:54:49I used to know before
00:54:53Oh, I miss you all
00:54:57Oh, oh
00:54:59Then the sun
00:55:02Reflecting of my pillow
00:55:06Bringing the world of you life
00:55:10Oh, oh
00:55:13Oh, oh
00:55:16The sound
00:55:17That echoed all around me
00:55:20When I caught just up in sun in the night
00:55:29Oh, but now
00:55:31Now I've lost everything
00:55:34I get to you
00:55:37I'll get to you
00:55:39I'll get to you
00:55:40I'll get to you
00:55:42And the meaning of all that I believe
00:55:45If it escapes me
00:55:48In this world
00:55:51I'm not
00:55:52No thing
00:55:54No one
00:55:56Oh, but now
00:55:58I would search everywhere
00:56:00Just to hear your call
00:56:33Oh, oh
00:56:36I'll walk upon the stranger roads
00:56:36In this world
00:56:38In this world
00:56:38I will learn
00:56:40Cause I miss you, girl
00:56:43I miss you, girl
00:56:44I miss you, girl
00:56:48I miss you, girl
00:56:50I miss you, girl
00:56:52I miss you, girl
00:56:54I miss you, girl
00:56:58I miss you, girl
00:57:00I miss you, girl
00:57:03I miss you, girl
00:57:06I miss you, girl
00:57:06I miss you, girl
00:57:07I miss you, girl
00:58:14We'll sort of gave a contribution to every song in the arrangement stage, which was, you know, as much as
00:58:19composition.
00:58:22But now we just sort of feel we would like to get back to writing more songs together, because we
00:58:27felt that in the past that a lot of the best songs we've ever done have been things we've written
00:58:31together.
00:58:32And that's really the main reason for being in a group, is to do things together, because if you're just
00:58:36writing a song on your own, you might just as well record it on your own and finish it off
00:58:40on your own.
00:58:42And particularly when you talked about it, and then there were three, where I think each person tended to have
00:58:46a pretty strong voice in how the song ended up sounding.
00:58:49The actual writer did, much more so than the other two members.
00:58:52Was this the result of circumstances?
00:58:54I mean, this was the first album you'd done when you were down to three, Steve having left the band.
00:58:59I think it was more the end of a sort of, after Pete left, and there was a kind of
00:59:05desire, I think, to prove yourself as a writer, because up until then no one quite knew who'd done what,
00:59:10you know.
00:59:11And, um, it just, it was a natural progression, I think, you know, suddenly, without really realising it, we found
00:59:17we were all arriving with lots of songs, and, um, not actually, we couldn't actually seem to, we were trying
00:59:23to get some group stuff going, but probably because we put so much material into, uh, the individual songs, there
00:59:30were no little bits around, which often is how the group stuff starts at all.
00:59:34The decision to produce the album yourselves, after this amount of time, and you, you, it is the first album
00:59:40you've produced.
00:59:40It never really dawned on us, actually. I mean, I think we all, uh, have felt that we've all produced
00:59:45all the albums.
00:59:48It's just that, um, I mean, you know, because we definitely have had much more of a role.
00:59:52I mean, we say produce this new album as opposed to all the others, which we'd never have, which we
00:59:55didn't do.
00:59:56We were basically, you know, we had to foot the bill and say, we don't like this, change the sound,
01:00:01you know, or we want this kind of sound.
01:00:02And a lot of the time, towards the later days, it was actually coming off the instruments, anyway.
01:00:07It was just, um, you know, production is, as much a part of anything else, it's actually the mixing.
01:00:14And, and, and the, the areas, the territorial rights where you can't go, you know, uh, which are becoming less
01:00:19and less specific as, as we all get better at it.
01:00:23I mean, we're all getting down now, we're down to, to work in the faders and the knobs, and, uh,
01:00:28and mucking about with the EQ, and, and sort of, you know,
01:00:31trying different limiters and trying different noise, all that kind of stuff that goes into producing, we're able to, we
01:00:38have access to.
01:00:39Whereas before, and I'm sure if David was in the same room as us, he'd say, well, you could have
01:00:43always done it.
01:00:43But I mean, the fact is that we never, we always felt that it was his area, and, and we
01:00:49felt, you know, a bit shy.
01:00:50He was there. Well, you have to take the producer's, or the co-producer's ideas as seriously as your own,
01:00:56really, because he's just at that stage, in the sound stage.
01:01:00And in some respect, it's, I mean, it, it could be considered as more important, because he is not involved
01:01:04in the music, apart from the fact of liking it or not liking it.
01:01:07And so if he says, no, you can't, don't do that, I don't like that, you think, well, maybe, maybe
01:01:13he is right, or whatever.
01:01:15And I think now, the three of us, behind the controls, I mean, it's a bit, you know, there's some,
01:01:20there's a lovely moment, someone would make an abacab, when Hugh was actually ill.
01:01:23You know, he was, he was, we had this farm, and he was ill in bed for a week with
01:01:27some virus.
01:01:28And the three of us, and little Jeff, who's our technician, he, um, he came in and sort of operated
01:01:34the machines, and there was sweat dripping off the hands, clammy hands, dropping in and dropping out, you know, this
01:01:39thing, this taboo area of actually recording the thing yourself.
01:01:43Um, we suddenly, it was all, you know, it was us, it was take off your clothes and live, it
01:01:46was, you know, we were mucking around with knobs, needles were going over like that, you know.
01:01:52Yeah, I mean, I think the three of us are actually incredibly, uh, brave when it comes to it, because
01:01:56we sort of, uh, much less preconceived ideas about what sound should be, you know, if it sounds good to
01:02:02us, it doesn't matter how you get there, or what the needles are doing, or what the sort of technical
01:02:06side is.
01:02:07Um, and it would never have been possible to get to that stage with Dave, I think, because he was
01:02:11probably almost too conscientious of what his job was, you know.
01:02:15Yeah, certainly there's a much less preconceived notion of what Genesis sounds like on the new album.
01:02:20Yeah.
01:02:21We've always sounded like that, the thing is that this album sounds a lot more like we've sounded in the
01:02:25rehearsal room, which has always been like that for many years, and we've managed to catch a thing on this
01:02:30album, for the first time, really.
01:02:33It's a bit less gloss, you know, a bit more emotion, less gloss.
01:02:51No, don't stop counting.
01:02:58Colder and colder, the ice is moving closer and it gets me down.
01:03:06Going round and round
01:03:09And down the same old track
01:03:14With a pack on my back
01:03:17I'm going swiftly nowhere
01:03:19Hard in my ear
01:03:21Beating like a drum
01:03:25Where will you go?
01:03:31Ah
01:03:52I'm by your ship
01:04:14And now I'm standing on a corner
01:04:19Waiting in the rain
01:04:22Waiting in the sun like me that morning
01:04:27I invented a name
01:04:33With me and Sarah Jane
01:04:37We had a special thing going
01:04:40Me and Sarah Jane
01:04:46It was a time of love and laughter
01:04:50If I wouldn't call the gift
01:04:54We had a round of joy that I'm done
01:04:59Then it began the pain
01:05:01Me and Sarah Jane
01:05:08Me and Sarah Jane
01:05:09We had a special thing going
01:05:11Me and Sarah Jane
01:05:16Sarah Jane
01:05:38Searching for a proof
01:05:40Trace is on the sand
01:05:45Trace is on the sand
01:05:46Ah
01:05:53First I'm crying
01:05:56Me and Sarah Jane
01:05:57Me and Sarah Jane
01:05:59You wrote that with a drum rhythm
01:06:00Didn't you?
01:06:01Drum box
01:06:01Well I've done that with quite a few songs of mine actually
01:06:03Over the years
01:06:04This is the first time that it's actually gone on a record
01:06:07With a drum box on it
01:06:11I don't know
01:06:12I don't know with that
01:06:12I was just trying a lot of different ideas on one rhythm
01:06:15Going through a series of different feels
01:06:17A lot of which I hadn't sort of explored much before
01:06:19Like the sort of almost reggae feel
01:06:22Which is sort of throughout the song a bit
01:06:24And then towards the end it sort of changes back to a slightly more traditional feel
01:06:28But I quite like the idea of swapping between the different rhythms
01:06:30Keeping that one drum rhythm going
01:06:34And originally I didn't sort of feel very strongly about having the song as one thing
01:06:38Like that
01:06:38You know going through a series of about what?
01:06:40Eight, nine, ten bits
01:06:42I mean I was quite happy to take some bits out of isolation
01:06:44And make a song out of them
01:06:45But the way the rest of the album was going was very much into songs with one mood in them
01:06:53Like Abacab tends to stick pretty much in one mood for example
01:06:56And so I thought it would be a nice idea
01:06:58I think we all did really in a way to keep this song going through a series of moods
01:07:02Because it would sort of contrast a little bit with the rest of the album
01:07:04And it would, you know, it would just be
01:07:06It definitely would stand out for that reason
01:07:09And I think it works, the idea
01:07:10I think the advent actually of the drum box in our writing
01:07:16Has been a very positive thing
01:07:18I mean we all write with drum boxes
01:07:21Just purely because if you have a drum box
01:07:24If you have a rhythm going, you don't play so much
01:07:27I mean in the old days, you know, we used to rehearse
01:07:29I mean there was like, there's three walls of sound
01:07:31There was his wall of sound
01:07:33There was Tony's wall of sound
01:07:34There was Steve's wall of sound
01:07:35We'd get into a studio and there was like, there was no room for the sound, you know
01:07:38There was me thrashing away as well
01:07:40And Peter's thick voice
01:07:41I mean, so now it's like
01:07:43If you write, you tend to write with the drum box
01:07:45You do get, you leave the spaces because there is a rhythm going
01:07:49I think it helps you change something because in the past
01:07:51Without the drum box you'd often
01:07:53Well, it's a sort of, we've changed as writers
01:07:55Sort of matured I think
01:07:56We used to stop and start an awful lot in the early days
01:07:58And yet if you've got a drum box going
01:08:00You can actually do that
01:08:01But the song seems to flow very often more
01:08:04I'm not saying it can't work
01:08:05But sometimes I think it didn't work
01:08:06Because we were almost too busy
01:08:07But the drum box helps you to do that
01:08:09Because you can play against it
01:08:11Get the same effect
01:08:11But it's like, like the Beatles used to do that actually
01:08:13Some of their songs used to do all sorts of weird things
01:08:15The chords and lines above it
01:08:16But the drum was a kind of plough on
01:08:19Or Ringo would sort of plough on regardless
01:08:20No one told him
01:08:21That song, Abacab, actually reveals a lot about the new genesis
01:08:25I find
01:08:26Just in terms of
01:08:28Simplicity, I think
01:08:29I mean, not that that is the new genesis
01:08:31But I mean, it's a very typical example of a tune
01:08:34That was, you know, sprung from nowhere
01:08:36Really just out of playing in a rehearsal room
01:08:38Also, you've got to capture the feeling
01:08:40Because in the past, you know
01:08:43Very often just the song was arranged technically in such a way
01:08:46That if everyone played the right notes
01:08:48The song sounded quite good
01:08:49Whereas now
01:08:51A lot of songs on Abacab are a lot simpler
01:08:53And rely much more on feel
01:08:55Unless you capture that
01:08:56You've got nothing
01:08:57A good example is Keep It Dark
01:08:59We
01:08:59I mean, that should sound good in the rehearsal room
01:09:01But we got in the studio
01:09:01And there isn't very much on there
01:09:03I mean, you know
01:09:03There's like the drum track
01:09:05And Tony's playing the bass part of his left hand
01:09:08I was playing one riff the whole way through virtually
01:09:10And unless you capture some magic or some feeling
01:09:13It sounds awful
01:09:14And we had a couple of goes
01:09:15And it just wasn't, got depressed
01:09:17It wasn't happening, was it?
01:09:18And then suddenly we got it one day
01:09:20You know, we managed to capture it
01:09:22And that's actually something we never really did in the past
01:09:24You see, because of time
01:09:25I mean, one gets into a situation where you have studios
01:09:31You book yourself into a studio
01:09:32And because we were recording in Sweden or recording in Holland
01:09:37You get 12 days, you do the backing track
01:09:40You get the best version you do of that day
01:09:42The backing track
01:09:43And that becomes the track
01:09:44That becomes the definitive version of the song
01:09:46Now we've got our own place
01:09:48It's, you know, there is no definitive version really
01:09:51There is lots of versions of which suddenly one day
01:09:55We'll all agree on that is the one
01:09:56You know, there's
01:09:57And the same with the mixes
01:09:58As opposed to spending all day on the mix
01:10:01You know, going through the whole song
01:10:03You've heard it so many times
01:10:04You don't even know what you want it to sound like in the end
01:10:06It gets to a point where, you know, you lose
01:10:09You know, you spent so much time on it
01:10:11You have to come out with the product at the end of the day
01:10:13You have to say that is the mix of the song
01:10:16And this time we, again, we sort of, we went the other way
01:10:18We just did lots and lots of mixes of the songs
01:10:21I see it as a very fresh new thing
01:10:23I'm very excited about it
01:10:25Yes, there's certainly
01:10:26You can hear
01:10:27I've seen it with everyone
01:10:27Sorry
01:10:29Good idea
01:10:29Do you love it enough to leave it?
01:10:34Just like that little man there on the corner
01:10:38What he's waiting for? I don't know
01:10:42Oh, but he waits every day now
01:10:47Waiting for something to show
01:10:51Oh, but he waits every day now
01:10:53Who's the lonely man there on the corner?
01:10:56What he's waiting for? I don't know
01:10:59But he waits every day now
01:11:04Just waiting for something to show
01:11:08Oh, now who's the lonely man there on the corner?
01:11:13What he's waiting for? I don't know
01:11:17But he waits every day now
01:11:22He's just waiting for something to show
01:11:26Oh, now who's the lonely man there on the corner?
01:11:31You've got a lot of attention into No Reply at all, for example
01:11:33I mean that was the first time that you've used Outside Musicians
01:11:37Since your very first album, isn't it?
01:11:38It was beginning to be the eleventh hour, you know
01:11:40We hadn't... I kept talking about it
01:11:42And nothing solid was happening
01:11:44And I suggested doing it
01:11:46And it only quite rightly had some reservations about
01:11:51Whether, A, we wanted...
01:11:53If there was nothing we could do ourselves
01:11:54You know, like we did on Behind the Lines and Turning On again
01:11:57We actually duplicated or simulated a horn sound
01:12:01For those tunes, why couldn't we do that?
01:12:04Also reservation that we might end up sounding not like us
01:12:07A bit like Earth and the Fire
01:12:09So rather than bring them all over there
01:12:11I think Mike picked up a bit on the energy
01:12:13And so we...
01:12:15You know, I put my money where my mouth was, in a way
01:12:18And sort of, we arranged the studio
01:12:20Got the guys, went over to Los Angeles
01:12:22And put the two tunes on the tape
01:12:25And said, this is what we want you to do
01:12:27And their arranger, Tom Tom
01:12:32Went away, came back with it on paper
01:12:36And we all sat around and they recorded it
01:12:38And we changed a few things that we didn't like
01:12:40Or didn't fit or we thought could be better
01:12:45But, you know, it was one of those things
01:12:47I think we all liked the aspect of it
01:12:49It was a big move for us
01:12:51Because it was the first time anybody else had played on our album
01:12:53Since Genesis to Revelation, right?
01:12:55That's right
01:12:56It brings a new life to the Genesis trademarks as well, doesn't it?
01:13:00Because the trademarks are all still there, if you look for them
01:13:03I mean, I think No Reply's a good example of a song
01:13:05That has got a new sort of dimension in it with the horns
01:13:09Yet it sounds, still sounds very Genesis-y
01:13:11Which is, I think, is a good example of how other instruments could work
01:13:15It's a good question of what you concentrate on in a song
01:13:16I mean, everyone, you know, particularly over in the States
01:13:19Talk about No Reply as being nothing like anything else
01:13:22We've done a lot of things
01:13:22But, really, from my own point of view
01:13:25I mean, what I'm playing is
01:13:26There's a lot of relationship to what I've played on the song
01:13:28And I was on a Broadway
01:13:29In a sense, it's the same cross-hand technique
01:13:31And, you know, and I think
01:13:33It's really just, you put the brass on
01:13:35And everyone thinks, ah, it's that kind of song, right?
01:13:37So, now we'll call it rhythm and blues or something, you know?
01:13:39And, ah, and so it becomes that
01:13:41Whereas we haven't put the brass on
01:13:42We've maybe sort of done it a little bit differently
01:13:44No one would have said that
01:13:45It's just one, one little step towards
01:13:48Taking people off automatic pilot, you know?
01:13:51Because they do tend to put us in one area
01:13:55And, ah, which we're not afraid to be in
01:13:57But, at the same time, we are, we are also in lots of other areas, you know?
01:14:01Um, and, you know, they, they love to think of you over there
01:14:04And Earth, Wind and Fire over there
01:14:05And, and, you know, Devo there, or whatever
01:14:09And, and in fact, there's, um, you know, we are, we are
01:14:13We're not taking any one particular thing
01:14:15Which sounds pretty aimless
01:14:16But, I mean, we're not
01:14:17You know, we're just, I mean, we're all writers
01:14:19Now I can hand my, hold my hand up high and say I'm a writer too
01:14:22But we're all writers and sort of, um, therefore
01:14:26Write all different types of music, really
01:14:28And it's, ah, trying, you know, I, I don't think it was trying to get out of that sort of
01:14:33The mould that people tend to put us in
01:14:35And I think it's happening more nowadays anyway
01:14:37Because we've got a lot, a younger audience
01:14:39Who are, I suppose, more open to accept more things than our older audience
01:14:44It's just because they don't know them as much as anything else
01:14:46They don't have the preconceived ideas
01:14:48The first thing a lot of our audience has heard by us in the States is misunderstanding
01:14:51So, they've got a different preconception about the group
01:14:54Okay, a lot of them probably went out and bought the album
01:14:56And discovered that we had, you know, more range than, than one song
01:15:00But, nevertheless, I mean, they, they start off with a different kind of preconceived idea
01:15:04And I think, I think it's very important, you know, that we, we are able to do that
01:15:07And to, you know, give a different feel
01:15:09Do you like that, the fact that you're getting a new audience in?
01:15:12Well, as long as you, you know, I like to
01:15:13Well, as long as you, you know, I like to
01:15:14Yes, that doesn't, I mean, I think that's good
01:15:15I think it's good also, hopefully, you keep some people, old people as well
01:15:18I know some people who, who love, think this album is our best album
01:15:21Since, um, things like The Lab in many ways
01:15:24Because, because it is a very positive album
01:15:26And we, we seem to know, you know, I don't know
01:15:28We felt very confident about this album
01:15:30More confident, in my opinion, I felt more confident about this album
01:15:32Than the last two, definitely
01:15:33And, um, and I think in a way that a, a fan who kind of has liked
01:15:38Most of what we've done in the past
01:15:39Is still gonna like this, because after it's our own taste
01:15:42We've still got our own judgement
01:15:43That's all, that's the only filter it's going through
01:15:45It's going against the general trend, though
01:15:49Because, when you've been around, as a band for a decade or more
01:15:52Bands tend to harden, when their arteries tend to harden, if you like, as they go on
01:15:57Whereas you, you've, as it were, broken out
01:16:00We've been fortunate with these changes, you know, I mean, yeah
01:16:03I mean, the changes, obviously, within the group
01:16:04Has, has really made us not feel like we've been around for about ten years, to be honest
01:16:09I mean, I reckon the group, I, I mean, I, again, it's all different
01:16:13I mean, we're all in, we're all in this for different reasons, in a way, I guess
01:16:17Because, you know, we only ever find out what the other person's reasons are when we do interviews with the
01:16:20service
01:16:21But, I mean, I consider this to be a different group
01:16:24From even the one that did Duke, you know
01:16:27Just because of the attitudes
01:16:29And maybe I'm, maybe I'm wrong, but the attitudes within ourselves, of
01:16:34How do you feel that they've changed?
01:16:35I just, well
01:16:36In the last album
01:16:38Well, I mean, obviously
01:16:38Just between Duke and
01:16:39To be honest, I'm so glad the way we're doing things now, you know
01:16:42You know, with our own place, our attitudes towards each other
01:16:45Our attitudes towards how the music is written and recorded
01:16:49We work, I mean, in the studio, I really think
01:16:51It's not easy to produce, the three of you produce yourselves
01:16:54But it works very well
01:16:56There's no sort of, erm, there are no taboo areas anymore
01:17:00That would lower down as almost a dying story
01:17:04That sounds right
01:17:05I won't even follow
01:17:05It won't take off
01:17:06One, two, three, four
01:17:07One, two, three, four
01:17:08One, two, three, four
01:17:11One, two, three, four
01:17:12One, two, three, four
01:17:13One, two, one
01:17:18One, two, three, four
01:17:21One, two, three, four
01:17:33Well, all I need is a t-shirt
01:17:36Bad and a radio
01:17:40Down on my luck again
01:17:42Down on my luck again
01:17:45I can show you, I can show you
01:17:49Some of the people in my life
01:17:53I can show you, I can show you
01:17:56Some of the people in my life
01:18:00He's talking to me, man
01:18:02You know it's just another way of passing the day
01:18:06I, I, I, I, I get so lonely when she's not there
01:18:18I, I, I, I, I, I
01:18:30You're just another face
01:18:33Riding up on my TV show
01:18:36But I've been on your place so very long
01:18:39I'm feeling like a friend
01:18:42Could you do me when you think of me?
01:18:45Can I touch you for a while?
01:18:48Can I meet you on another day?
01:18:51Will you fly away?
01:18:54I can show you, I can show you
01:18:57Some of the people in my life
01:19:02I can show you, I can show you
01:19:05Some of the people in my life
01:19:07My life, my life, you wouldn't believe
01:19:19I, I, I, I, I, I, I, I get so lonely when she's not there
01:19:24I, I, I, I, I, I, I, I, I
01:20:02Turn it on, turn it on, turn it on again
01:20:08Turn it on, turn it on again
01:20:14Turn it on, turn it on again
01:20:19Yeah, yeah, yeah, yeah, yeah, yeah
01:20:43We'll turn it on, ah-ho-am
01:20:46Turn it on, turn it on again
01:20:49We'll turn it on, ah-ho-am
01:20:52Turn it on, turn it on again
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