PRRPGS007- GENESIS SERIES
ANOTHER TRICK
June 29, 1976 (Congresshalle - Hamburg, Hamburg City)
CD1
1-1. Dance On A Volcano 6:49
1-2. The Lamb Lies Down On Broadway 4:54
1-3. Fly On A Windshield / Broadway Melody Of 1974 2:03
1-4. Carpet Crawlers 5:35
1-5. Story Of Two Virgins 1:20
1-6. The Cinema Show 11:08
1-7. Story Of Harry 1:22
1-8. Robbery, Assault & Battery 5:50
1-9. The Trespass Album 1:07
1-10. White Mountain 7:17
1-11. Firth Of Fifth 9:03
CD2
2-1. Entangled 7:17
2-2. Squonk 6:47
2-3. A Song That Originated As A Single 1:29
2-4. Supper's Ready 24:10
2-5. I Know What I Like 7:05
2-6. Los Endos 7:28
2-7. It/ 4:06
2-8. Watcher Of The Skies (Intro and Outro) 2:52
Genesis
Phil Collins - Lead Vocals, Drums and Percussion
Tony Banks - Keyboards, Guitar and Backing Vocals
Mike Rutherford - Bass Guitars, Guitars and Backing Vocals
Steve Hackett - Lead Guitars and Effects
Bill Bruford - Drums and Percussion
A Tale Of Two Voices
In 1975, despite having had no success in finding a replacement for the departed Peter Gabriel, Genesis were working on their seventh studio album, ‘A Trick Of The Tail’. “I really wanted to have a crack at singing but I wasn’t about to ask”, Phil Collins later admitted. “I wanted someone to ask me. Besides, I’d always sung harmonies before and I wasn’t sure if I had a ballsy enough voice to carry the songs”. Although it had been agreed that Phil should sing lead vocal on the gentler numbers such as ‘Entangled’ and ‘Ripples’, no one in or around the band had the faintest suspicion that his voice would have the power or character to handle the rockier tracks like ‘Dance On A Volcano’ and ‘Squonk’. But with the search for a new singer proving fruitless, Phil eventually suggested that he should have a go at these heavier, more demanding songs. “We just couldn’t find anyone to do it”, recalled Tony Banks, “so it became logical for Phil to do it. It seems so obvious with hindsight but we had no idea how he’d cope with the hard songs and it wasn’t until he’d tried ‘Squonk’ that we realized he was good at it.” To everyone’s surprise and delight, Phil sang all the songs with confidence and by the end of November the album was finished right on schedule.
Charisma boss Tony Stratton-Smith would remember: “I don’t think there was a single vote in favour of Phil initially but that changed within six weeks. As regards the singing, I had an extraordinary feeling that we were doing something a tiny bit dishonest, in that Phil’s voice sounded so similar to Peter’s. I think Phil was a far more skilled actor than anybody had given him credit for, and sitting and playing behind Peter for so long, there was a kind of unconscious wish to do it the way Peter did”. While Phil himself may challenge the assumption that he was imitating Peter’s vocal style, there was nevertheless an undeniable similarity between the two voices – hardly surprising as Phil harmonised with Peter for five years and what was heard as one lead voice on Genesis albums was very often the two voices blended together. Phil had even sung lead vocal for Genesis on ‘For Absent Friends’ and ‘More Fool Me’ as well as making fine vocal contributions to Anthony Phillips’ ‘The Geese And The Ghost’ and Steve Hackett’s ‘Voyage Of The Acolyte’, so his voice was already familiar to fans of the band. The fact that Genesis were able to replace Peter from within the group was the crucial ace up their sleeve. The audience already knew and liked Phil and he was accepted as the new singer far more readily than if someone had been brought in from the outside, potentially disrupting the band dynamic. With the album successfully in the bag, the band were all too aware of their next challenge: how to present themselves live. Phil insisted on choosing a drummer himself and felt there was only one man for the job – Bill Bruford. When Bruford agreed to come on board, suddenly Genesis found themselves in a position where they could make this work. Tony Banks recognised the valuable contribution that Bruford would make: “He had a strong personal following which helped us and musically his work with Phil meant that we sounded better than ever.
The first Genesis live show with Phil as singer took place in London, Ontario in March 1976. Mike remembers that Phil was “more worried about the talking so he wrote some notes of what to say and he was trying to read them but his hands were shaking!” But the show was an unqualified success. “As soon as I’d started, the audience were so warm,” Phil remembered. “They must have known how nervous we were all feeling but after the first tune everything settled down and it was fine”. Steve Hackett: “Phil did incredibly well. He carried the spear for the rest of us and I felt we had to change – you couldn’t just sit down on stage anymore”. Tony Banks was also quietly relieved: “From halfway through I knew it would work. He had a great rapport with the audience”. By the time Genesis reached the Congresshalle in Hamburg on June 29 1976, they were on the final leg of a triumphant five-month world tour to promote ‘A Trick Of The Tail’. Having defied all expectations and proven their sternest critics wrong, they had done the seemingly impossible – survived the departure of the enigmatic Peter Gabriel and produced a masterful classic Genesis album. Revitalized, emboldened and justifiably proud of their achievement, they had now embarked on an exciting new chapter for Genesis, one which would bring them global recognition and success far beyond their wildest dreams.
Harry
Notes from the Re-Master
This project began with original 1st generation cassette tapes of the show. These tapes were in good condition and digitized using 32-bit resolution at 44.1kHz. All remastering was then done on this 32-bit version before the final conversion to 16-bit audio format. The complete show is here with only a few tape flips that needed to be filled.
Hiss was quite prominent and was reduced using two different but standard techniques. A crackle noise was identified in the left channel and was reduced separately. The tonality was quite clear but the bass was excessive in many places and needed attenuation. Treble was boosted as well to add brightness. The dynamics of the show also needed adjustment since certain sections were excessively loud. During recording this excess volume attenuated other parts of the show so they were restored to an appropriate level once the excesses were fixed. Checking the speed of the recording, it was found that only the first half needed a correction, likely corresponding to the first tape not recording or playing at the right speed. The second section – tape 2 - did not need speed correction. The show was then tracked, converted to CD Audio format and burned to the two discs.
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