Tracklist:
(Tracks 1, 3, 5, 7 & 9 are Audince ambience and intros)
2. The Knife
4. Twilight Alehouse
6. Watcher of the Skies
8. The Musical Box
10. Return of the Giant Hogweed
Sound Editor's Notes;
The Concert
This recording is the cure for anyone who believes that Genesis are a genteel English art band that can't rock. Its a gutsy
performance and an appropriately gritty but detailed recording. The Knife in particular, is frightening in its power and
intensity.
Genesis were only on stage for around 50 mins, and this tape seems to capture the complete set. It sounds as though the
recording was made from close to the stage, as the music is direct and clear - you can even hear some things happening on
stage, not via the PA! Also it sounds as though the bulk of the audience are behind, not in front of, the microphone.
The PA mix seems to be a bit wayward at times. Rutherford's bass is quite prominent, although this is primarily due to a
'wolf' note around 100Hz, which I think comes from the PA, not the recording. Gabriel's vocals get a bit lost at times, and
possibly this is due to his cavorting with the mic stand, as described by Andy. The verses of Watcher of the Skies are a
bit lamentable for this reason, not helped by the prominence of the backing vocals, which are somewhat wayward in tone.
This sounds more like Rutherford singing, rather than Collins, but I'm not sure. But Steve Hackett's guitar is fantastic,
one of his most aggressive and unrestrained performances. There is even a bit of unintentional feedback happening in
Musical Box (tr 8, 6:50), which Steve uses to great effect.
This show has been widely available for some time, both as traded tapes of varying quality, or the vinyl boot "Come Ancient
Children". More recently, Highland's "Coastliners" disc contains Knife and Twilight Alehouse from this recording, although
not credited as such. If you have this disc, you may like to compare the sound quality with this Hogweeds version. It makes
an interesting comparison :-)
The Source
My source comes from a CDR, thought to be from a 1st generation tape (thanks Mark :-). When I first heard it, I thought it
was suprisingly good, not only sound quality, but quite hiss free for a tape of this period. Certainly 1st gen sounded very
likely. Upon listening and working on this recording though, I have come to two hypotheses;
Firstly, I believe this recording was made on a reel to reel machine. The sound quality, particularly the punch in the
bass, is just too good for cassettes of the period. Also the noise frequency profile is more like that of reel to reel -
more midrange than treble hiss, and very little rumble.
Secondly, its possible the CDR I've worked from may come from the master reel to reel tape. There is some strong, low
(around 30Hz) frequencies on this recording that are unlikely to have come from cassette, as the thin tape just won't carry
them. One reason to doubt this theory, is that if this CDR came from masters(!), it would likely have retained this
information in its travels. So the jury's out, but when all is considered, its a great source.
There are a few edits in the recording, which sound as though they are on the master. 2 occur just before Knife, one at the
beginning of Gabriel's introduction (tr 1, 1:31), which cuts in with "a brand new number...", the second cuts off the first
2 notes of the song. I have carefully restored these first notes, and I think the repair is pretty convincing, if I do say
so myself :-).
The last edit omits some audience ambience after the applause for Musical Box (tr 8, 10:18), and cuts in again just as Phil
says "got a very important message here...". At first I thought this last edit may be a 90 min cassette tape flip, at 45
mins. However, I have several versons of this recording from different tapes, and all these edits are identical.
The Restoration
The recording is glorious mono, and I have done nothing to enhance that. The source was very stable and centralised in
stereo, so I have left it that way.
Denoising has been minimal, around 5Db of highs and mid frequencies. There are gentle swells in the background noise on
this source throughout the recording. This is more noticable at some times than others. The denoising has not made this any
more noticable, but neither could I balance it out.
There were times, mostly at the beginning of the recording and between songs, when an amount of microphone fumbling was
embarked upon. I have removed much of this, not by editing these sections out, but by filtering the bumps and scratches.
There are several small dropouts, most of which don't detract. There is one which I have repaired, toward the end of Knife,
when Gabriel sings "We have won!" the second time.
Lastly, that 100Hz wolf frequency in the bass was attenuated 4Db, which just tames it a little, but you can still notice it,
particularly during Watcher.
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