GENESIS REUNION 2014: "THE LAMB LIES DOWN ON BROADWAY" - STEVE, PETER ,TONY, MIKE, PHIL

#genesis #philcollins #tonybanks #petergabriel #mikerutherford #stevehackett #anthonyphillips
The 1970s GENESIS 'FIVE ' with PETER GABRIEL, PHIL COLLINS, TONY BANKS, MIKE RUTHERFORD & STEVE HACKETT discuss the trials and tribulations of making the prog classic THE LAMB LIES DOWN ON BROADWAY and why Peter Gabriel decided to leave the band during the 'Lamb' tour.
Part of the session on March 17th 2014, when former and current GENESIS band members met for a filmed discussion about their story.
These are the rushes/outtakes from CAMERA A , the principal camera... with much improved audio from previous versions.
ALSO AVAILABLE NOW ON THIS CHANNEL -
- THE FIVE : 'SUPPER'S READY' & 'MUSICAL BOX'
• GENESIS REUNION 2014: ...
- THE FIVE : STEVE HACKETT LEAVES GENESIS & PETER GABRIEL RETURNS FOR ONE SHOW • GENESIS REUNION 2014: ...
Watch GENESIS REUNION 2014: THE THREE. Part ONE. • GENESIS REUNION 2014: ...
PART TWO of THE THREE is here • GENESIS REUNION 2014: ...
GENESIS PLAYLIST - FULL INTERVIEWS & shorter sections kzbin.info....
* NOTES RE CAMERA ISSUES
Why is the camera moving so much? There were 3 cameras. you’re only seeing the “ rushes” footage from one of them. The camera operator is changing shots and focus to get variety - to be intercut with the other two in the edit.
**If this video is of interest to you PLEASE CONSIDER HITTING THE "$ SUPERTHANKS $" button !
(It's under the video. ) Any small donation helps with my work - retrieving, editing & uploading my unique and original content. ** Thank you for your support ! John

[@JOHNEDGINTONDOCUMENTARIES]

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[@125brat]

I think you need to revise your camera setup for such important interviews and recordings. Maybe at least one camera fixed on a long shot of the group you can cut to whilst framing the close-ups and maybe 2 cameras for the closeups. It looks to me like you're trying to do the whole interview with just one camera which is almost impossible for an ad-hoc response shoot. Even a GoPro on a tripod will work, or possibly a later iPhone, but be careful of crossing the line. You can edit it all together with multicam edit software such as Lightworks, Final Cut Pro or similar.

[@JOHNEDGINTONDOCUMENTARIES]

@@125brat This is on the video info NOTES RE CAMERA ISSUES Why is the camera moving so much? There were 3 cameras. you’re only seeing the “ rushes” footage from one of them. The camera operator is changing shots and focus to get variety - to be intercut with the other two in the edit.

[@125brat]

@@JOHNEDGINTONDOCUMENTARIES OK John, Thanks for your reply. Sorry I didn't see your notes re camera movements before I posted my comment. Well done and keep up the good work!

[@christopherdavies3079]

It’s like watching a counselling session where you can still sense the various tensions within the band . The body language through out is so telling .

[@damienfoyer]

Tony Banks is such a dictator, all these decades later he still doesn't even want Steve Hackett to have a voice. Watch Banks as Steve talks.

[@LuisCorro-qy1sf]

It is rare for a band, that all members were equally talented and got successful solo careers. Lets not forget Anthony Phillips, Genesis first guitar player. He deserves to be recognized. .He recorded many fabulous solo albums as well.

[@JOHNEDGINTONDOCUMENTARIES]

I agree. My two-part interview with Anthony is on this channel.

[@krugmeister7301]

To me the LAMB was a Epic and Dramatic Album....My favorite songs were ...CARPET CRAWLERS...RIDE THE SCREE...The LAMIA..BACK IN NYC...💯💯💯💯🥰🥰🎤🎧🎹🎹🎹🎹🎹🎸🎸🥁🥁🥁🥁

[@krugmeister7301]

Another Favorite GENESIS album was SELLING ENGLAND BY THE POUND...💯💯💯💯💜💜💜💜🎧🎤🎹🎹🎹🎹🥁🥁🥁🥁🎸🎸

[@donnietobasco9791]

I wonder if Tony's mellowing and inclination towards emotional honesty has been fuelled by the fact that he now knows (and accepts) that he's the LEAST commercially successful solo artist within this group of five? I think this would definitely affect MY attitude if I were placed in his shoes. I'd be extremely sensitive to the court of "public" opinion, because it's the purchasing public who ultimately get to decide if they're going to bless an artist's SOLO endeavours or not, and provide them with a layer of secondary validation which goes above and beyond their "group" output. Was it Tony Smith who said that Genesis was Tony's "solo" career in many ways? I think I understand what he meant by this now, in that....Genesis was the only type of commercial vehicle which was capable of showcasing Tony's talents as a writer and musician to a very large audience, but back in the day, Tony (himself) may not have really realised or accepted this? Pete, Phil, Mike and Steve all went on to prove that they could market themselves as artists "beyond" the Genesis sphere.....and generate some independent commercial demand for their own projects. I guess I'm just saying that Tony's early years inclination towards "getting his own way" as a senior group member...(which is how he saw himself)......must have eventually been greatly eroded by the stark reality that he possessed no real "solo" kudos.....whereas the others DID begin to accrue this with each passing year. I’m not suggesting that the others might have begun to actively try and devalue Tony as a writer, but more than likely, this unspoken truth MAY have just motivated Tony to "wind his neck in" a little whenever they were doing group projects. What's great is that their relationships were all solid enough to withstand these "political" shifts within the group dynamic, and that Tony was intelligent and humble enough to keep on re-appraising his own shifting status as his co-writers began to outgrow him...." commercially" speaking at least. I just get the impression that Mike & Phil (especially) had sincere affection for Tony and knew and accepted the way he was. Not so much with Pete and Steve, however. Steve probably suffered the most from Tony's flexing and "rank" pulling back when the group was still the primary vehicle for all involved. And as for the Tony & Pete relationship, well that was probably already in place and heavily cemented by their juvenile sensibilities as schoolboy friends.....which meant that they were comfortable enough to "row" with eachother at the drop of a hat.....much to the bemusement of those who became latterly involved with the group. Any residual "frostiness" that viewers sense or observe between Tony and Steve, may well be predicated on the fact that these two guys were the LEAST commercially viable musicians and writers amongst their other Genesis peers. Perhaps they BOTH knew this (deep down) and perhaps that's why Tony became so assertive and possessive over the output? At that stage, there was probably only room for ONE dominant writer who was reliant on the "group" as their primary vehicle.....and as far as Tony was concerned.....well......he got there first and held the most provenance. Steve eventually just "read the room" and realised that Tony's attitude was very much "take it or leave it" as far as how the group's collective idea-space was going to be shared out. Whatever personal profile he'd thusfar built for himself in his association with the group was about as big as it was ever likely to get. Would it be "enough?" Well, the passage of time went on to prove that it WAS enough. If Tony had been the one to relinquish his "group" association after Wind and Wuthering, would HE have been able to utilise his Genesis profile as an introductory push towards a successful solo career? I guess we'll never know. Because, solo "toe-dips" aside, Tony has never seemed confident enough to want to totally "sever" the Genesis umbilical and go "all in" with his own solo ambitions. Pete went that way circumstantially. Phil went that way "accidentally" (more or less) Mike went that way "just for fun" (it would seem) Steve went that way out of professional "necessity" Tony TRIED to go that way....but possessed no commercial "charisma" whatsoever. For some reason, the public were not enticed into trying to discover or unwrap him as some kind of artistic "enigma." Because he wasn't one. Not as a solo artist at least. As the brooding, quiet and somewhat handsome Genesis keyboardist however, Tony was worshipped for his finger-blurring solos and deadpan stage presence. That is where he's always been at his best IMHO. As a VITAL, core component within an extremely tight and talented musical collective. Copied by many....but equalled by few.

[@mikearchibald744]

Very interesting comment but you may be doing what me and others have done and over analyzed it. And maybe mixed up the timeline. For one thing, Tony did walk away from Genesis after Calling All Stations and said he was willing to do that as soon as Phil left, but Mike wanted to go on. You also have to remember that Invisible Touch and We Cant Dance are pretty much the ONLY Genesis albums from 1984 to 1992 and each represent about six months worth of 'jamming' which they claim is how they wrote at that point, and after We Can't Dance, Phil says he was getting more of HIMSELF into the records than anything else. Commerciality is something else entirely. Mike and the Mechanics basically had TWO hits. And Peters big claims to fame are the animation in "Sledgehammer' which meant it was the most played video on MTV. Steve also had no hits, he had some success in GTR, but that was fleeting. Commercial songs have a certain production value to them, and hits have that and more, sometimes no more than really good marketing. There's a guy who marketed Styx who said outrightly that a marketer has six months to 'sell ' a song. In the Pink Floyd doc Andrew King says as managers they learned how much it cost to get a song into the top 20. Albatross was played over and over for a weekend, as was bohemian rhapsody to MAKE them hits. "Lady" by Styx was played every night just before the nine oclock news UNTIL it became a hit. So commerciality is something else entirely, which is why Pink Floyd is held on a pedestal a bit because their MOST famous songs are ten minute pieces too long to be played on radio. But also there is the 'production' of them. I've always said that from "Security" to "So" is WAY more of a sellout than Genesis, those two albums don't even belong on the same PLANET let alone successive albums by the same artists. I'm only being 'critical' there, not 'criticizing' because I certainly listen to 'So' more than Security, but Security is about as close to 'art' as music can get. A lot of that is production. So was produced by Daniel Lanois, who made 'stars' out of U2, and even BIGGER stars out of Bob Dylan, whose light was fading, and Paul Simon and those whatsername brothers, the "yellow moon", Neville brothers, thats it. That guy could churn out hits for EVERYBODY but himself, but his own stuff is phenomenal, just not 'commercial'. Audiences are fickle things and can tell when artists are 'shining it on'. Even in his videos you can tell Tony really doesn't want to be there. The perfect example is 'this is love', which is a bouncy pleasant little song and then you realize, 'this is a british white guy doing a reggae song in 1980'. That either takes serious cajones, or a COMPLETE lack of intuition in how the music industry works, and thats no surprise as Tony admits "I don't know why people do the things they do". Amen. But the saying goes ,in art, you need to bleed. Just look at the lives of most successful musicians. Phil had HOW many wives? And is so fucked up that he's spying on his ex in his house to make sure she doesn't rob him. Roger Waters the same. Dude is on his FIFTH wife who is a third of his age and hot as hell and during covid he gripes that 'the only person I get to see is the missus'. ANd thats when he's JUST married. Totally out of his mind. And frankly, Tony got married and had some money. The fire was pretty much gone. This is a guy who just wanted to be able to make a living doing music, and he was. Phil talks about how after Follow you Follow Me he was amazed that stuff he wrote he could actually get Tony to play. But as an artist, during ALL those years you never know you don't have hits until.....NOW. After CAS he claims he bailed because Mike did, but he says that he wanted to keep working with Ray, who very well could have made a whole new other chapter and brought in a harder edge. If I were Ray I would have made the stipulation that Tony pick up a guitar a little more often:) Anyway, good insights, I think Tony is a smart enough guy to be sick to death of all this "Tony is Genesis" stuff because the other guys seem to be APOLOGIZING for his lack of hits. Hits are commerciality plus banality in about 90% of the cases. Every once in a while a special one comes along that 'lights up the night' but those are rare. I see NOTHING remotely special about 'Invisible Touch". I'd rather listen to 'time table', and I HATE 'time table.' have a good day.

[@donnietobasco9791]

@@mikearchibald744 Thanks, I enjoyed reading YOUR insights which all add to the fun of deconstructing many of the unspoken interpersonal and industry dynamics which must have been navigated by these guys over the years.....with varying degrees of awareness "at the time" I'd wager. When focusing on Tony, I always take him at his word that he was inspired by "commercial" music, and saw this as the benchmark for any aspiring writer. Fate didn't take him this way however, well not immediately at least. But what "fate" did provide for Tony was a musical genre which totally coincided with the halcyon days of synth and keyboard development. Cometh the hour.....cometh the MAN, and Tony, along with the likes of Eno, Wakeman, Parsons, Jarre and Shuttleworth......was DEFINITELY one of those "men." If however, Tony was going to be really "ruthless" (and ambitious) about using the emerging tech he possessed for commercial gain, he's have caught the first train leaving the platform for planet DISCO. Because like it or not, THAT was where all this emerging "prog" tech was ALSO being heavily deployed throughout the seventies. The likes of the Bee-Gees (acoustic 60's background) and Abba (Swedish folk background) were very well placed to just slide into the DISCO marketplace without any accusations of having sold out. I'm just saying that this iron "was hot" and if Tony had opted to strike it in the "seventies" rather than waiting until the eighties, (ok 1979 was his first solo grift I know....).... then he may well have become a force in that genre. By the time he DID strike out however, DISCO....although not strictly "dead" was definitely on the wane. What's always amused me about Genesis, is how they saw "punk" as the emerging genre which was beginning to captivate the (then) modern audiences of the late seventies. They were right about this of-course, but "popular" DISCO'ish or soul-based-dance-music wasn't really affected by this trend. THAT genre remained stable. But, of-course....Genesis were far too masculine, serious, thoughtful and "English" a band to ever try and dip their toe in THAT genre. Enter the eighties (stage left) and we have "Duke" and "Shapes" For me, being a teen-child of the eighties....and being totally sensitised and seduced by the embarrassment of riches that WAS......."eighties music"......the remaining trilogy that was Genesis......definitely delivered the goods here......in spades. But what about Tony? Well, with the eighties came some very expensive, but still very "affordable" synths. If every Tony was going to make a solo mark on the ears of the "eighties" audience, it would have had to have been done using his unique position as "prog god" which had thus enabled HIM to be the first commercial user of any one of the new synths entering the market-place. I'm a keyboard player myself, so this might be colouring my narrative a bit, but it's generally held that whoever gets to own a new synth FIRST.....gets to use some of it's very BEST pre-set voices FIRST, and if you can get YOUR record out before any others.....(and the record is good) ......then YOU get to harvest all of the positive response to that "brand new" sound. Think "Enya" or "T-Pau" with their respective use of the Roland D-50's "string-pluck" or "Pizzagogo" setting. I could furnish this argument with more examples, but the point I'm making is that Tony didn't have any "vocal" gifts....(bless him).....but what he DID HAVE......or at least.....has always had access to, is leading edge synth tech. And I put it to the jury that judiciously used in accordance with the musical zeitgeist of either the SEVENTIES or the eighties.....there WAS a pathway for Tony.....at least as a writer or composer. It begs the question. Could the same guy who wrote "One For The Vine" (1976) ....also have been the same guy who wrote "I feel Love" by Donna Summer? (1977) If the answer to this is a resounding NO.....then I put it to the jury that it wasn't for want of "tech" that this is the case......and that there must be other reasons why somebody like Tony.......who......let's remember.....always WANTED commercial (chart) success......never opted to plough some of the furrows which may have given him this. Perhaps he's just a snob? I don't care. I wouldn't want him any other way!! 😀

[@mikearchibald744]

@@donnietobasco9791 I can't say I followed all of that, not being a keyboard player. Certainly Tony has always talked about gettting the new tech, despite Steve having apparantly talked him into getting their first mellotron, and having even 'disliked the organ' according to Anthony. Ironic you mention disco because in his interview he mentions one song 'could have been a disco hit' but "I wasnt much into that". LIkewise "this is love" could have been a REGGAE hit, but there are at least two chord changes too many and a time signature change that takes it out of reggae land. I think Tony, like most poeple, wanted BOTH. Wanted big long keyboard solos AND singles. Nothing wrong with that, the model being Mike Oldfield who usualy had an instrumental on one side, and a collection of singles on the other, with varying degrees of success. I don't find the music so mysterious, its the fact htis guy talks so reasonably in interviews and yet at the time they say that he'd literally flip out if you TOUCHED his keyboard. Anthony says while doing Trespass that Peter didn't even have ACCESS to the keyboards. Of course he could have rightly figured that if Peter made up songs on the keyboard AND sang, there would be little point to haveing HIM in the band. But then this is rock and roll, no matter how much fighting, apparantly Sting and whatsisname were at each others throats. The guys in Led Zeppelin and Cream didn't even LIKE one another. So its a whole other world. Like anybody in music no doubt some of his stuff was commercial and some wasn't. Commercial is not 'music', there's a reason they're called 'commercials'. I think on some of his songs he TRIED too hard to be commercial, and thats always a big mistake.

[@freechordsthetruthmarceden8277]

Art reflects life reflects Art reflects...(ad infinitum)...The Lamb could only have been written with the air of torment and paranoia and distance within the players themselves, making Rael - well - Real! 🤓 I hope, HOPE the 'five' know how important, and vital these early records are to us...'Suppers Ready' was the first song that had me obsessed with this thing called music. I was age 10. A cassette of 'Seconds Out' was given to me, at a time I was just discovering what was to become my career and lifelong love. Listen to SR was a deeply spiritual experience for me, and at that age, utterly lifechanging...Much love to the guys, AND you, John, for these uploads. Best. M.E. ❤

[@roddlecoddle]

Having discovered Genesis in my teenage youth with Invisible Touch, I worked my way through their catalogue and although enjoying the Gabriel era was firmly in the Collins camp. But in the last few years I've had a rediscovery, everything is familiar as music stays with you for life, but now with more of a musical understanding I've been blown away by Nursery Cryme through Lamb which in my opinion got better with each release, and now Lamb is my favourite Genesis album. Certainly the live version on Archive #1 is something I will never tire of. It's great hearing the guys talking about it. If only there was more footage / recordings from that tour.

[@micheland3036]

Thanks for posting this. I have been a fan of Genesis, whatever their lineup was. And, I appreciate their honesty on the things that occurred, without anyone getting upset. Seeing how Phil is physically right now, I'm glad you historically captured this interview with all five of these great musicians.

[@sirgilmour]

I cannot thank you enough for making this moment possible for all of us fans to enjoy! Thank you John!

[@rhythmfield]

And then there were 1,085… I find it almost unbelievable that, even with a previous release of this interview, there are so few of us really committing and listening word-for-word to this whole conversation. For those of us who are really touched by the history and music of Genesis (often from a young age), this is spine-tingling stuff. A transitional, tumultuous period for our favorite band, with the inner workings revealed by a conversation that is so open on the part of these guys. Plus some heartwarming chuckles between the guys to smooth it over a little bit. I feel like we are part of a small club who really are staying committed to this thin-and this interview gives us a privileged inner look at a convoluted, painful period for the band. This is just incredible stuff. I’m rambling on a little bit, but hopefully my point is made: gratitude to the filmmaker and interviewer: thank you, John!!!

[@JOHNEDGINTONDOCUMENTARIES]

I love your wonderfully “rambling” comment. Thank you !

[@rhythmfield]

@@JOHNEDGINTONDOCUMENTARIES glad we have mutual appreciation here. Wish I could donate for your efforts, I am a self funding musician working on some projects right now, but please know that your work is greatly appreciated, you probably know that already.

[@aminahmed2220]

Absolutely fantastic have a wonderful day John ❤❤❤❤❤❤😊😊😊😊😊😊😊

[@Z-eb]

Thank you so much for sharing these interviews !!

[@talktalkagain]

When Peter says "Supper's Ready"...it still sounds like he has just announced the next song and they're all about to actually play it.. :)

[@FireflyIndustries]

Thanks! This is wonderful material about the band more than the music. Not that I dislike the music but it’s keenly satisfying to hear how the musicians worked to make such wonderful songs and a truly wonderful concept album.

[@JOHNEDGINTONDOCUMENTARIES]

Cheers ! Very much appreciated! Love your take on this too.

[@williamjueschke9960]

I love this, very interesting, the Lamb to me is a masterpiece, brilliant piece of music.

[@jimw6659]

These new versions are wonderful - I'm loving all of the extra detail. Thanks once more, John!

[@marksilva7276]

Wonderful ❤

[@davidtellett179]

Thank you for these uncut interviews. Absolute gold dust for us fans ❤

[@JOHNEDGINTONDOCUMENTARIES]

My pleasure!

[@scottburns2600]

Very nice. I couldn't imagine sitting in your seat, facing these legends in person. Great work

[@OlafProt]

You can tell Pete and Steve, have dealt with their 'stuff', whereas Mike and Tony have just buried it. So when Pete mentions past tensions, they pop up like old scabs, you see the two tense and almost emotionally curdle. Phil just carried on being Phil lol Its sad that Tony feels the need to justify the band decision (a couple of times) surrounding Pete. Pretty callous really, very little humanity there. Especially then the juxtaposition of when Steve then <a href="#" class="seekto" data-time="515">8:35</a> jumps in, with some actual feeling and understanding. <a href="#" class="seekto" data-time="660">11:00</a> is amazing. Pete really lays it out. And STILL, Phil and Steve come back with some 'whatboutmes'. Sheesh it truly is, like an old marriage lol

[@julioespinolagarcia2856]

Es siempre sorprendente constatar las tensiones internas de la banda en la grabación de "The Lamb", para mi, uno de los mejores albumes de la historia dell rock. Igualmente sorprende escuchar a Phill decir que no sentía su autoria, o que se sintió ignorado, cuando su trabajo de batería y percusión es uno de los mejores y mas inspirados trabajos de bateria que uno pueda escuchar everr!!

[@Sebastian-lo3hn]

This was/is so important for this group of individuals and artists. It's as if they have never spoken before in a sense. Each one in turn, laying bare their wounds and persons. It's as much an insight to the band as it is an insight to 5 individuals finding space to be honest about their collective pasts and all that it was. They will not meet again, in this forum. It's a testimony of their love for each other that this therapy session is so revealing. Well done John, they trusted you and it was well deserved. They can now truly move on. Tony comes out the worst, on several levels - However, I would suspect that he lost and gained the most from this band - and ultimately, had nowhere else to go afterwards. Phil's deference is quite moving, especially as the one who was most commercially successful. However, Gabriel remains humble - yet utterly unmatched creatively and his words carry unrivalled currency way beyond this most creative band of men.

[@birdzzzondayflu2489]

I love hearing Mike and Peter clash

[@birdzzzondayflu2489]

This is the essence of genesis

[@Imjustsayin99]

I think in the end, the tension and split moved a creative force in Peter and Steve that produced volumes of incredible material. It was best they parted. Couldn’t see it any other way

[@lifeson90]

had to give fly on a windshield/broadway melody of 1974 a listen after that

[@tdom2957]

0:08 I love the segue from The Lamb into Fly ... Mike's 12 string rhythm and Tony's ambient Mellotron Choir setting the stage for Pete's " & I'm hovering like a fly, waiting for a windshield on a freeway"...BOOM!!!

[@mikearchibald744]

I think maybe the fans have been right all along, the chief tension seems to be between Pete and Phil. From not knowing, and then declining to hug one another, to Phil's constantly bringing it up, and Pete speaking for him, about the whole 'Phil was getting sick of my getups'. I think there is more truth to it than Phil would like to admit. David Hentchel produced Trick of the Tail and in another interview says that Phil very much wanted to sing. In this interview Pete seems to have enough of that, and says that he and Phil would often sit down and be 'working on their own thing'. I think it could be partly this idea of Phil as the 'reluctant rock star' that Pete seems sick of, when frankly they ALL were that. As Tony says, they loved music, and if they could make a living at it so much the better, and they did, kudos for that, beers all around. The same with Phil, its hardly his fault he wrote good songs that lots of people liked. Its really the fan base that almost demands they be apologetic for expressing themselves musically in a certain way. At the same time some people take the distintion between art and commerce seriously, and think of simplicity as being a sell out. What I find interesting is the lack of critical commentary on the fact that 'the lamb lies down on broadway' seems a pretty patently ANTI american album. The crass commercialization and the 'lamb' as either just a ritual sacrifice, or an allusion to jesus 'lying down' on broadway to be sacrificed with the 'grand parade of lifeless packaging' seems pretty pointedly anti american. Something that I can understand from THEN, but then you had the jingoism of the eighties and the fall of russia into the nineties, so that theme got over shadowed. Today it seems less a 'spiritual journey into the soul' and more a political album that has a lot of the same themes that Pink Floyd later trotted out with The Wall.

[@massimoperli1696]

Tony and Mike's resentment towards Steve is very evident. They never look him in the face and avoid talking to him. Zero empathy.

[@arkadiy6031]

But it should be the other way around. Steve, by all accounts, was practically deprived of the right to vote and the opportunity to reveal himself among people who said that his departure had practically no effect on anything. On top of everything else, they obviously deliberately "drowned" his guitar in the mix of "Seconds Out". And they are also offended by something else. What a strange attitude.

[@cliff.allister]

@@arkadiy6031 And it is the irony today that it is Steve who is still successfully waving the Genesis-flag! He is the only true Genesis-member left. The only one that proudly stands by what the group has achieved in its prime years. For us "old" fans Steve now is the true heart and soul of Genesis!

[@bent2]

Mike and Tony has always been this way because of their background. Upper class and private school. It's just the attitude. I don't think they have a problem with Steve now. Phil have the same background as Steve, but he was/is a very outgoing person. Steve is more quiet and introvert.

[@maxperli]

​@@bent2Well, Peter has the same background of Tony and Mike... The problem is that five composers with strong personalities can't fit in a group, due to lack of physical space, as Tony himself has said several times. Tony and Steve (and Peter) are the ones who hardly give up their ideas. And in fact the two left, the three of them managed to manage themselves better, even if it's clear which of the three composed the song.

[@bent2]

@@maxperli But I can say that Mike seems more grumpy and uptight in his later life. He used smile more and seemed relaxed when he was younger. He rarely smiles now. Maybe he was more jolly when he was younger because he smoked alot of weed. I dunno 🤷‍♂️

[@Sputeen]

I think it's a bit sad to hear these guys talking about this album. For them, it was clearly a difficult time. Difficult to make the album, difficult to tour it, they weren't happy with it.. this has spoiled the experience for them, and it means they can't fully appreciate the fact that they have left us with a masterpiece. I was listening to this just yesterday, and still after all these years, I find things that are just so musically great. I don't agree (with Tony Banks) that side 3 and 4 "didn't really work" - they're just different, and they still contain some really strong material. This is a monster of an album, it's just sad the artists themselves don't get to experience that because they were stuck in the middle of producing it. Chin up lads, you knocked it out the park!

[@birdzzzondayflu2489]

This is a mislabeled therapy session between the guys

[@WintersWar]

John thanks. Is this a first time release? Loving this.

[@JOHNEDGINTONDOCUMENTARIES]

No but previous one was blocked by a copyright claim so I re-edited it to take that on board

[@scottgillham2000]

As for the naked girls, that was Seattle. I was there.

[@krugmeister7301]

But GENESIS had a Strong ITALIAN FAN BASE .!!💯💯💯💯🥰🥰🥰🥰

[@stevefuegner1876]

There's no law saying a musician has to go have a solo career!! 😰😰 even though Peter Phil and Steve did interesting things on they're own we should all feel blessed to have the best they had to offer us until Steve left after Wind and Wuthering❤❤❤

[@68lade]

3 genius musicians and 2 bank managers.

[@dougdrazga4461]

"The New Jerusalem and blah, blah, blah." Oh, Pete ...

[@Rob1nson]

Steve the outsider. Tony full of himself but zero contribution musically, Phil and Peter the true icons, both brilliant.

[@glavius67]

Sorry? Tony zero contribution musically? That’s a very new one…

[@Rob1nson]

@@glavius67 is that you tony?

[@giorgiodonat9852]

Per me non si sono mai riconciliati definitivamente ci sono ancora rivendicazioni

[@Sputeen]

... and another thing... they shouldn't be so down on the stage show for the Lamb, their plans were probably a bit too ambitious for the technology at the time. Last year I want to see tribute band The Musical Box, perforing the Lamb Lies Down stage show, in its original form, same props, costumes, slide show, lighting etc and I was blown away. If ever you get the chance - check out The Musical Box. They are endorsed by some members of Genesis (who have even commented that TMB probably do a better job!)

[@OlafProt]

Its fascinating <a href="#" class="seekto" data-time="1170">19:30</a> that Pete points out that we frame The Lamb with (now) absurd reverence, that back then simply wasn't there. Much the same as other doubles like Exile on Main St and others. Its really only in the last 10-15 years these albums have become these sort of untouchable pieces of lalique pottery, that 'real music' fans will verbally assault you for daring to suggest aren't perfect.Which is so far from the truth. I agree with Tony about side 4. Mike is so very quiet during all this. The eternal peacemaker.

[@mickymantle3233]

There's always been Ethel....

[@JoeSmith-eo7rc]

Jacob wake up you gotta tidy your room now

[@welshhibby]

@@JoeSmith-eo7rc Then Mr Lewis, isnt time you were out on your own ?

[@birdzzzondayflu2489]

<a href="#" class="seekto" data-time="443">7:23</a> Phil steals the conversation

[@snacklofter]

👍👍

[@sergeyermolenko6034]

Genesis - красивая машина, непревзойдённая в своём роде. Если разобрать её на узлы, механизмы, детали и запчасти и восторгаться коленвалом, ставя его в пример распредвалу, морщиться от правого переднего колеса, нахваливая левое заднее, то получится буквально то, что я читаю в комментариях😅 Привет из России/Советского Союза

[@christopherdavies3079]

Wow ! Look at Steve’s face at 12.40 when Tony talks . He quite obviously doesn’t agree with his comment .

[@meowco69]

Interesting to see when Pete talks about his priorities to his family the rest of the band's body language comes off as "he's talking BS"

[@mikearchibald744]

I didn't get that, they've all admitted to being unsympathetic. Tony you can't tell whether he's blowing it off with "well thats our upbringing" or more likely "yes, we've done interviews before, I've admitted I was a prick, can we move on?" At the same time I don't get how he was going off to Hollywood if that was going on. The body language to me was "oh geez can we get this over with". In hindsight I think I'd be fine if they had come in saying "can we not talk about Pete and Steve leaving yet again". I'd rather see them all comfortable and joking about their time together not feeling like "I'm glad I dont work with those bastards again" at the end.

[@777i2i]

Camera work not good

[@JOHNEDGINTONDOCUMENTARIES]

Please read the video info on this which explains it

[@nickmee4617]

Rutherford ‘s stiff upper lip

[@sluggo3slug]

The camera work is awful

[@JOHNEDGINTONDOCUMENTARIES]

Please read the explanation which is below the video.

[@rhythmfield]

And: wrong! The camera work captures the intensity of this conversation.