Lamb Stew 1976 Genesis Medley - Tony Banks keyboard cover and tutorial/commentary

[@rhyshughes6374]

Magnificent 👏👏

[@chippywarren9706]

Now that you have separated it from its grouping I can hear a lot of Celtic influence. Sincerely well done Matt. Very well played my super maestro who yet unlocks a door for us all. What a guy Tony is. Totally underrated in any form. Thank you again Matt! 🥇

[@pirated8557]

Superb playing 👍🏼 Only in my dreams 🙃

[@kevinmcandrew]

So good to hear the Lamb RMI stuff on its own, hearing the rest of the track in my head! Amazing writing and brilliant playing from you Matt 👌

[@tiplady]

Wow! Nailed it! I could hear the backing (in my head) as you played the lamb and also for some reason recalled phantom ‘wrist pain’ from the times Ive attempted this epic. 😅 All Great stuff.

[@FukiMakai]

You make it look so easy, I'm still struggling to get The Lamb right enough, trying to follow the isolated chords and harmonies; I couldn't say I play it just perfect, but close enough at least. It's interesting how the piece got faster after Peter Gabriel left the band. The tempo here in the Trick Tour 1976 is right in the middle, but it's certainly faster than in the original album and tour with Peter Gabriel. This was also the last time on tour (except Six of the Best reunion show 1982) where the Fly on A Windshield/Broadway Melody of 1974 was performed after The Lamb as a conjunction of songs, or even performed standalone by Genesis. Because of the departure of Peter Gabriel, it's probably why Broadway Melody is shortened and instrumental.

[@mattthomasoverdrive4514]

One thing we noticed about this set list from 1976 is that Phil is behind the kit for a part of every song except White Mountain, Entangled/Squonk. Maybe it was a fallback in case his front man status wasn’t well received by fans? This is a cool medley, one of their best!

[@FukiMakai]

@@mattthomasoverdrive4514 Well, the medley is respectful with the album suite, while it allows it to get shorter with the segue to Carpet Crawlers. Before actual Old Medleys are conceived and crafted, there are suites that are hard to imagine the songs separated, like Dust and Dreams from Camel (1991), on later tours, they had to get creative to jump from Mother Road (4th song of the album) directly to the final tracks on Rajaz Tour 2000-2001, to make a mini medley of that album without making it too long. As the album was recent, it makes sense to play the first three songs in its original way, only without Peter. That's also why I think the first part of Fly on a Windshield wasn't performed and cut to the Steve Hackett solo, because Phil wasn't confident with singing that, one of the last songs Peter Gabriel made for Genesis. Curious enough, in the Six of the Best reunion, they didn't make this more fluent segue, maybe because they were accustomed to the 1981 Lamb ending. The Trick Tour version is more like the album. Trying to imagine what Phil of 1976 would sound like singing Broadway Melody, I realize he just didn't think he was ready to sing that song live instead of Pete. He never performed it later, and it wasn't included on any medley (Phil did try another Lamb suite song early in W&W Tour, in the very first day of 1977, when medleying for the only time Lilywhite Lilith and Wot Gorilla; that's said to be Chester Thompson's welcome song as Chester was nicknamed the Gorilla).

[@tomsmith86]

Matt, once again you have shared some of the best content available on YT. Thanks for taking the time and showing how it is supposed to sound.

[@FukiMakai]

I second that.

[@LLeonori]

good performance and good speech

[@ginises83]

👏👏👏👏👏👏👏👏👏👏… What a talent , bravo ! 👍

[@jerryseinfeld9815]

Thank you Matt. Happy Thanksgiving

[@Darrin.Crawford]

Hey Matt!! I am so soooo happy you did this for me and your 2000 fans. We are so appreciative. I am so glad you pointed out that 'chord" @0:52 and @1:39. That AMajor 7th chord had always been plaguing me throughout the years. So glad you got you solved the mystery to me after all this time. Also, you and I have discussed this but not many keyboardists know this is that there is a hidden "C natural" in the intro. It's so subtle but it's there. One last thing and this poses a question. I have seen you and also Matt Riddle play this. This is in regards to fingering. You both take the middle (bridge chord) @2:31and you both use your left hand to augment the (high notes). Now...I am definitely no expert but my feeling is how Tony could play it like that on the Lamb, Trick, Seconds Out, And Then There Were Three (Vienna), Abacab/Three Sides Live Tours. I'm certainly not suggesting you're both wrong in your fingerings but it just seems to me given Tony's position with the RMI and the CP-70 that he would play (just that one bit) like that?? Have you considered another way of "fingering" that bit?? I know it must be easy for you on your Trick tour to play it like that but when I watch you and Matt play it the same it just doesn't seem ...hmm "practical" for lack of a better word?? I mean no offence...always trying to learn. Also?? (last but not least)?? It's so crazy how Fly On A Windshield can sound so amazing with just the RMI and Mellotron without the band. On it's own it sounds incredible. I just love when it resolves from the 4ths to the B, Em then D to Gm.....absolutely incredible. I TRULY THANK YOU MATT!! Where were you when I was a wee lad trying to learn this stuff?? You're theeeee best!! Darrin

[@mattthomasoverdrive4514]

You’ll have to give a time stamp to where you think that C is in the intro, I’m not sure where you’re referring to. As far as fingering - every man for himself! But I do think the way I do the bridge is the only way that makes sense, especially to keep that repetitive motion with the left hand tapping out the octaves while the right does that root-3rd-8ve section. When I was a wee lad, I would have been impressed with this, too!

[@bigcraft0076]

Great video, as always!

[@stoneyboyd]

With the way you’re playing all the RMI Electra Harpsichord parts off of Lamb, I now understand why Harpsichords had 2 manuals on them.

[@mattthomasoverdrive4514]

Now you have me imagining a double manual RMI and I want one!

[@allenvaughan1]

No you don't! My 368X is made of uranium and lead! And you'd need a full time road crew​@@mattthomasoverdrive4514

[@stoneyboyd]

@@mattthomasoverdrive4514it would be freaking awesome. Heck if someone could make a compact module version of the RMI Electra, that’d be just as awesome.

[@evankeal]

I cant imagine what it would have been like to have this information accesible back in the 70s and 80s. Other than the instrument listings in tour books or album liner notes, this was all a mystery to me.

[@mattthomasoverdrive4514]

I’ve spent so much time thinking about this stuff, I figured this would be the best place to document it all. I’m glad you enjoy it!

[@taylorbernier7966]

super interesting stuff! Thanks Matt!

[@mootbooxle]

Thanks for this, Matt! I may finally attempt to learn The Lamb now…this is very impressively done! Great playing and you nailed the tone!

[@garywyss2014]

Very nicely done! I have been a Genesis fan for over forty years now and I love the way you do "The Lamb". The Carpet Crawlers is mesmerizing, as it should be. Your evaluation is enlightening as well. Thanks so much for keeping this classic prog rock music alive...cheers!

[@kevinsturges6957]

This made my Thanksgiving night! Thank you for posting this.

[@bernardlavoie6576]

Absolutely impeccable ! I tip my hat to you !,

[@sirjaunty1]

Beautiful. Carpet crawlers done justice, indeed. Love the sound of the RMI. Rare for KZbin at this level of performance. Puts my efforts to shame, but I'm really inspired by your tendon torturing finger work. Really top work, my friend. 😊

[@FukiMakai]

Amateur player here, been playing since I was a child. Playing The Lamb Lies Down on Broadway makes my hands suffer a bit most of times.

[@paul_ward_music]

Fabulous! I've never had the skills to play Lamb - I'm humbled! Last month I had the chance to play with Tony's DX7 - some odd patches in there.

[@mattthomasoverdrive4514]

Man you’re fortunate! One of the things I dread about learning the Invisible Touch tour is making all those DX7 patches.

[@paul_ward_music]

@@mattthomasoverdrive4514 Hit me up if you want me to put you in touch with the owner. He has (or had) most of Tony's keyboards when they closed The Farm.

[@GuitarBassCigar]

Tony is way too critical of this double album "{insert other Genesis musician's name here} is playing over my bit" gets so old hearing Tony say that over and over... Fly on a Windshield/Broadway Melody of 1974 are examples of some of the best 'Tron parts ever made in my opinion. Thanks for posting this. I enjoyed it very much. Hope everyone had a great Thanksgiving!

[@IanDixonTDL]

Great video, interesting to use the timing of a live show.

[@Craigdhouston]

An actual RMI in the flesh! And ultra cool set up with the Mellotron above. I probably don’t need to ask, but I’m sure you’ve seen Cherry Audio released the Prophet 10?!

[@mattthomasoverdrive4514]

I have seen the P10. I just bought an analog P10 rev 4 but I’m thinking of picking the plugin up.

[@Craigdhouston]

@@mattthomasoverdrive4514 Best of both worlds. At least now you can have your P10 on the other side of the stage and do Who Dunnit? as Genesis did. Just look out your snorkel!

[@MrHermanRinger]

Staggering, as always. In awe of Tony coming up with such fascinating parts and compositions, and of course you for the hours of intensive study. In other news... CherryAudio P10! Any thoughts? I downloaded the demo and like it very much. Interesting beast, quite different from the P5.

[@mattthomasoverdrive4514]

The P10 looks cool. I’ve been holding off on buying plugins - I have so many and don’t really use them. Plus, my hardware P10 rev 4 is a dream machine, yet I just did a session for a client using the latest Arturia Prophet 5 V 😅

[@SamLibman]

Love this!

[@earlfloyd4076]

Oh man this sounds very fresh, It has to be the echo. And Again, impeccable playing Matt

[@moegreen77]

Thanks Matt. I've always thought they were amazing and your breakdown makes them seem even more amazing! I was wondering, can you think of what might have been an influence for the Lamb piano part? It seems so unusual/original. Love it even more when I watch you play it.

[@francisturgeon3333]

[@herbcraven7146]

Great video, Matt! I've long been fascinated by Tony's choice to go with the RMI in the piano role after retiring the Pianet. Given his speed and technicality, it seems like an unlikely choice when you had the Rhoades and Wurlitzer electric pianos as practical touring options, but he obviously heard something in the RMI that could produce the amazing textures he was going for during that period.

[@112sje]

Very interesting video, thank-you. I've just recorded an mp4 of the Carpet Crawlers. It doesn't quite recreate the sound as well as you did but it was fun to do.

[@furiobisotti8150]

Simply perfect! I wonder how you arrived to this level. I play keyboards in cover bands but I never tried The lamb. I was thinking it's not human...

[@clausneide743]

Very well done and informative what you show in this vid 👌. I still love the sound of my "former" RMI which I had to sell to get hold of a Polymoog. I also had the MXR Phase 100 and like Tony later the Roland RE 201 Echo. In what band are you playing a.t.m. ? I used to run my band ANTARES from 1978-1984. We were very much influenced by GENESIS in the beginning. Our guitarist even bought the Roland GR 500 guitar synth which he played over a Roland JC 120 amp. Great times back then. ❤Greetings Claus Neide / ANTARES

[@FukiMakai]

If you ever ran out of content someday, I think you could experiment making newer Genesis songs (or unperformed live) with older tours gears as a "What If" type of content, there are many combinations possible. For example, Mama and Invisible Touch tracks, or Tony Banks's Soundtracks things with Trick, Seconds Out or Duke tours keyboards. If you had also Invisible Touch/We Can't Dance tours keyboards, you could also make older tracks that weren't performed live on that tours and see what would it sound like, like Firth of Fifth on Invisible Touch Tour or One For The Vine and Los Endos on We Can't Dance Tour (that was in my head for a long time); but it's more likely an idea for other performers that covers that era. You could open comissions or check out comments ideas and see what you would like the best to try. It's only an idea by a fan. I don't mind if you dislike it or reject it. Greetings again for your sublime authentic Genesis content

[@mattthomasoverdrive4514]

Solid idea, thanks! I was already toying with Blood On The Rooftops with the live rig. My band wants to play it when we revisit the 1977 tour. I’m afraid I’m the one who insists we to the live versions and actual set lists. I think recreating a studio recording on stage is a losing proposition. But…a “what if?” might be plausible in some cases…

[@FukiMakai]

@@mattthomasoverdrive4514 Sometimes it's fresh to add something unedited to a setlist, specially when the people gets always the same live. Bands do that sometimes, adding rarely played tracks on a certain tour, or playing them in special occasions once or twice, like Toto for example. Having passed so many years of the original albums, adding something new onstage would be welcome. Back on the comment, I wonder if someone of ours wondered how 80s stuff would sound in the 70s or early 80s, or viceversa, 70s tracks that didn't made into a 80s or 90s tour. (For example, I think Tony Banks's solo track from Lorca "Lion of Symmetry", would fit right into the ARP Prosoloist, and the use of phased Hammond would make a nice 70s approach.) It would be a nice experiment and encourage other players and keyboard collectors to do something similar. Most purist fans would also wonder if the 80s music was actually that bad in comparison or it were just the sound of the instruments they disliked. There's no content like that currently on KZbin

[@FukiMakai]

@@mattthomasoverdrive4514 Also this is your chance to accept your band's idea

[@deeprainbow1976]

Great!!

[@santibanks]

Nice to hear a real RMI on this! Yours looks in great condition too. Did you consider sticking the pedals just to the casing? I think on the Selling tour, Tony still had the Fender just sitting on top of it. Regarding the Fender Blender, I think you got the 4 knob re-issue from the 90ies? As an anecdote: the circuit of those is actually not like the originals. Apparently when they were making the Kevin Shields edition, Kevin pointed out that it just didn't sound like the original he had. After then comparing the circuit to the one from Kevin, Fender found out that they got the circuit wrong and they corrected it in the Shields Blender (plus adding additional controls). Regarding the Lamb: in principle the composition is so that it starts faster and then there is a ritartando to drop the tempo when the band comes in. It's just that I find that Tony often is a bit sloppy there. Sometimes he gets the "difficult run" wrong, and during the bridge it often is the case that Tony and Phil (or Peter) get out of sync and either one of the two tries to compensate. Always has been the case. I think it's also why they cut the intro section from Carpet Crawlers and at some point they started with piano and hi-hat so that the tempo gets more locked (well actually, they added a bass part to it too at the last 2 tours so that was on tape). I assume you love the Neo Ventilator as rotary speaker? Im considering one (and maybe get a real Hammond T). It's also funny that things which in principle are not so complicated are far more complex to pull off in a band setting. I like that you share your experiences there, many people don't know that it's not a matter of just knowing your part and off you go. I learned that the hard way in my teens when I started all of this. Playing with others around you is complex.

[@mattthomasoverdrive4514]

Yeah, this 368x I just got is one of the cleanest vintage instruments I’ve ever owned. I’ve rethought how to deal with those pedals a bunch, in the end the pedalboard is easiest to set up and break down. Thanks for the info on the Blender - I’d seen there was another reissue but haven’t looked into it since I already had this earlier reissue. I only use it for Volcano and Quiet Earth and it gets the job done. I always assumed the Carpet intro was dropped from Lamb Stew because it was redundant with the title track bridge, and they just kept that arrangement standard. I just listened to the Shrine 1975 radio show and thought, yeah this was always hard to do. I do like the Vent, but I’m only using it on the slow speed in this context. I don’t think any plugin or pedal has nailed the fast Leslie sound, yet. That said, I’ve used both the GSI and IK versions of organ/rotary for recording sessions and nobody complained. Collaborating with my band mates is the best part of this gig! I enjoy the moment it all comes together in rehearsal the most. I can own all this gear and practice all these parts, but if there aren’t four other equals to do this with, it would be a slog.

[@AugustusBroadford]

🎹🤩

[@haydenbeauchamp3369]

Is that a hohner pianet? 😮

[@haydenbeauchamp3369]

Ah yes loved the video also just the pianet cought my eye 😂

[@mattthomasoverdrive4514]

I’m not playing a Pianet, but I do have one. However, the keyboards behind the ones I’m playing are an ARP Solina String Ensemble (top) and a Hohner Clavinet E7 (bottom).

[@haydenbeauchamp3369]

Ahhh i thought the clavinet was a pianet would love one one day. Great tutorial by the way have used it to figure out some parts 😊​@@mattthomasoverdrive4514

[@dave_strings_8880]

Matt how old were you in 1976?

[@mattthomasoverdrive4514]

Four years old!

[@robertcowart1]

A little too fast, but right on!

[@mattthomasoverdrive4514]

I agree - I’m playing along with a Genesis live recording. I don’t know what they were thinking!!!

[@fabiobiagioni]

Great!!