Tony Maylam
Genesis In Concert

THE REVIEW

I would like to introduce myself to this site by writing a review about what remains my all-time favorite Concert-Film: "Genesis In Concert." Recorded in 1976, it is an important document of what remains one of the most fascinating tours of the Band: the one supporting the album "A Trick Of The Tail," the first album without the charismatic and theatrical figure of Peter Gabriel, a lack which, naturally, carries over into the subsequent supporting tour.

That tour was the first to see Collins as the lead singer, with the fantastic Bill Bruford, of Crimsonian memory, on drums. This Film, to be precise, was recorded at the Apollo Theatre in Glasgow and at the Bingey Hall in Staffordshire, on the 9th and 10th of July, and was directed by Tony Maylam.

Having skipped this tedious yet necessary introduction, let's get to the content.

The Film opens with the initial notes of "I Know What I Like" overlaid with the pre-concert work of the Roadies, around halfway through the song there is a change of scene, and we finally arrive at the stage. The excitement is palpable, with Collins going around distributing hats here and there, and singing the chorus of the popular song along with an increasingly lanky Michael Rutherford at the same microphone. Right away, you notice Bruford’s distinctive drumming: a delight for connoisseurs. This vigorous start is followed by the second part (performed instrumentally) of "Fly On A Windshield, the second track of the concept album "The Lamb Lies Down On Broadway", a perfect execution, with a smiling Bill Bruford experimenting with his quirky percussion. This is immediately followed by "Carpet Crawl", another track from the last album with Gabriel. I must say I am very attached to this version, being the first one I encountered of this magnificent piece. Everything perfect: the dreamy keyboards of Tony Banks, the guitar embroidery of Steve Hackett, Rutherford's twelve-string, Bruford's wonderfully irregular drumming, and finally, Collins’ personal vocal interpretation, which turns out more dreamy and less profound than Gabriel’s. In short, it gives me chills.

The concert continues with the final section of "Cinema Show", which includes an off-stage visual component with a black-and-white video that somehow mirrors the nervousness of the piece. The rendition is incredibly tight, noticeably faster than the original, with the Collins-Bruford drum duo being simply inimitable, expertly handling odd time signatures in a unique way. We reach the first performance from the then-latest studio endeavor, the piece in question is "Entangled", very evocative, with the stage dimly lit, three guitars, and Collins' soft voice. The majestic finale is accompanied by a highly suggestive video. Hackett’s sweet guitar arpeggio leads into the final section of "Supper's Ready". In the original version, right on these delicate notes, there is a flute solo performed by Gabriel, here it is replaced by a synthesizer from Banks. We then arrive at "Apocalypse in 9/8", featuring a showy Bruford. The piece concludes with the magnificent final part, almost ecclesiastical, with a brilliant Collins. The bearded Singer-Drummer himself thanks the audience and introduces the final piece, which is also the last piece of "A Trick Of The Tail": the instrumental "Los Endos". A great piece and masterful execution, in my opinion the best ever. The ending features closing credits.

What can I say, this is a Concert (though incomplete…) that is hard to forget. It will always have a special place in my heart as an enthusiast, being the first live footage of Genesis I ever saw, back when I only knew "Selling England By The Pound."

Highly recommended for fans, especially now that it is available in official version on the Bonus DVD of "Trick…".