#Peter gabriel in your eyes live italy generator#
Despite package tours with Lindisfarne and Van Der Graaf Generator – Genesis’s label-mates at their new home on Charisma – the band’s Trespass (’70) and Nursery Cryme (’71) albums sold pitifully few copies. Gabriel’s monologues soon became a feature of Genesis gigs as the band built up pockets of support in places like Aylesbury, Godalming and Bath. That’s when I started, out of desperation, telling stories.” They’d be sitting there in silence, tuning up, and I’d be trying to speed it up because I could feel the energy from the audience just dissipating. What’s more, we had all these twelve-string guitars that had to be retuned between each number. “And it was a lot of pressure,” he continues, “because there were audiences that weren’t the least bit interested in what we had to offer. “Because I was the one who was actually having to sell it at gigs. “And the others had absolutely no understanding of the stress that it put on me,” he recalls. But at this point Gabriel became aware that he was the only one standing up on stage. It meant that by the time they started to play gigs they had a carefully prepared show. Mike Rutherford belying the fact that Genesis were far too intense to enjoy themselves (Image credit: Getty Images) As Mike Rutherford later observed: “We were far too intense to enjoy ourselves.” Apart from taking afternoon walks they never left the place. King recorded their first album in ’68, From Genesis To Revelation on the Decca label, which almost nobody bought.īut they knew they could do better, and once they’d wriggled out of King’s clutches they took themselves off to a country cottage just outside Dorking where they spent six months eating, sleeping and rehearsing. He’d had a hit in 1965 with Everyone’s Gone To The Moon and it wasn’t as if they had many other contacts in the music business, so they sent him a tape. In fact they were given the name Genesis by Charterhouse old boy Jonathan King, who was the first to spot their potential.
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Gabriel had suggested they call themselves Gabriel’s Angels, which could have laid him open to Keith Emerson-style criticism, but the others were not impressed. Their early band names – The Anon, The Garden Wall – are testament to their diffidence, although musically they were well-organised from the start. Back inside the Charterhouse gates, simply forming a band was regarded as an act of rebellion against the establishment, regardless of how whimsical the early efforts of Gabriel, Banks and their school mates Michael Rutherford and Anthony Phillips actually were. But then words were never Keith Emerson’s strong point,” he adds.īut that was a couple of years down the line.
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“When we wrote The Knife, that was very much inspired by Tony Banks’s and my enthusiasm for The Nice. There was a time when Jimi Hendrix wanted to join The Nice, and nowadays people might look back and wonder why, but if you saw The Nice they were exciting both musically and in terms of showmanship, which I think was part of the appeal to Hendrix. I always thought The Nice got branded by ELP in some ways. And hearing the voice and the emotion of Otis Redding was just beyond words. I’m someone who goes for the feel of something and tries to build pictures. “I’ve never really been a technical singer as such, or a musician. It was a bit of a moment for me,” he recalls proudly. “I got to see Otis Redding in 1967 at the Ram Jam Club in Brixton. Gabriel’s formative rock’n’roll experiences outside the gates of Charterhouse – frequently illicit, which only added to the thrill – were Otis Redding and The Nice.
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Lipstick, powder and paint, Gabriel gets ready to take to the stage in the mid-80s (Image credit: Getty Images)īut sitting in a cosy corner of the Covent Garden Hotel restaurant, Gabriel is allowing himself to wallow in a little nostalgia.