Version#10: November 22, 2004

Copyright 1996 through 2004 David Dunnington (



What is a radio show?

My quest for good quality Genesis bootlegs has lead me into the world of "radio shows". Radio show transcriptions consist of material prepared for broadcast on LP, CD, DAT or reel-to-reel tape. These radio masters, being of broadcast quality, have sound reproduction and mixing comparable with officially released material. In terms of sound quality a live radio show master is the ultimate bootleg, christened "pre-FM" and much sought after by tape and CDR traders.

Not all live radio broadcasts yield radio show transcriptions: shows for broadcast on local radio do not require distribution, so the recordings result in a single master source, usually reel-to-reel format for older recordings with more recent masters held on DAT. Obviously tracking down the original reels of a local radio broadcast is much more difficult than locating LPs or CDs distributed to participating stations of a radio network, yet recordings are occasionally leaked from archive vaults in this way.

Initially, the legitimacy of dealing in radio show transcriptions was a legal grey area: the media which reproduces the show is the property of the broadcasting company, but transcriptions are not illegally manufactured. These days regulation is tighter, for example "Record Collector" can no longer accept adverts offering to sell radio shows and they are officially out of bounds on Ebay (though a steady stream of radio shows continue to be auctioned there).

Who manufactures radio shows?

The king of the radio show is King Biscuit, a transcription service owned by the US broadcasting company DIR. King Biscuit have put out various series of live shows, including "The King Biscuit Flower Hour" (60 minutes), "Superbiscuit" (80 mintues) and "Supergroups In Concert" (100 minutes) which are distributed to the various radio stations in the DIR network for broadcast. King Biscuit's first live show went out on 18th February 1973 and they have recorded Genesis on most of their major tours. Participating radio stations specify their preferred medium to receive King Biscuit shows when they subscribe to the network: reel-to-reel tape, LP or more recently CD.

King Biscuit made 2 inch multitrack recordings of full shows which they stored in their vaults, with live-to-radio mix additionally caught on 1/4 inch tape. For selected rebroadcasts King Biscuit retrieve the 2 inch masters and put substantial effort into recreating an authentic live experience of the band performing in that particular period. Newer shows often sound noticably better than the original broadcasts due to advances in remastering technology.

Latterly King Biscuit have started to release some of their archive material commercially, though no Genesis shows. These official CDs listed at should not be confused with discs distributed for broadcast, private ownership of which is not officially sanctioned. It is worth noting that occasionally unbroadcast tracks appear on their official releases, so for any given show there's always a chance additional material will be made available. For example the song Prizefighters is present on the official release of GTR in concert at Los Angeles 1986, but was absent on the radio shows. Now that King Biscuit have issued numerous official releases from their archives, the non-appearance of a Genesis CD stands out as a significant omission. It is unlikely that King Biscuit have not attempted to capitalize on their abundance of Genesis live material, so the inevitable conclusion is that Genesis have not consented to release. If so the band may well be reserving the right to exploit the shows themselves - as with the Lamb show on the "Genesis Archive" box set; indeed a steady trickle of isolated tracks have in the past contributed to official products.

Other companies exist which operate on the same basis, leasing their radio shows to US local and independent stations. Another noteworthy name among these is Westwood One whose most famous series are "In Concert" and "Superstar Concert" (both about 80 minutes). Over time the Westwood One network has grown and absorbed several others including Transtar, Unistar, NBC, Mutual. A word of caution: Westwood One CDs are relatively easy to fake, their labels are black printing direct onto silver CDRs. Some suspicious copies have been selling on Ebay at reduced prices with lower quality back print, photocopied cue sheets and the odd occurrence of diginoise.

An honourable mention goes to the BBC Transcription Services. The BBC have been manufacturing LPs (now CDs) since the 1950s which constitute self-contained programs for broadcast on foreign BBC subsidiary stations. Many of these discs contain speech programmes on a wide variety of topics, but some are music oriented and the most pertinent to our current concern is the "In Concert" series of live shows. The hour long "In Concert" slot ran on BBC Radio One since the late 1960s and has more recently been continued on Radio Two. Interestingly BBC "In Concert" LPs sometimes differ by one or two tracks from the British broadcasts. When bootleggers became wise to the fact that the LPs could fetch up to 150 pounds (sterling) they began to manufacture inferior copies which can be identified as having black labels rather than the authentic BBC green label.

London Wavelength was a commercial company set up in the mid 1970s to syndicate BBC recordings for airplay on commercial non-BBC related radio stations. As such they can be considered as an arm of BBC Transcription Services, having access to the treasures within the BBC archives and including the BBC Transcription Services logo on their cue sheets. As with BBC transcription LPs their programs carry an introduction by a British DJ (often Brian Matthew, Richard Skinner or Andy Peebles), but unlike the BBC LPs their programs contain adverts and are syndicated for airplay under contract. They are famous among music collectors for the "BBC Rock Hour" programs, sometimes featuring album cuts, sometimes interviews, sometimes live concerts; other programs with live shows include the "London Wavelength Concert Hour" and "BBC College Concert". Due to the adverts, the majority of live shows are subsets of their counterparts on standard BBC transcription LPs: the BBC Rock Hour usually has about 50 minutes of material whereas BBC "In Concert" programs carry nearly a full hour of music. Yet there are examples of additional material being made available by London Wavelength, for example there was a special double issue of Rick Wakeman at the Hammersmith Odeon in 1976 comprising 100 minutes of a concert formerly limited to one hour on both the BBC broadcast and corresponding transcription LP. Another unique feature is that early shows were produced on reel-to-reel tape which if well preserved and properly treated can often produce superior quality sound to BBC vinyl.


In the sections which follow, I will concentrate on live material (many radio shows consist of interview and studio recordings) and will focus on band material: there are also numerous radio shows involving individual band members. To provide context, I will attempt a complete catalogue of all Genesis live broadcast, describing radio show LPs, CDs and reels where they exist. Bootlegs will be mentioned mainly when they relate to one particular radio show or broadcast; a complete list of bootlegs for each show would clutter the text.

Now that digital trading has become the norm it is usually possible to find CDR versions which are sourced closer to the master recordings than are the old bootlegs. With this explosion of sources it has become correspondingly difficult to obtain information on the lineage of circulating material. The difficulty is compounded by the ready availability of remastering capabilities which can produce multiple variant versions of any source. Wherever I have certain knowledge of a version whose provenance from master is know I have mentioned it, but if you intend to hunt for these items bear in mind that nowadays there will inevitably be false imitations and competing or misleading claims.

For completeness I have added an appendix on BBC sessions which first appeared in Jeff Kaa's excellent "9/8" fanzine. Although BBC sessions are not live in the sense of being performed before an audience they often have a "live" quality due to the limiting influence of the strict time schedules applied at BBC studios. Non-BBC sessions and demos are not addressed because that body of material could easily fill an article of its own. TV broadcasts will be mentioned only incidentally when relevant to radio broadcasts as this subject too deserves separate treatment.


    Early tours

  1. 11 Mar 70 Roundhouse, London
  2. 02 Mar 72 Paris Studios, London

    Foxtrot tour

  3. 17 Jan 73 Jahrhunderthalle, Frankfurt
  4. 25 Feb 73 De Montfort Hall, Leicester
  5. 07 May 73 Olympia Theatre, Paris

    Selling England By The Pound tour

  6. 20 Oct 73 Rainbow Theatre, London
  7. 18 Dec 73 Roxy Theatre, Los Angeles
  8. 21 Apr 74 Centre Sportif, University of Montreal

    The Lamb tour

  9. 24 Jan 75 Shrine Auditorium, Los Angeles
  10. 15 Apr 75 Empire Pool, Wembley, London

    A Trick Of The Tail tour

  11. 13 Apr 76 Syria Mosque, Pittsburgh
  12. 15 Apr 76 Music Hall, Cleveland
  13. 10 Jun 76 Hammersmith Odeon, London
  14. 09 Jul 76 Apollo, Glasgow

    Wind And Wuthering tour

  15. 02 Jan 77 Rainbow Theatre, London
  16. 20 Jan 77 Gaumont Theatre, Southampton
  17. 16 Feb 77 Auditorium Theatre, Chicago
  18. 15 May 77 Maracananzinho Stadium, Rio de Janeiro
  19. 13 Jun 77 Palais des Sport, Paris
  20. 24 Jun 77 Earls Court, London

    And Then There Were Three tour

  21. 24 Jun 78 Knebworth Park, Stevenage
  22. 13 Oct 78 Uptown Theatre, Chicago
  23. 22 Oct 78 Hofheinz Pavillion, Houston

    Duke tour

  24. 17 Apr 80 City Hall, Sheffield
  25. 07 May 80 Lyceum Ballroom, London

    Abacab tour

  26. 29 Nov 81 Nassau Coliseum, NY

    Mama tour

  27. 26 Nov 83 Spectrum, Philadelphia
  28. 27 Nov 83 Spectrum, Philadelphia
  29. 14 Jan 84 Forum, Los Angeles

    Invisible Touch tour

  30. 15 Oct 86 Forum, Los Angeles
  31. 13 May 87 Estadio Vicente Calderon, Madrid
  32. 17 May 87 Stadio Flaminio, Rome
  33. 19 May 87 Stadio San Siro, Milan
  34. 03 Jun 87 Hippodrome, Paris
  35. 08 Jun 87 Reichstagsgelaende, Berlin
  36. 20 Jun 87 Maimarktgelande, Mannheim
  37. 04 Jul 87 Wembley Stadium, London
  38. 14 May 88 Madison Square gardens, NY
  39. 30 Jun 90 Knebworth Park, Stevenage

    We Can't Dance tour

  40. 06 May 92 Irving Stadium, Texas
  41. 08 Jul 92 Ullevi Stadium, Gothenburg
  42. 16 Jul 92 Wiener Prater Stadion, Vienna
  43. 17 Jul 92 Olympiastadion, Munich
  44. 02 Aug 92 Knebworth Park, Stevenage
  45. 16 Nov 92 Royal Albert Hall, London

    Calling All Stations tour

  46. 26 Aug 97 Fernsehturm Am Alexanderplatz, Berlin
  47. 28 Aug 97 NASA Launch Pad, Cape Canaveral
  48. 15 Nov 97 Hotel Richmond, Copenhagen
  49. 09 Dec 97 Europe 2 Studios, Paris
  50. 13 Dec 97 RTL Studios, Paris
  51. 10 Feb 98 Westfalenhalle, Dortmund
  52. 25 Feb 98 National Exhibition Centre, Birmingham
  53. 27 Mar 98 Olympiahalle, Munich
  54. 03 Apr 98 Globenannexet, Stockholm

1. The Roundhouse, London, 11th March 1970

Speculation about prehistory is an inexact science! Nevertheless I will try to arrange the incomplete jigsaw pieces so as to present a plausible account of this mysterious recording. Apparently Genesis' PA system was not capable of making soundboard recordings until 1973. However this gig dubbed the "Atomic Sunrise Festival" at the London Roundhouse was headlined by David Bowie, increasing the likelihood of sound equipment with recording facilities. Verification that Bowie and Genesis played on this date comes in the form of a concert poster which advertised the festival program as follows:

Amazingly Genesis were actually captured on film at this concert! The film is silent, though a separate soundtrack is rumoured to exist, the work to sync sound and vision together not having been done. There appear to be quite a few independent reports of footage of various bands filmed at the London Roundhouse around 1970, including 35mm film of Hawkwind from April 1970 for which the soundtrack is said to be missing. VH1 have shown a clip of David Bowie live at the London Roundhouse, said to be recorded on 22nd February 1970, the day that Genesis were in London recording their first BBC session for the Night Ride program. As rumour has it, Yoko Ono was in the habbit of having some of the bands filmed at the Roundhouse around this era. Yoko Ono actually organized the "Atomic Sunrise Festival" opening the possibility that the master footage and soundtrack resides in the vaults of Apple Corporation. However it is claimed that a search of these archives during July and August of 2004 failed to uncover early Genesis material.

Glen Colson (formerly at Charisma) was shown black and white 8mm footage at the time he was putting together the first Archive box set. He remembers it being silent, about 20 minutes long, very good quality and says that Peter Gabriel was behaving like a young Mick Jagger! Anthony Phillips can be seen quite clearly in the footage, confirming the year as 1970. The dealer (known as Adrian Everett) wanted 20,000 pounds for the film and was "gently" persuaded (on threat of a law suit from Tony Smith) to abandon his ambitions. It is not certain whether Genesis were signed with Charisma at the time, but in any case an offical release is highly unlikely. Another account says that Ant can be seen playing the accordion on one song.

Turning to the subject of the missing soundtrack: Ant, Mike and Tony reportedly all remember the festival being pro recorded on 8 track equipment. A 20 second snippet introduced as live from the Roundhouse was aired by Earth News Radio, who's illustrious presenter Lew Irwin has kindly explained in an email:- "My source for out-of-print and bootlegged recordings was a company in Glendale, CA called Discontinued Records. They are no longer in business (the owner died), and I have no idea who acquired their collection (it was enormous). They did not actually sell the recordings, but made cassette copies for clients. I did not retain any of mine". Following up on this lead proved interesting as the somewhat chequered saga of DISContinued Records began to unfold.

Owner Les held one of the largest vinyl collections in the world, a massive 2.5 million used records at his outlet on South Victory Blvd, Burbank. For a fee Les would record a selection or an entire album for a customer and the scale of his activities attracted the attention of the Recording Industry Association of America (RIAA) who then purchased tapes from DISContinued Records to use as incriminating evidence. On 14.Sep.81 Les was arrested and stock was seized in an RIAA raid on a charge of copyright infringement and a further more serious charge of grand theft on the basis that he had appropriated funds and property exceeding $25,000. A weak defense, mounted on the basis that Les thought he had the implied consent of the record companies, quickly collapsed. But the grand theft charge did not stick and he was instead found guilty of copyright infringement and petty theft, placed on probation, fined $7,500 and ordered to refrain from transferring recorded sounds without a license or consent.

DISContinued Records is mentioned in another court case relating to the manufacture and distribution of Elvis Presley records in 1980. California was known to be one of the major producers of bootleg records through the 1970s and 1980s and based on this evidence it looks as though this operation in Burbank played a large part in establishing this reputation. When Les died his son tried to continue the business, moving to nearby Glendale but eventually closed it down. Les's brother auctioned the stock and the proceeds were used to fund a Memorial Music Scholarship at California State University, Stanislaus which operates to this day; a fitting end to the story of an incredible music collection.

Sadly all this brings us no closer to uncovering the truth about the early Genesis recording, indeed the trail seems convincingly cold. A final word about the Roundhouse: it is fair to point out that considerable suspicion must attach to the date given since Ant Philips firmly believes Genesis were not professionally recorded live during his tenure with the band (though he does recall someone with a hand-held camera at one of the Roundhouse gigs). Although it would be neat to tie this radio show snippet with the film there is certainly room for doubt. The details of this recording remain a tantalizing mystery which I would love to solve!

1.1 "Earth News Radio" [1978 - LP]
Evidence of the London Roundhouse recording is in the form of a fascinating 5 minute and 45 second segment on a rare radio show LP called "Earth News Radio". It consists mainly of Lew Irwin interviewing Peter Gabriel soon after the release of his second album (June 1978). The really interesting part occurs in the first minute. After a brief introduction, Lew announces that we are "about to hear a rare recording of Genesis recorded at the Roundhouse in London nearly ten years ago". Then there is a live snippet of Twilight Alehouse which plays for 20 seconds before the interview begins and there is talking over the music which continues for a further 20 seconds - Gabriel is saying how there were more people on stage than in the audience. During this first part Lew Irwin dates the recording as "circa 1967" - which must be a rather wild estimate! The remainder of the interview consists of questions and answers which present a cursory history of Gabriel's career up to his second album. The all-too-brief excerpt from Twilight Alehouse is certainly professionally recorded and is different from other such recordings (the B-side version, the BBC session version, the version recorded for Belgian TV).

2. BBC Paris Studios, London, 2nd March 1972

This 30 minute broadcast, part of the BBC "In Concert" series, contained a concert performance of three songs before an audience in BBC's Paris Studio. Andy Dunkley introduced the hour long program which consisted of a set by a band called Max Merritt And The Meteors followed by Genesis' set. The producer was Jeff Griffin and the engineer Chris Lycett. It was first broadcast on 11th March 1972 and the Genesis portion was repeated (minus Peter Gabriel's brief introduction to the first song) on 20th May 1989 during Alan Freeman's "Saturday/Sunday Rock Show".

It is entirely possible that the BBC made a transcription LP to accompany the original broadcast but I have not actually found any concrete evidence of an original LP. There is an unconfirmed rumour of an LP to accompany the 1989 rebroadcast, said to couple this show with Genesis' Night Ride sessions unearthed on the "Saturday/Sunday Rock Show" for rebroadcast in 1990. In the past this underrated performance has been poorly represented on bootleg but is now more common on CDR and has been released by Highland on "Live Rarities 1970-1973" [HL 287/288 - 2CD]. A good version can be found on "The Complete BBC sessions" CDR described in the sessions appendix.

3. Jahrhunderthalle, Frankfurt, 17th January 1973

The next live set to be broadcast is reputed to be part of an event called "The Sound Of Britain Festival" recorded at the Jahrhunderthalle (Century Hall) in Frankfurt and aired by Frankfurt's AFN radio.

The German introduction to the performance translates to English as follows: "The last piece of music I'd like to introduce now is something that we might call 'Elektrolore'. It's folklore and everything mixed into it, and it's electronic; how else could it be called? Anyway, it's a very interesting group, which I've already met a couple of times before. So, this is Genesis!"

Doubt exists over both the venue and date attribution. It may be that the songs were performed in a TV studio, a possibility given credence by the announcer's introduction and the resemblance of the crowd noise to a studio audience. As for the date, the official Genesis timeline has them on tour in Germany on 17th January, but not in Frankfurt, and no mention of this broadcast being recorded. Whilst the official timeline is not infallible it seems the exact date and location of this performance are in question.

Some tape copies of this material are accompanied by a recording of Supper's Ready which is sometimes mistakenly assumed to be part of the Frankfurt recording. In fact it was performed live in the studio for the French TV program "Melody". I Know What I Like was also performed for the Melody program, and video copies have over the last few years been leaked and traded quite widely. I do not know if AFN Frankfurt retained their master tape of this broadcast but I guess it is unlikely to see the light of day now. You can find a rather muffled version on the bootleg "Tango" [Chapter One CO 25112 - CD] together with the soundtrack of a live TV studio appearance in Brussels on 20th and 21st March 1972. Copies with better definition can be found on CDR.

4. De Montfort Hall, Leicester, 25th February 1973

The official LP "Live" was re-mixed from tapes originally recorded by King Biscuit. Charisma initially intended to release a double album, but instead cut the recording down to produce a single budget LP aiming to reach a wider audience. Nevertheless plans for the double album were sufficiently far advanced for Charisma to have commissioned test pressings from Philips in Holland entitled "Live at Leicester & Manchester" [Philips 6830.140/1, 13.Apr.73 - 2LP]; the numbers stamped into the vinyl are AA 6830 140 1Y 1 670 1 series. Each label was written out by hand so they all look slightly different. A few of these Philips test pressings were distributed by Phonogram Int. B.V and have survived but are very hard to find. They contain the additional track Supper's Ready, complete with Peter Gabriel's introductory story, and some of the other song introductions are a little longer than on "Live". Besides the vinyl test pressings there also exists a set of two acetates which must take the honour of "ultimate live Genesis rarity".

Record I:
Side 1

Side 2
Record II:
Side 1
Side 2
So well hidden were the surviving test pressings that they acquired lengendary status and many knowledgable fans doubted their existence. Luckily a good tape of one of the double LPs has been used to master "Some Of You Are Going To Die" [Alternative Recording Company ARC 004 - CD] giving more fans a chance to hear the album in its original form.

The test pressings themselves are not "radio shows": they were not manufactured for the purpose of radio broadcast; the opportunity to describe them here is due to independently mastered shows broadcast by King Biscuit and the BBC. Radio recordings of the show can be distinguished from the Philips LPs due to minor differences in sound production - King Biscuit's recording seems more "polished". On that basis I believe "Genuine Genesis Live" [GGL 2/73 - CD] to be derived from the King Biscuit broadcast. Also, the old bootleg "Carnegie Hall" [TAKRL 933 - LP] is undoubtedly the same material and was probably taped from a King Biscuit show. The Leicester gig will have been one of King Biscuit's very first recordings; it has not contributed to any of their more recent retrospective compilations and as far as I know the show has not survived on any medium distributed by King Biscuit.

Supper's Ready from this recording was aired by the BBC on the "Sounds of the 70s" show, hosted by Bob Harris and transmitted on Monday 23rd July 1973. The source was a "private tape" supplied, in all probability, by Charisma and as such is unlikely to have been retained in the BBC archives. A tape containing the BBC broadcast has long been circulating amongst tape traders, coupled with the "In Concert" broadcast (section 2) under the name "UK Tours 1971-1973".

None of the tapes or bootlegs derived from the King Biscuit broadcast include Hogweed, and according to the test pressing cue sheet this was the only track recorded at Manchester's Free Trade Hall (24th February 1973), therefore it is possible King Biscuit recorded the Leicester show and Charisma added Hogweed independently to complete the LP. All versions of this material sound heavily supplemented with studio overdubs.

5. Olympia Theatre, Paris, 7th May 1973

French AM station Europe 1 broadcast part of a gig from the Foxtrot tour on their "Musicorama" show with a reporter describing the on-stage action between songs. Introducing the Knife, the announcer said that "the audience were very warm that Monday night" which helps to verify the performance date as Monday 7th May.

There are no bootlegs from the broadcast; tapes are pretty hard to find and those I've heard are of a poor standard with Knife being clipped just before it finishes. Musicorama was a popular AM broadcast in the early 70s and Europe 1 sometimes rebroadcasts in stereo bits and pieces from these early shows - for example a Pink Floyd 1970 show was partially rebroadcast in 1995. So there is a possibility that Europe 1 still have their recording from the Olympia and may air it again one day.

6. Rainbow Theatre, London, 20th October 1973

It has long been supposed that this was a BBC recording, but in truth the BBC archives have no record of the show. The recording was made by Charisma and some of the material has been included in the Genesis Archives box set [Virgin 72438 422221 2 3 - 4CD] (missing are Watcher Of The Skies, Epping Forrest, Cinema Show).

London's Capital Radio came on air on 16th October 1973 making it the second commercial radio station in the UK, LBC having made their first broadcast only a week or so earlier. Genesis at the Rainbow received its debut broadcast on Capital Radio soon after the station was launched. Later there were several local US broadcasts probably supplied by Charisma to promote the US leg of the "Selling England By The Pound" tour. Absent from these hour long US broadcasts were Cinema Show and Epping Forrest, so related bootlegs (such as "Watchers Of The Skies" [Great Dane Records GDR CD 9018 - CD]) are similarly incomplete. Two verified US broadcasts are WXRT Chicago (1976) and WNEW New York (1986). WXRT are in the habbit of airing their version every few years, the most recent of which was on 13th February 2000 - Peter Gabriel's 50th birthday. A DAT recording of this latter 60 min broadcast is the best I have heard, leaving aside the doctored version on Archive #1.

Tapes of the show and other bootlegs include the extra tracks broadcast by Capital. One to look for is the classic two part bootleg LP "The Great Lost Live Album" [G48,G50 - 2LP], a very good recording which includes Epping Forrest but not Cinema Show: this is rumoured to have descended from the Charisma master rather than a broadcast. "Welcome to Epping Forrest" [RFCD8 - CD] is probably the definitive commercial CD release: an expertly remastered version of "The Great Lost Live Album", but again minus Cinema Show. The best bootleg version of Cinema Show, though still a little hissy, is on "Live Supper" [Chapter One CO 25111 - CD].

Hundreds of Capital Radio masters have been donated as a collection to the National Sound Archive introducing a glimmer of hope that the original broadcast reels may have survived; however most of the Capital tapes are as yet poorly catalogued and those which are documented appear all to be dated from the 1980s onwards.

7. Roxy Theatre, Los Angeles, 18th December 1973 (early show)

Reputed to be among the finest Genesis performances are the six gigs they played at the Roxy Theatre, LA in late 1973. For each of the 17th, 18th and 19th December Genesis gave both matinee and evening performances. A broadcast which is often overlooked is of the early performance on the 18th. The show came courtesy of a small local Los Angeles AM radio station, KDAY - long since defunct.

Existing tapes sound poor partly because of the compressed nature of AM sound and partly because the show may have reached only a handful of tapers increasing the likelihood of degradation during the process distribution. Consequently it has not been deemed worthy of bootleg release.

Happily there are decent bootleg releases of the morning show on the 19th! "Skywatchers" [TMQ 72115 - 2LP] and "Fantasia" [Exposure EX-002-1GE - CD] both have reasonable balance and pretty good stereo sound. Although certainly taken from the soundboard and with the aid of an audience micropone, There are lower generation copies available in trading circles which have a minute or so more of Supper's Ready than do the boots, finishing towards the end of the Apocalypse section rather than near the beginning.

I have not so far found evidence of a broadcast of the matinee show on 19th. A plausible theory is that both the 18th and 19th were recorded proffessionally and the 18th was selected for broadcast. If correct this would require someone with access to the later recording to leak the show in order that it eventually fall into the hands of the bootleggers.

8. Centre Sportif, University of Montreal, 21th April 1974

An entire "Selling England By The Pound" set was broadcast live on the air by Montreal radio station CHOM-FM (not to be confused with Toronto's local station CHUM-FM). Genesis were supported that night by Peter Hammill though his songs, introduced by Peter Gabriel, were not broadcast. To round things off CHOM-FM also broadcast a 20 minute post-concert interview and phone-in with Gabriel.

Apparently the live broadcast was sent by telephone from the hall to the radio station, so the original sound is slightly compressed. Nevertheless the broadcast spawned many bootlegs, the more recent CD versions having good sound - for example, "Live In Montreal" [Swingin' Pig Records TSP-CD 040-1/2 - 2CD]. A superior version is circulating on CDR whose provenance is a reel-to-reel tape recorded off air; it includes the Supper's Ready story which is absent from all previous bootlegs. Some listings claim this version stems from pre-FM reels but the cross line telephone conversation during Horizons indicates it must be recorded from broadcast. A definitive remastering of this version is now available as the fourth released of the FAde program

This particular show is a good one to own, not just because it is the only complete professional recording of this set but also because it sports a finely honed performance. Genesis had been on the road with this material for seven months and had already delighted the Montreal crowd at an earlier visit in October 1973. Watch out especially for some great upbeat backing vocals from Phil - during Willow Farm for example.

9. Shrine Auditorium, Los Angeles, 24th January 1975

This concert was professionally recorded by Genesis' sound engineer, John Burns, and Genesis management hold the master. The Lamb section of the show is available on the "Genesis Archives" box set, though with much overdubbing including doctoring of about one third of the vocals. An early official release of The Waiting Room from this performance was B-side to the single version of Carpet Crawlers [Charisma CB251] where it was nicknamed "Evil Jam". Performance wise this show is incredible with great musical virtuosity and an atmosphere of intimacy and menace: played loud it feels as though you are right there in the auditorium, especially on the unofficial (undoctored) short recording.

Missing from the box set are the last song of the standard set (It) and the two encores (Watcher Of The Skies and Musical Box). Tony Banks's accompanying notes claim that the intention was to make two overlapping recordings but that the second recording was not started due to an "engineer asleep on the job". Nevertheless a portion of the show broadcast on Dutch Radio included the three final songs. All of the 35 minute broadcast was taken from the second half of the show lending weight to the theory that the overlapping recording was indeed completed. There can be little doubt that the source of the broadcast was the John Burns recording because the crowd noises audible on the Archive #1 version match those of the broadcast indicating at the very least use of the same audience microphones. I conclude that Tony Banks owes John Burns an apology!

Loss of the second reel would certainly explain the omission of the final three songs on the official release, but another possibility is disatisfaction with some aspect of the performance. For example there's a noticable drum error during It, just after the line "It is hope for the dope ..." as though Phil has dropped a stick and had to fumble for a new one. I have it on good authority that drum mistakes are very tricky to fix when doctoring a live performance for release.

For quite a while I subscribed to the generally held belief that this material was broadcast by King Biscuit, but the only evidence I have found on this matter is negative. There are no tapes with Shrine Audititorium material containing King Biscuit announcements, adverts or a radio ID. A recent King Biscuit compilation containing live Lamb material attributed to Shrine Auditorium (section 10.27) turned out to be a segment of their old Wembley 1975 recording. The one lead I had claiming original King Biscuit reels from Shrine Auditorium turned out, after negotiations lasting five years, to be mistakenly attributed King Biscuit reels from Rainbow 1977. Though I have emailed King Biscuit for any details their archives might hold on the Shrine recording they have been either unable or unwilling to clarify the situation.

The Dutch broadcast was carried by "Hilversum 3" since renamed "Radio 3", a spokesman recalled that the tape they received for broadcast from "a record company" was about 90 mins long but that the tape had gone missing, possibly taken home by an employee. Dutch Radio 3 have no record of the original broadcast date and say that there have been no rebroadcasts; the concluding announcement on the tape is "that was Genesis recorded in 1975" which suggests the broadcast probably took place sometime in 1976.

Low generation recordings from the Dutch broadcast are rare, the material is better known as the worthy old bootleg "As Though Emerald City" [TAKRL 1945 - LP] and it's CD equivalent "Twilight Alehouse" [Flashback 10.89.0109-33 - CD]. Beware of the bootleg LP "Revelation Without A Cause" [Wizardo Wrmb 313 - LP] as it was recorded from the audience at the same gig. There is also a fairly rare 90 minute version held by a few collectors (beginning with In The Cage) which was rumoured to originate from Fisher Farm Lane studios, but once heard it was fairly obviously just an audience recording.

A better recording can now be found as a CDR bootleg said to be sourced directly from broadcast reels. The quality of the sound certainly seems consistent with this assertion; moreover comparing this version with the Dutch broadcast reveals some differences which suggest it may well be a different source:

Hopefully one day some some supporting information will emerge regarding the history of this "reels" version to lend extra authenticity to the claim.

10. Empire Pool, Wembley, London, 15th April 1975

One of the most bootlegged radio broadcasts in Genesis' history was recorded at the Empire Pool, Wembley. Genesis played two nights at Wembley and the BBC were contracted to record both nights. Some sources quote the recording date as 14th, but comparison with an audience tape from 15th shows the recording is from the second night. The proliferation of this show on bootleg is partly due to the large number of broadcasts it has received: at least three by the BBC; several world-wide broadcasts of a BBC transcription LP; some King Biscuit broadcasts and numerous Westwood One airings.

In total, just under 70 minutes of the concert have been aired. The first broadcast on BBC's "In Concert" program, 12th July 1975 at 6:30pm, was bootlegged by the classic "Awed Man Out" [TAKRL 1975 - LP], minus Watcher Of The Skies. Tracks on the original BBC broadcast were as follows:

Two additional tracks can be found amongst the rebroadcasts:

Although an encore, Watcher Of The Skies whenever broadcast is always the first track played. Curiously the final verse of In The Cage, present on the audience recording, is edited out of the broadcasts giving the impression Peter forgot the lyrics. Only the original broadcast contained Lilywhite Lilith, the story preceding Back In NYC and the complete performance of The Waiting Room, subsequent versions of The Waiting Room being edited to approximately half the length of the original. These particular segments are not to be found on transcriptions because a different selection of tracks was used on the LP which corresponds to the debut broadcast. In fact the songs on the first BBC LP match exactly those used for the BBC rebroadcast.

Among the many bootlegs, none compiled from the full set of broadcasts until recently: "The Light Goes Down on Empire" [Highland HL-271 - CD] has everything including Grand Parade and those parts exclusive to the original BBC broadcast. This Highland CD is easily the best being of excellent sound quality and well mastered. A version which originates from the BBC masters is the best in terms of completeness, while the Westwood One CDs are a little more refined due to remastering. Traded under the label AV01 is a CDR which compiles the best pre broadcast sources to create the ultimate version.

10.1 BBC "Pop Spectacular" [show 98, CN2302/SQ, 29th week 1975 - LP]
The BBC pressed a quadraphonic LP to accompany the original broadcast, hosted by Brian Matthew and named "POP SPECTACULAR featuring Genesis In Concert". As often happens with BBC LPs this transcription differs from the corresponding UK broadcast: In The Cage was added at the expense of Lilywhite Lilith and splicing out a couple of chunks of The Waiting Room.

"Pop Spectacular" ranks among the most rare of radio shows, much more so than the second (1983) transcription LP of the rebroadcast described later.

There was a Swedish broadcast consisting of the first 30 minutes (up to and including Counting Out Time) augmented with a couple of tracks from Knebworth 1978 (section 21). I guess this was probably aired around 1978 and that the 1975 material was taken from this LP - at any rate record surface noise is audible on the Swedish broadcast.

10.2 London Wavelength "BBC Rock Hour" [Show #3, 18th November 1975 - 1 reel]
Genesis are coupled with Renaissance on this the third program in the long running BBC Rock Hour series, subtitled "Two For The Price Of One". Reproduced on a single reel-to-reel tape, the show is introduced by Alexis Korner and includes the following songs from Wembley 1975:

In line with BBC custom for this concert, Counting Out Time is mislabelled as Chamber Of 32 Doors on the cue sheet.

10.3 BBC "Vintage Concert" [Show #313, CN4248/S 41st week 1983 - LP]
A second BBC pressing of the Wembley 1975 material was issued in 1983 with full title "Stereo Pop Special - Vintage In Concert No. 313" and label number 152819-S. It contains the same tracks as on the original pressing, but in stereo rather than quadraphonic and hosted by Andy Peebles. The cover sports an amusingly creative listing of the songs:

Side One:

Side Two: Primarily this was intended as one edition of a short run of UK rebroadcasts of old "In Concert" material during a series called "Vintage Concert" - transmitted over BBC One's mono AM channel. A related bootleg is "Another Gold Record" [ELK 01 - LP]. Confirmed broadcast dates of show #313 are:

10.4 Westwood One "In Concert" [show #86-23, 17-24.Nov.86 - 2LP]
Westwood One's initial version of this concert, the first of many, was in the form of a two part show subtitiled "BBC Concert Classics : Genesis". Sent out on a 2LP set, the first part was 45 minutes of Wembley 1975, the second part contained tracks from New York 1981 (section 26.9). Among the tracks claimed by the cue sheets of various different versions of this Westwood One show are The Chamber Of 32 Doors and The Lamb Lies Down On Broadway, but the real contribution is as follows.

Westwood One made a nice job of mastering their material, so corresponding bootlegs are well worth having; two good examples are "Live at the Wembley Arena" [Seagull CD 001 - CD] and "The Waiting Room" [Flashback 10.89.0108 - CD].

10.5 King Biscuit "The Genesis Event, Part 1" [30.Nov.86 - 2LP]
"The Genesis Event" is a four part extravaganza which contains excerpts from King Biscuit's various Genesis shows together with recordings of solo concerts by band members. Section 30.1 has a full description of the contents, two tracks from the Wembley 1975 gig contribute:

10.6 King Biscuit "The Genesis Chronicles" [14.Feb.88 - CD]
Watcher Of The Skies from Wembley 1975 contributes to this compilation of Genesis and solo material described in section 15.3.

10.7 King Biscuit "King Biscuit Flower Hour" [21.Aug.88 - CD]
Half the show is dedicated to Genesis, the other half to live material by King Crimson (live from Pennsylvania State University, Pittsburgh 29.Apr.74).

The recording can be found on bootleg "From Genesis To..." [Beach Marten BM032 - CD], where it is augmented with Peter Gabriel's solo material from the retrospective show described later in section 10.10. Evidence suggests King Biscuit have no more material - a Genesis Information bootleg list from 1980 lists a 30 minute tape of an early King Biscuit broadcast. No other King Biscuit radio show CD or LP I have found has their full 30 minute recording.

10.8 Westwood One "In Concert" [show #88-25, May.88 - 2LP]
Another coupling with songs from Nassau Coliseum 1981 (section 26.11), in fact a reissue of Westwood One show #86-23 (section 10.4).

10.9 Westwood One "Pop Concert" [show #88-45, 31.Oct.88 - 2LP]
Guess what? Yet another Westwood One coupling with songs from the 1981 recording. To add a little interest the show carries the "Pop Concert" title and the song selection is not just a reissue of earlier editions. Wembley 1975 content comprises:

1981 content is listed in section 26.12.

10.10 King Biscuit "Peter Gabriel Retrospective" [9-15.Oct.89 - CD]
Twenty minutes of the Wembley concert appear together with solo live material by Peter Gabriel to form a retrospective view of his career. There are three songs from Wembley 1975:

followed by four songs from Peter Gabriel's solo performance at the Bottom Line Club in New York City, 4.Oct.78: and to finish, a single song from Peter's appearance at the Prince's Trust Concert, Royal Albert Hall, London, 6.Jun.88: The show is faithfully reproduced on the bootleg CD "Retrospective" [On Tour 20103 - CD] King Biscuit must have been satisfied with their Peter Gabriel compilation since it received repeat issues on a near-annual basis with the following air dates: 11.Mar.91, 23.Nov.92, 09.Sep.93, 18.Sep.94, 08.Oct.95, 13.Oct.97

10.11 King Biscuit "Peter Gabriel Retrospective" [11.Mar.91 - CD]
Repeat issue of King Biscuit's Peter Gabriel retrospective compilation described in section 10.10.

10.12 Westwood One "BBC Classic Tracks" [show #91-31, 29.Jul.91 - CD]
Westwood One produced a series of transcription CDs entitled "BBC Classic Tracks" with the novel format that just one song would be broadcast on each day of the week, each song having a lengthy introduction by British DJ Richard Skinner relating it to the band's history. So far there have been three distinct Genesis shows (see also sections 10.14, 10.16) with identical music but sporting different commercials, mixing tracks taken from Knebworth 1978 (section 21.6) with two tracks from Wembley 1975. Especially important is The Grand Parade Of Lifeless Packaging which is unique to these sources.

10.13 King Biscuit "The Genesis Chronicles" [9.Dec.91 - CD]
A reissue of the earlier King Biscuit show with air date 14.Feb.88, see section 10.6.

10.14 Westwood One "BBC Classic Tracks" [show #92-34, 17.Aug.92 - CD]
Second issue of Westwood One show #91-31 (section 10.12) combining Wembley 1975 tracks with Knebworth 1978 (section 21.7) .

10.15 King Biscuit "Flower Hour" [23-29.Nov.92 - CD]
Repeat issue of King Biscuit's Peter Gabriel retrospective compilation described in section 10.10.

10.16 Westwood One "BBC Classic Tracks" [show #93-14, 29.Mar.93 - CD]
Third issue of Westwood One show #91-31 (section 10.12) combining Wembley 1975 tracks with Knebworth 1978 (section 21.8).

10.17 Westwood One "In Concert" [show #93-18, 26.Apr.93 - 2CD]
CD reissue of Westwood One show #86-23 (section 10.4) mixing Wembley 1975 with some 1981 songs (section 26.15).

10.18 King Biscuit "Peter Gabriel Retrospective" [9.Sep.93 - CD]
Repeat issue of King Biscuit's Peter Gabriel retrospective compilation described in section

10.19 Westwood One "Superstar Concert" [show #93-45, 1.Nov.93 - 3LP]
Later in 1993 Westwood One produced another version of the Wembley/New York combination as part of their Superstar Concert series. Although the LP versions of this series were put out on 3 LPs, whereas "In Concert" shows were on 2 LPs, the shows were roughly the same length; the tracks are the same as show #86-23 (section 10.4). Couples Wembley 1975 with some 1981 songs (section 26.16).

10.20 King Biscuit "Peter Gabriel Retrospective" [18.Sep.94 - CD]
Repeat issue of King Biscuit's Peter Gabriel retrospective compilation described in section

10.21 Westwood One "Superstar Concert" [show #95-24, 5.Jun.95 - 2CD]
Another CD issue saw Westwood One again capitalizing on Wembley 1975 but this time augmented with material from Knebworth 1990 (section 39.1). CD one contains the Knebworth 1990 tracks while CD two contains a slightly different selection of Wembley tracks:

10.22 King Biscuit "Peter Gabriel Retrospective" [8.Oct.95 - CD]
Repeat issue of King Biscuit's Peter Gabriel retrospective compilation described in section

10.23 Westwood One "BBC Classic Tracks" [show #96-23, 1996 - CD]
The Grand Parade features in a "BBC Classic Tracks" compilation program, rather unflatteringly entitled "Seventies Pomp".

10.24 Westwood One "BBC Classic Tracks" [show #97-04, 20.Jan.97 - CD]
Yet another Westwood One Genesis compilation, this one boasts that its first track is The Lamb Lies Down On Broadway, but in reality the set is just the usual segment from Silent Sorrow to Riding The Scree. Filler material is provided from Knebworth 1978 (section 21.9) and Nassau Coliseum 1981 (section 26.17).

10.25 King Biscuit "Peter Gabriel Retrospective" [13.Oct.97 - CD]
Repeat issue of King Biscuit's Peter Gabriel retrospective compilation described in section 10.10.

10.26 Westwood One "Superstar Concert" [show #98-18, 27.Apr.98 - 2CD]
No one can accuse Westwood One of underusing their material! Here's another Genesis double bill, this time on a two CD set coupled with more material from Knebworth 1978 (section 21.10). Presenter JJ Jackson's amusing comments include mistakenly stating that Phil Collins replaced Chris Stewart on drums. Another quirk is a clumsy attempt to edit out the expletive in Back in NYC!

10.27 King Biscuit "Flower Hour" [show #01-28, 9.Jul.01 - CD]
Advertised material from the Shrine Auditorium turns out in reality to be from Wembley 1975, strengthening my belief that King Biscuit have never in truth had any material from the Shrine Auditorium 24.Jan.75 show. Also present are songs from the Los Angeles Forum, 1986 recording. I think in this case the misattribution of the venue was really an excuse for presenter Ed Sharkey to claim a spurious connection between the two shows as having both been recorded in Los Angeles. The standard King Biscuit portion of Wembley 1975 is played along with songs from 1986 (section 30.13).

10.28 Westwood One "Superstar Concert" [show #02-28, 13/14.Jul.02 - 2CD]
Repeat issue of Westwood One's Superstar Concert #98-18 (section 10.26) coupling Wembley 1975 with Knebworth 1978 (section 21.11).

10.29 King Biscuit "Flower Hour" [show #02-47, 21.Oct.02 - CD]
A reissue of the show with air date 9.Jul.01 (section 10.27) combining songs from Wembley 1975 with LA Forum 1986 (section 30.14).

11. Syria Mosque, Pittsburgh, 13th April 1976

Local Pittsburgh radio station WDVE broadcast this gig live on the air on Tuesday 13th April 1976, and repeated the show one week later. A subsequent rebroadcast probably occurred between late 1976 and early 1978. On at least one of these occasions the entire show was broadcast, though nearly all bootleg tapes are missing the It/Watcher encore.

One broadcast finished with the announcer stating that Genesis were recorded at the Stanley Theatre, though Syria Mosque was certainly the true venue. Sadly the Syria Mosque (once described by Bette Middler as "like a Holiday Inn in Baghdad") was demolished several years ago to make room for a parking lot!

After the opening number Phil says "Good evening Baltimore" then hastily tries to dig himself out of trouble saying that Baltimore is only forty miles from Pittsburgh. But he's digging a deeper hole, the distance between the two cities being rather more than forty miles!

Surprisingly there were no early bootlegs containing the Pittsburgh material until Highland plugged the gap with "A Trick Of The Show" [Highland HL 010/11#G1 - 2CD] minus the encore, then later the better sounding "A Trick Of The Stage" [Highland HL 319/320 - 2CD] which has some of the encore, finishing as It fades into Watcher. By far the best version of this show to be circulated is the recent fan release FAde002 which is compiled from three low generation recordings one of which boasted that elusive full It/Watcher encore.

WDVE-FM is still one of the top-rated radio stations in the Pittsburgh area. Until recently their format was a mix of contemporary and classic rock; not long ago they obtained the license to broadcast Pittsburgh Steelers (American) football games! WDVE made many classic recordings in the 70s, all on reel-to-reel tape, which used to be kept at their studio; now WDVE rarely play Genesis at all and the archive concerts (if indeed they still exist) are held elsewhere.

12. Music Hall, Cleveland, 15th April 1976

Genesis performed two nights at The Music Hall in Cleveland Ohio in April 1976. Their second show, minus Squonk and Entangled, was broadcast by Cleveland's local station WMMS who had an amazing track record for live broadcasts around this period.

The tour schedule printed in the Rolling Stone (22nd April 1976) gives the venue for 15th April 1976 as The Ohio Theatre, Columbus. However the gig was rescheduled as a second date at the Music Hall and Phil can be heard to ask "Was anyone here last night?" before the Lamb medley.

Squonk and Entangled have never been broadcast by WMMS so they probably have not retained this portion of their recording. Los Endos has a rather badly clipped ending, an idiosyncrasy shared by the It/Watcher encore - this is common to all broadcasts and therefore almost certainly a feature of the recording. At the point in Supper's Ready where eerie infant voices sing "we will rock you little snake", the PA plays totally unrelated rock music instead. In Richard MacPhail's time he used biro marks on the tape to be sure that the cassette was in the right place; whatever the mechanism used in 1976 it wasn't foolproof! These quirks aside, this was a splendid performance which I highly recommend.

Currently WMMS run a program every afternoon called "Buzzard Basement Tapes" in which they play a half hour's worth of their concert archives. Genesis is played occasionally during this program. A repeat of the entire show (but still minus Squonk and Entangled) was broadcast on 30th October 1998 at 9:00pm. Apparently this rebroadcast came completely out of the blue, with no prior warning. WMMS are in the process of changing ownership so it remains to be seen whether there will be further repeats.

To digress a little, there's an interesting relationship between WMMS and Cleveland's famous rock venue the Agora. Cleveland Agora was the first to build an in-house recording studio, called Agency Recording, to produce records and live stereo radio broadcasts. In 1970 the Agora teamed up with WNCI-FM radio to produce the first Agora live broadcast featuring Ted Nugent. Before long, the show was moved to WMMS an alliance which Radio Magazine later dubbed the WMMS/Agora marriage. Consequently there would be two masters for each show broadcast from the Agora, WMMS's master recorded from a phone line feed and the Agora's own reel-to-reel master taped in the Agora's 24 track Agency Recording studio.

There is evidence of at least one show which was recorded at the Agora but which did not feature in a WMMS broadcast (Accept 1984 and maybe Judas Priest 1978). Over the years many shows in the WMMS archives have been stolen or thrown away, but some of these "lost" shows survivied in the form of the Agora reels. Two Rush concerts from 1974 owe their WMMS rebroadcasts to the Agora masters. After the Agora digitized their reels, the masters were donated to the Western Reserve Historical Society (WRHS). All this has no bearing on the WMMS Genesis 1976 and Peter Gabriel 1977 recordings since they were performed at the Music Hall rather than the Agora, though we do know the masters are intact by virtue of both having received rebroadcasts. But Steve Hackett's 25.Oct.81 appearance at the Agora was broadcast by WMMS (and there is an extended 100 minute FM recording now circulating as a "Steve Hackett Remastering Project" bootleg CDR with label SHRP08) which means that there may be a corresponding 24 track Agora master archived at the WRHS.

Before the rebroadcast, bootlegs of the Genesis Cleveland recording were limited to a 60 minute show made by the commercial transcription company "Rock Around The World" (described below). Highland released a double CD set of WMMS's (almost) complete recording within weeks of the rebroadcast: "Two Down Three Left Twelve Complete" [Highland HL 265/266 - 2CD], but its timing appears to be a coincidence. All tracks in common with the "Rock Around The World" show are from vinyl source, either from the transcription or one of its bootlegs; the remaining tracks are taken from a tape of one of the broadcasts. As a result Highland's bootleg is not as good as it could have been: recordings originating from the rebroadcast are much better.

12.1 RATW "Genesis Through the Looking Glass" [show #107, 22-28.Aug.76 - LP]
"Rock Around The World", an independent transcription syndicate, had a contact at WMMS who supplied them with material from the Cleveland gig. Most RATW shows were based around interviews and studio cuts but this one, hosted by John Brodey, was an exception. Along with the unreleased test pressing (section 4) the RATW LP is one of the most elusive Genesis live products.

An early bootleg LP made from a radio broadcast called "Two Down Three Left" [Dancin' Disc DD 1101 - LP] surfaced (though the sound quality on the bootleg is not great compared to the RATW LP) and is said to have been the subject of an FBI investigation! After this, bootleggers seem to have forgotten about the show until recently: a much better version of the RATW LP is now available called "Let The Dance Begin" [Alternative Record Company ARC/GNV 025 - LP], a curiously anachronistic LP release on multi-coloured vinyl. ARC's offering is also interesting for retaining some of John Brodey's introduction about the world's reaction to the first Genesis tour without Peter Gabriel.

12.2 RATW Radio "Rock Around the World" [show #120, 21-27.Nov.76 - LP]
Another "monster" rarity is this compilation from Rock Around The World which contains Cinema Show from the Cleveland concert plus songs from other artists.

13. Hammersmith Odeon, London, 10th June 1976

Later during the Trick Of The Tail tour Genesis were recorded live in London resulting in a broadcast by the "British Biscuit" - a short series run by DIR as a sister show to the King Biscuit Flower Hour. Popular belief proclaims this show as a BBC recording, but this myth is due to the confusing "British Biscuit" title and the opening announcement in a pronounced English accent: the BBC have never had access to this material.

Until recently the date was problematic: although commonly quoted as 11th June, the British Biscuit show did not match up with an audience recording claiming the same date. All was explained when an inventory of tapes available at Fisher Lane Farm uncovered a King Biscuit show labelled 10th June.

13.1 King Biscuit "British Biscuit" [1976 - 2 reels]
DIR distributed this show on two reel-to-reel tapes. The original reels are very rare, I've seen them offered on twice: once in Gold Mine and once on Ebay.

A classic bootleg, "White Mountain" [Dansker Fanklubbe Grammofone Kollektiv G 9201 - LP], reproduces the show with rearranged tracks. Los Endos was missing from some of the broadcasts and is absent from the otherwise excellent "Melody Of 1976" [Highland HL 061#G8 - CD] and from other low generation tapes I've heard. On sources where Los Endos is present, a drop in sound quality can be heard towards the end which might account for its having sometimes been ommitted. Some tapes circulating are taken from the British Biscuit reels, but due to poor transfer or degradation none I have found can be described as the ultimate pre broadcast sourced version. The best I'm aware of is remastered from a tape recorded directly off air and trades as a CDR bootleg under the label SAB08, with Los Endos being supplied from a different source.

13.2 DIR "Live Cuts" show #49 [19.Jun.84 - LP]
A single song, The Lamb Lies Down, contributes to this compilation LP along with cuts from various other bands. Here the song is misattributed to Philadelphia 1977.

13.3 King Biscuit "The Genesis Event, Part 1" [30.Nov.86 - 2LP]
"The Genesis Event" is described in section 30.1. King Biscuit's 1976 recording contributes one track, again The Lamb Lies Down On Broadway.

13.4 King Biscuit "Flower Hour" [20.Nov.88 - CD]
Another compilation CD from King Biscuit of Genesis live material, described by presenter Bill Minkin as "The Best Of Genesis Live". King Biscuit yet again use The Lamb as the sole track from 1976:

The entire compilation is reproduced on "Illegal Alien" [Beech Marten 005 - CD], where it is augmented with additional tracks from Philadelphia Spectrum 1983 (section 28).

13.5 King Biscuit "Flower Hour" [3-9.Apr.89 - CD]
Reissue of "The Best Of Genesis Live" show (section 13.4).

14. Apollo, Glasgow, 9th July 1976

During the late 70s and early 80s members of Genesis made several appearances on Capital Radio to give interviews and play demos and rare tracks. These occasions, hosted by Capital DJ Nicky Horne a staunch supporter of Genesis, included original demos, studio live vocals over backing tracks and live songs supplied by the band. The live material was taken from Glasgow 9.Jul.76 and over the various programs the following were played:

The precise details of the Capital appearances are difficult to pin down, so it is worth digressing here to set down what we've pieced together (special thanks to Graham Collins and Alessandro Vasserot):

11th November 1976
Phil, Mike, Tony and Steve are interviewed about their new album Wind And Wuthering in between various cuts from the album. Interview topics include their forthcoming 1.Jan.77 live date to re-launch the Rainbow Theatre. No rare live material aired.

3rd November 1978:
Phil sings live in the studio over backing tracks and other songs from a tape he's supplied are played along with some album cuts. Interview conducted by Nicky Horne includes a competition to win a tour jacket. Rare material comprises:

15th July 1979 "Mummy's Weekly" program:
Phil is interviewed by Nicky Horne in between album cuts from Phil's favourite artists. Interview topics include Phil's musical influences and his attitude to bootlegs. Phil also sings live over backing tacks and plays songs from Glasglow 09.Jul.76, described by Nicky Horne as outtakes from Seconds Out. Songs broadcast, including the rare material were: 22nd July 1979 (approximate date):
Phil is interviewed, not much is known about the contents of the program other than this item: 5th February 1980:
Phil and Mike are interviewed by Nicky Horne and play some demos they've brought along. Album cuts are played from Duke and Smallcreeps day. Interview topics include the composition and recording of Duke, the demo process, Phil's forthcoming solo album. An interesting discussion about the demand for tickets to see the UK tour of small venues culminates in the announcement of a special extra gig at the Theatre Royal, Drury Lane on 5.May.80 which Capital planned to record and broadcast on the Mummy's Weekly program of 9.May.80. (In the event it didn't turn out as planned, as explained in 25). Rare material aired: 3rd February 1981:
Phil is interviewed by Nicky Horne about Face Value with much of the album being aired. Mixed in with these are some original demos. Mention is made of the demo version of Tommorrow Never Knows, played in the previous appearance, but the version actually played is from the album. Demos aired: 2nd June 1982:
Mike is interviewed by an unidentified Capital Radio presenter about Three Sides Live with cuts from the album. Topics include the reason for the word "Three" in the title; validity of live albums as products; the changing nature of Genesis music and its fan base; the Beatles "Seargent Pepper's" album, (which had then been released exactly 15 years earlier). It/Watcher from Glasgow 1976 is played at the end, but this time from the Three Sides Live album and Mike is not aware where it was recorded and only an approximate idea of the date.

The Capital radio appearances have spawned many compilation bootlegs over the years, some on commercial bootlegs labels, which tend to be rather unsatisfactory in terms of sound quality, supporting documentation and completeness - usually with none of the surrounding interviews to provide context. For example Robbery, Assault And Battery and It (without Watcher) appear as bonus tracks on "Second Nature" [Highland HL042/43#G6], the bulk of the bootleg being dedicated to an audience recording from Fox Theatre, Atlanta 13th March 1977. At the end Nicky Horne can be heard saying he'll be back tomorrow with "Six Of The Best": this refers to a Capital Radio program, not the famous 1982 reunion concert! A much better representation of the broadcasts (to be found in CDR trading circles) is a recent four CDR set AV04, an anthology containing some of the most complete availalable recordings of the various programs. Capital Radio's master tapes of some (if not all) of these appearances are now held in a collection donated to the National Sound Archive, though details catalogued are extremely sketchy.

Moving on from our digression into the Capital Radio appearances, an early release of Glasgow 1976 show was in the form of a film recorded in quadraphonic and imaginatively entitled "Genesis In Concert".

As described in the Seconds Out press release kit, this film was premiered on 29th January 1977 coupled with Rick Wakeman's "White Rock" billed as "Sensasia", the program boasting "Shot in Panavision, with three-track stereo sound, this is a film that will have considerable appeal for the millions of Genesis fans around the world, as well as reaching those that appreciate the best in progressive rock music." Concert footage is mixed with black and white film clips of Keystone Cops style slapstick comedy (Cinema Show instrumental) and war images (Apocalypse In 9/8). As indicated in the film credits, some footage was shot at the Bingley Hall, Stafford (10th July 1976). Entangled has been released on the Archive #2 box set, where it is identified as a recording from Stafford; I don't yet know which of the other tracks were taken from Stafford, though the It/Watcher encore was certainly from Glasgow.

Genesis In Concert was subsequently shown at Cinemas throughout the UK, later to be used as a trailer for various other films (I recall seeing it together with Led Zeppelin's "The Song Remains The Same" and the film version of "The Incredible Hulk"!). In 1986 the show was broadcast on US TV on a program called "Night Flight", a syndicated cult music video program created by Stuart Shapiro, which started airing in June 1981 and so preceded MTV. Instead of the usual cinematic widescreen format, the Night Flight broadcast of the film featured a full screen version. At some point Night Flight also broadcast the half hour Seconds Out promo video filmed in Dallas 1977. For quite a while now the widescreen footage has been available in Japan on both video and laserdisc and some good bootleg DVD transfers are around.

Apart from the Capital Radio programs and the In Concert film the material has been heard in an assortment of other forms. It/Watcher from Glasgow 1976 is the same version as on the UK release of the "Three Sides Live" double LP and CD. Phil's introduction which can be heard on the Capital Radio version is ommitted on the offical release. Just as well, since the introduction is an apology to the Scottish crowd for having praised them the previous night as being the best audience in England! On 26th December 1981 Radio London aired one song on their "Rock In The Movies" program. As well as playing Pink Floyd's Careful With That Axe Eugene, Crumbling Land and Seamus Blues they also aired I Know What I Like from the 1976 movie. The soundtrack of the laserdisc is faithfully reproduced on a rare vinyl bootleg release sporting black and white sleeves; 150 copies pressed on crystal vinyl and about 50 copies on different coloured and multicoloured vinyl.

According to director Tony Maylam the entire uncut film footage and multitrack recordings of both Stafford and Glasgow gigs are still intact. Potentially a full CD or DVD release could be a wonderful Archive Club project and a great gift to the army of die-hard Genesis fans.

15. Rainbow Theatre, London, 2nd January 1977

Following soon after the release of "Wind and Wuthering" Genesis began the album tour with the first three days of 1977 at the Rainbow Theatre. Capacity at the Rainbow ran to fewer than 3000 seats yet the Rainbow was a well known and important rock venue. The Rainbow reopened that night after a period of closure; appropriately this was the occasion Genesis played their first concert with Chester Thompson on the first night of 1977. Tony Banks said that if it had not been for the Rainbow reopening their venue of choice would have been the Hammersmith Odeon on account of better acoustics. 100,000 applied for the 8000 tickets available over those three days.

An excerpt attributed to the second Rainbow concert was made into a radio show by King Biscuit and distributed as a "British Biscuit" program. Whether the King Biscuit recording really was made at this concert is not certain. The KB announcer claims the venue be Rainbow Theatre, but then King Biscuit date and venue details very often prove to be innacurate. All we know for sure is that the show was recorded during the first (UK) leg of the tour and is not from a venue represented by a bootleg recorded from the audience (so it cannot for example have been recorded at the first night at the Rainbow).

Of the recordings circulating from this show, the majority are sourced from the various King Biscuit broadcasts, provisionally sent out on 20th March 1977. However it was also aired by WNEW-FM New York who don't subscribe to King Biscuit which introduces the possibility that their copy derived from the band. An excellent bootleg LP entitled "A Living Story" [Big Thumb PG 1300 - LP] was produced and received two separate pressings. The rare first pressing included In That Quiet Earth/Afterglow but the consequent length of Side One of the LP caused difficulties in mastering which led to it being withdrawn. The more common second pressing replaced Quiet Earth/Afterglow with All In A Mouse's Night. For the best version around seek out a CDR sourced from a digital transfer of the British Biscuit reels.

15.1 King Biscuit "The British Biscuit" [1977 - 2 reels]
As with the Biscuit's 1976 recording the transcription takes the form of two reel-to-reel tapes.

There are still a few of the original reels in circulation, though they are of course hard to find; at least two distinct sets of British Biscuit reels are now being traded in CDR form.

15.2 King Biscuit "The Genesis Event, Part 1" [30.Nov.86 - 2LP]
The opening number Squonk is also reproduced on "The Genesis Event" (described in section 30.1).

15.3 King Biscuit "The Genesis Chronicles" [14.Feb.88 - CD]
One of the earliest King Biscuit shows on CD, "The Genesis Chronicles" reproduces a selection of live Genesis and solo songs from their archives in digital sound quality. Squonk is significant on this compilation, being the only available digital source of any of the Rainbow Theatre 1977 recording.

15.4 King Biscuit "The Genesis Chronicles" [9.Dec.91 - CD]
A reissue of the show described above in section 15.3.

16. Gaumont Theatre, Southampton, 20th January 1977

If ever there was a good time to be in a Southampton hospital, it would have been on this day! A full Genesis concert went out live to 8 hospitals in Southampton and Winchester. Southampton Hospital Radio has been broadcasting to listeners in local hospitals since 1952. They started with football commentaries and then added music programmes in 1963, initially on tape and from January 2nd 1966, live by landline.

The setlist that night was that common on the first leg of the tour in the UK, including All In A Mouse's Night. Before Carpet Crawlers, Phil announced that the concert was being broadcast to the hospitals.

With such small coverage it is unlikely that any recordings from broadcast will have survived unless the radio engineers themselves made a recording - it is difficult to imagine any of the patients having ready access to the necessary equipment! An independent recording made from the soundboard has recently been unearthed; previously hidden for decades, 200 copies were unexpectedly (and illegally) offered on Ebay.

17. Auditorium Theatre, Chicago, 16th February 1977

An entire "Wind and Wuthering" set was broadcast live by WKQX Chicago radio. As with Pittsburgh '76, there has been an inexplicable shortage of bootleg releases, with just half of the show represented on "Mirrors" [Alternative Recording Company ARC 0089 - LP]. Recently the balance has been somewhat redressed with 90 minutes of the 120 set appearing on the bootleg CD "Chicago On The Air" [LaXious 03-04], though the recording is cut short during Supper's Ready just after Willow Farm and then, inexplicably, augmented with bonus tracks from Chicago 1978. There are some very good tapes to be found on the trading circuit including one which claims to be recorded on DAT direct from the WKQX master reels: this is gradually becoming more common on CDR.

18. Maracananzinho Stadium, Rio de Janeiro, 15th May 1977

This show must be a strong contender for the worst ever live recording to be aired on radio! Evidently the sound engineers had trouble with this one; there is an ever-present background roar and the band sound distant, as though recorded from the back of the stadium. Acoustics at the Maracananzinho Stadium were notoriously bad and I understand that transmission conditions were also poor on that particular date.

The concert was aired by two of Brazil's radio stations, "Eldorado FM stereo", with minimal DJ interruptions, and the mono AM station "Radio Mundial", where DJ announcements featured more prominently. A superior version has recently been circulated on CDR which features all the songs broadcast in stereo; while the quality of the original recording is dubious, this version is likely to be close to the original. Previously the best copies around came from 90 minute tapes sourced from the Eldorado broadcast with songs rearranged; the last few songs were missing but could be found on tapes from the AM broadcast (from Dance On A Volcano to the end of the concert). It is possible that the full stereo version was obtained from the archives of one of the radio stations by a disaffected employee, but this is an unsubstantiated rumour. I do not know whether Carpet Crawlers and Eleventh Earl Of Mar were performed that night.

Genesis also performed two gigs at Porto Alegre, southern Brazil, the second achieving notoriety when one of the band members ran off stage in the middle of the concert. Local radio and TV spent several days trying to find an explanation and one of the touring crew blamed the water, a hot topic at the time as there was discussion about the supply being contaminated with bacteria. Amazingly recordings of these Porto Alegre gigs were made by local FM radio stations in southern Brazil, though they were never aired. Legal suits were threatened should any part of these concerts ever be aired.

A soundboard recording from another of the Brazillian shows, Ibirapuera Stadium, Sao Paulo 21.May.77 has recently been uncovered and widely distributed. The sound characteristics of this recording are close to broadcast quality, leading to some mistaken rumours that the show was taped from FM radio.

19 Palais des Sport, Paris, 13th June 1977

The official live album Seconds Out is billed as being compiled mainly from four consecutive nights at this venue, 11th to 14th June 1977. In a Record Collector article it was pointed out that live albums from this era were sometimes falsely described as having been recorded in Paris as a tax evasion, Thin Lizzy's "Live And Dangerous" being quoted as a prime example. A few brief words in French from Phil are the main evidence we have that Seconds Out was indeed recorded in Paris and it is plausible to suppose these may have been spliced in to satisfy the tax man. That said, Phil's vocal improvisation in I Know What I Like when he sings "I love Paris in the springtime" implies that at least that song was from Paris.

A French radio station broadcast 45 minutes from the 13th, including some songs which do not appear on Seconds Out. None of the songs which Seconds Out has in common with the broadcast were recorded on this night. A fair amount of overdubbing occurred during the mixing of Seconds Out, so this item is interesting for having the performance in its original form as well as some of Phil's song introductions in French. Sadly the broadcast was AM, so sound quality suffers from being mono and having compressed frequency range. There has long been a rumour of a French TV broadcast from these four shows - a rumour which lack of credible evidence suggests is probably false.

20. Earls Court, London, 24th June 1977

Towards the end of the tour Genesis returned to the UK for three sold out nights at Earls Court and the second night was broadcast live on the air by Capital Radio. It was carried by a weekly program slot called "Your Mother Wouldn't Like It" presented by Nicky Horne. As a concession to the concert the program was specially extended by 20 minutes and Capital's hourly news bulletins were suspended. Capital is a commercial station and the broadcast was punctuated by adverts which interfered with the music in several places, the worst of these being during Supper's Ready, where the concert was left before Willow Farm and not rejoined until the prelude to Apolcalypse! Mercifully Capital repeated the show soon afterwards (possibly twice) without the intrusive adverts and interruptions. One song, Robbery Assault And Battery, was rebroadcast when Phil Collins guested on Capital Radio on 3rd November 1978 (see the Capital Appearances description in section 14).

For a long time the main bootleg of this material was "Living Revelations" [KM 2077 - LP], a well produced 45 minute LP including the famous performance of Inside And Out. This must have been sourced from the original broadcast as the cuts in the encore songs correspond to when presenter Nicky Horne spoke over the music. Tapes of the full show circulated amongst traders for quite a while until the inevitable release of the double CD set: the wonderful "Before Riches" [Silver Rarities SIRA 124/125 - 2CD]. A more recent release, "Simply Follow" [Highland HL062/63#G9 - 2CD] has the bonus track Your Own Special Way recorded in Chicago (section 17). While Before Riches remains difficult to beat it does have a few defects: for example the sound during Supper's Ready is muddy at times and there is some volume distortion during In That Quiet Earth. As is becoming increasingly common these days, there's a CDR version which improves on all commercial bootleg releases traded as SAB01, sympathetically remastered from a cassette recorded direct from the Capital broadcast.

Standard guidelines for broadcasting live concerts in the UK around this period stipulated that the recording be destroyed within an agreed time scale, a policy promoted by the Musicians' Union. It is therefore probable that Capital Radio have long since erased their master recording, however as with their reels Rainbow 1973 there's an outside possibility that the master lies undocumented as part of the Capital collection donated to the National Sound Archive. Nicky Horne, now at JazzFM, has fond memories of the occasion but has kindly indicated that he did not retain a personal copy of the concert.

21. Knebworth Festival, 24th June 1978

In 1978 Genesis headlined the annual Knebworth Festival, their sole UK date on the "Mirrors" tour. The BBC recorded the show on the Island Record mobile studio and a week later on 1.Jul.78 broadcast some of the show in quadraphonic on the fifth aniversary of Alan Freeman's "Saturday Afternoon Show" between 4:00pm and 5:30pm. The BBC master of this initial broadcast was a 90 minute edit of the show on quad reel-to-reel tape, though no subsequent broadcast has been in quadraphonic sound. CDR clones of a 48KHz DAT dub of the BBC master are kept at the National Sound Archive.

Three songs have been absent from all worldwide broadcasts and are not quoted in BBC archive records, namely Eleventh Earl Of Mar, In The Cage and The Cinema Show. Tracks on the original BBC broadcast were:

The first rebroadcast was on Tommy Vance's hugely popular "Friday Rock Show" program (ironically the replacement for Alan Freeman's program) not long after the Rock Show's launch on 29.Dec.78, 10:30pm to midnight. The next full BBC rebroadcast went out on 17.Feb.84, again during "Friday Rock Show". WIOQ Philadelphia in the states also made an early full 90 minute broadcast. More than sixteen years on from the 1984 rebroadcast, on 26.Mar.02, the BBC aired some more of their archive Knebworth 1978 recording on BBC Radio 6 transmitted via the internet and through Cable TV (sound only of course!). It was advertised and indeed introduced by Janice Long as having been recorded at Knebworth in 1997 despite the fact that Genesis did not appear at Knebworth that year and had they done so half the musicians and the vocalist would have been different! Full marks to the BBC for giving air time to live Genesis, but no marks for accompanying research. A selection of songs were broadcast with the setlist order well and truly shuffled: Three songs were posted on the site to serve as samplers including Follow You Follow Me which didn't feature in the actual broadcast:

Janice Long announced on 7th October 2002 that later in 2002 the full BBC recording of Knebworth 1978 was to be broadcast before the end of the year. A corresponding recording did eventually appear on bootleg CDR thought to be from late 2002 or early 2003, but strangely the broadcast somehow managed to go unnoticed by many expectant fans (including me).

Another 2002 rebroadcast was made by "The Hawk" on Toronto 103.5, during the BBC In Concert slot of the "Classic Rock" program. After a brief introduction stating that the recording was made three years after Peter Gabriel departed, a 20 minute excerpt was broadcast consisting of Burning Rope, Ripples and Dance On A Volcano/Los Endos and featuring some clumsy editing on Dance On A Volcano. A concert by Joe Jackson was broadcast earlier in the program.

Danish Radio P3 also made a rebroadcast of a chunk of the Knebworth recording, probably in 1998 though it may have been later, consisting of the following songs, with the announcer talking over the start and end of the show:

Various bootlegs have been made, a reasonable offering sound-wise is the 65 minutes on "Live in Knebworth" [SGRS 034 - CD], though this is rendered redundant by the definitive commercial bootleg "Knebworth Show" [Highland HL078/79#G12]. But the recording of choice for the audiofile is a CDR transfer of the double issue BBC Rock Hour described in section 21.2

21.1 BBC "In Concert" [show #180, CN3146, 1978 - LP]
Roughly 60 minutes were used in the production of a BBC transcription LP, issued in 1978 and broadcast by BFBS Germany sometime in late 1979 or early 1980. An amusing error: BBC introducer Brian Matthew claims Phil Collins to have been a founder member.

At a guess, The Lady Lies and Afterglow aired on a Swedish broadcast together with Wembley 1975 material (see section 10.1) were taken from this LP.

21.2 London Wavelength "The BBC Rock Hour" [show #35, 03.Sep.78; show #36, 10.Sep.78 - 2 reels]
The full 90 minutes as broadcast by the BBC featured in its entirity over a two issue special BBC Rock Hour program, distributed on reels and broadcast on the first two Sundays of September 1978. These reels are among the rarest of Genesis live radio shows: I first heard about the double Knebworth show in early 2003. Compared with the original BBC broadcast the running order is changed, with Deep In The Motherload and One For The Vine transposed so as to fit the music within the two 60 minute show format (including adverts).

21.3 London Wavelength "Best of the BBC Rock Hour" [show #123, 08.Jun.80]
Later compilation shows of Knebworth 1970 on the BBC Rock Hour were distributed in LP form having two distinct variations. The first consists of highlights from the 90 minute show, featuring introduction and credits by Richard Skinner and adverts between songs from Columbia Pictures.

21.4 London Wavelength "Best of the BBC Rock Hour" [show #304, 25.Jan.81 - LP]
The second variation of the "Best of the BBC Rock Hour" B has two introductions, the first by Marshall Thomas is followed by Richard Skinner's introduction. It has a different selection of songs and is essentially the BBC transcription LP with Afterglow ommitted to make time for commercials:

21.5 London Wavelength "BBC Rock Hour - Special Edition" [LP]
Another compilation edition of the "BBC Rock Hour" show features highlights from various Rock Hour's presented by BBC DJ Brian Matthew. I Know What I Like from Knebworth 1978 appears on this collection.

21.6 Westwood One "BBC Classic Tracks" [show #91-31, 29.Jul.91 - CD]
Further broadcasts across the atlantic were made during Westwood One "Classic Tracks" programs compiling three songs from the Knebworth concert (listed below) with a couple of tracks from Wembley 1975 (section 10.12).

21.7 Westwood One "BBC Classic Tracks" [show #92-34, 17.Aug.92 - CD]
Second issue of Westwood One show #91-31 (section 21.6, 10.14)

21.8 Westwood One "BBC Classic Tracks" [show #93-14, 29.Mar.93 - CD]
Third issue of Westwood One show #91-31 (section 21.6, 10.16)

21.9 Westwood One "BBC Classic Tracks" [show #97-04, 20.Jan.97 - CD]
Only a single song, Follow You Follow Me, contributes from Knebworth 1978 to this compilation, the remaining material being taken from Wembley 1975 (section 10.24) and Nassau Coliseum 1981 (section 26.17).

21.10 Westwood One "Superstar Concert" [show #98-18, 27.Apr.98 - 2CD]
Further use of Westwood One's material is made on this double CD, again coupled with material from Wembley 1975 (section 10.26).

21.11 Westwood One "Superstar Concert" [show #02-28, 13/14.Jul.02 - 2CD]
Repeat issue of the 1998 Westwood One Superstar Concert #98-18 (section 21.10) also containing tracks from Wembley 1975 (section 10.28).

21.12 Westwood One "Superstar Concert" [show #03-05, 1/2.Feb.03 - 2CD]
The majority of the show is from Westwood One's 1981 recording described in section 26.20. Knebworth 1978 songs tacked on the end are:

22. Uptown Theatre, Chicago, 13th October 1978

Near the start of the "And Then There Were Three" tour Genesis played at the Stadium in Chicago. They were unhappy about their sound at the Stadium and so returned to play a small venue - the Uptown Theatre - in the later stages of the tour. This memorable gig was broadcast live on the air by WXRT Chicago and the 2 hour 30 minute set was rounded off with an interview with Phil. A key feature of this performance was that an almost complete Dancing With The Moonlit Knight made a brief return to the set.

The broadcast resulted in a great sounding early bootleg, "From The Mouth Of The Monster" [Atlantis GTT 78 - 2LP] lasting 90 minutes. Various bootleg CDs now reproduce the entire broadcast: "Follow You Follow Me" [Great Dane Records GDR CD 8918 - 2CD]; "Live In Chicago 1978" [Golden Stars GSCD 2104/1-2 - 2CD]; "Live and Alive with Genesis and Phil Collins" [IMTRAT - IMT 900.019/20 - 2CD]; "Live at Uptown Theatre Chicago" [International Pop - INP023,INP024 - 2CD]. There is also a trader's tape which claims to be sourced from the WXRT reels, missing half of Ripples but otherwise complete, including Phil's post-concert interview. Highland's "Master Of Chicago" is so far the definitive commercial bootleg release, being based on the alleged reels tape and with the second half of Ripples seamlessly supplied from the older "Follow You Follow Me" CD.

The Uptown Theatre show makes a strange and fleeting appearance during the 1992 "Soundcheck" interview - see section 40!

According to a source at WXRT-FM the station still have their master reels of old concert; moreover they do occasionally rebroadcasts their archive recordings, so let's hope this gets another airing one day.

23. Hofheinz Pavillion, Houston, 22nd October 1978

One of the last dates of the 1978 tour occurred in Houston and King Biscuit took this opportunity to obtain their recording. If King Biscuit's 50 minutes are anything to go by, this was a really good performance: Cinema Show stands out as a classic version.

One of the few nice surprises of the Genesis Archive #2 box set [724395034329/CDBOX 7] is Burning Rope from this gig, not included in the King Biscuit broadcasts. King Biscuit do not receive a credit, so perhaps the recording is owned by Genesis and was donated for broadcast.

Roughly half the dates I have seen quoted for this show state 19th rather than the 22nd and I cannot say for certain which is correct. However the Genesis Archives #2 box set unequivocally quotes the date as 22nd so perhaps we should go with that. To add to this confusion, King Biscuit announce that Genesis were recorded at the Hofheinz Pavillion in Houston though an eye-witness account and gig listings contest that they performed at the Summit. The box set insists on Hofheinz Pavillion.

Until the 90s this show was completely ignored by bootleggers and was one of the most difficult to find Genesis broadcasts; it is now available in good sound quality as "Coming Down From Houston" [Highland HL168 - CD]. Surpassing the Highland bootleg, another version is now available on a CDR bootleg having been transferred from Canadian broadcast reels originating from King Biscuit. No adverts or commerials were present on the Canadian reels, but some CDR versions have these supplied from a tape recorded from one of the King Biscuit Flower Hour broadcasts.

23.1 King Biscuit "King Biscuit Flower Hour" [29.Apr.79 - 2 reels]
There appear to be a number of variations of this show, though all containing the same songs. The Canadian pre-broadcast reels mentioned above have no adverts, there's also a transfer of bona-fide King Biscuit reels with adverts, but there are also versions traded taken off air which have additional announcements and different adverts. All off-air and pre broadcast versions have tight editing to the point where some songs are a little clipped at the beginning or end.

24. City Hall, Sheffield, UK, 17th April 1980

British fans were rather short changed with a single show on the And Then There Were Three tour, but Phil promised a tour of England at the end of the Knebworth gig. This materialised in 1980 in the form of a 40 plus date tour of small venues all over the UK. Hallam Radio captured Genesis at Sheffield's City Hall and broadcast the show over a specially extended edition of their "Hallam Rock" program. Hallam, Sheffield's local station, recorded many artists in the early 80s (including Steve Hackett, Jon Anderson and Rick Wakeman) but their recordings did not have the budget necessary to compete sound-wise with the likes of the BBC or King Biscuit. Many versions of this show seem annoyingly slow and lethargic, but this may have been so for the broadcasts. Despite this, Hallam's recording is valuable documentation of the intensity and intimacy of this tour and comprises the complete show, stories and all.

Hallam may have broadcast the show twice, and there was another broadcast by Nottingham's Trent FM around this time, minus Say It's Alright Joe and with tracks rearranged. The Trent FM broadcast was used for "Steeltown Revelation" [Discurios DIS 215 A - 2CD], a good recording but but with the slow speed problem mentioned earlier. It is possible that Hallam no longer have their master recording, due to Musicians' Union regulations as explained in section 20.

Finding a definitive version of this broadcast has proved difficult, with a number of great remastering efforts of various low generation source tapes somehow always stopping a little way short of perfection. Suspected speed problems on the original broadcast masters do not make the task any easier. Highland's "Hallam Tapes" [HL 509/510 - 2CD] is a great source for this music, a low generation version as good as many of the trader's tapes out there. For the best of the bunch, try a classy remaster of a 2nd generation tape put out as CDR boot SAB12.

25. Lyceum Ballroom, London, 7th May 1980

A source of many bootlegs and live releases are the London gigs played at the end of the UK tour in May 1980. Genesis played four nights: 4th and 5th at Drury Lane; 6th and 7th at the Lyceum Ballroom. Three nights were recorded: Drury Lane on 5th May (audio only) and the two Lyceum shows (audio and video). The recordings were then edited and mixed to supply various broadcasts and official releases, creating a tangled web which took some time to unwind.

An almost complete set was broadcast by the BBC on the "Friday Rock Show" one Friday in July 1980 between 10:00pm and midnight. All songs were taken from 7th except One For The Vine from 6th May, since the song as performed on 7th contained flaws on the basis of which it was deemed unacceptable for release or airplay. Say It's Alright Joe and most of Phil's song intros were omitted from the broadcast.

During a second "Friday Rock Show" broadcast on 26th December 1980, Ripples was replaced with Say It's Alright Joe, the one song missing from the original broadcast. Years later part of the concert was given a further airing by the BBC: a 45 minute segment on Alan Freeman's "Saturday Rock Show", 27th April 1991, featuring once more the missing song Say It's Alright Joe.

Prior to the BBC broadcasts, London's Capital Radio aired some Duke tour material. Capital having advertised their broadcast as to be from Drury Lane failed to deliver on time, but then suddenly produced a show claiming it to be Drury Lane which they broadcast in two parts one week apart (and there may have been a Capital rebroadcast too). In fact the material was the same as subsequently appeared on "The Friday Rock Show". Comparison with an audience tape of Drury Lane 5th May confirms this was certainly not the show broadcast by Capital and the BBC. One theory is that Capital were responsible for the incorrect venue attribution because they had already committed to Drury Lane in their adverts. However, it may be that whoever mixed the material on the band's behalf was responsible: the show was notionally taken from the three recorded dates and the fact that, in the event, none from Drury Lane was used may not have been noticed or considered important. In favour of this argument, there have also been US broadcasts by the NBC Radio Network under the title "The Source Concert" which were similarly mis-labelled (see section 25.1). Capital's master copy, on a single reel 25 cm 30 cm/sec stereo Ampex 406 tape, has been donated to the National Sound Archive.

Numerous bootleg LPs of parts of the radio broadcasts quickly appeared, one of the first being the famous US produced double LP, "Revelatory Genesis 80:78" [Steam SR 80001 - 2LP] which coupled some of the BBC broadcast with a few tracks from Knebworth 1978. "Revelatory" received a rare picture disc pressing and an Italian reissue. Another early release was "You'll Love Us Live", a rather poor recording of some of the BBC songs on a single LP. A better way to hear the music is on the more recent commercial bootleg CD releases "Musica" [Stonehenge STDC 2110/2111 - 2CD], "Duke Side Live" [Highland HL019/020#G2 - 2CD] and especially "Duke Source Live" [HL 511/512 - 2CD] which is a compilation including the 1991 BBC rebroadcast with "Say It's Alright Joe" and "The Source" transcription LP. Still more recently, even better recordings have emerged on CDR which are decended directly from BBC master reels.

Forty minutes of the 7th May filming were televised in 1980 by BBC TV on "Whistle Test" hosted by Anne Nightingale.

Immediately before In The Cage Phil says "Alright, alright, alright, alright ... don't go Mad", none of the radio shows have this intro. More recent broadcasts of this program are as follows:

A bootleg video of a full pro-shot multi camera film of Lyceum 6th May has been circulating amongst traders for a good few years, it is this which enables us to identify the source of One For The Vine on the BBC broadcast. The video is complete except that the majority of Ripples is missing; Knife was not played that night. The BBC have not had access to the film of 6th so we must conclude that it was leaked by someone connected with the band. Not long ago a surprise shook the Genesis trading community when a full single camera video from 7th May appeared on Ebay in DVD form. Frustratingly the camera spends long periods of time displaying dimly lit or completely dark views, but it does give us our only chance to hear the flawed 7th May performance of One For The Vine and Phil's song intros. DVDs of the videos from both nights are now circulating widely among collectors.

Several official releases have been taken from these 1980 recordings. One For The Vine on "Three Sides Live" matches the performance on the audience tape of 5th May, evidence that Drury Lane was indeed professionally recorded. The Archive #2 box set provides the final proof quoting Deep In The Motherlode from 5th May 1980. A couple of songs from 6th May at the Lyceum are included in Genesis Archive #2, namely Ripples and The Lady Lies. Comparing these two with the bootleg video of 6th May finally confirms the date and venue of the video beyond reasonable doubt. Nick Davis, who's incredible restoration skills gave us the archive box sets, has indicated that the live Lyceum 1980 songs for the release were from 24 track analog recordings.

Remaining official releases are all taken from the Lyceum 7th May recording: Dukes Travels and Dukes end from Archive #2; the green flexi single of The Lady Lies [Flexipop 021/LYN 11806] released in august 1982; the live b-side of the Turn It On Again US promo [Atlantic PR 369]; Follow You Follow Me on "Three Sides Live" (and corresponding Westwood One show, section 26.3) - this version has that small edit before the final repetition of the chorus to reorder the lyrics as per the studio album cut.

25.1 NBC Radio "The Source" [18-20.Jul.80 - 2LP]
The Lyceum 7th May concert has also had air time in the USA courtesy of "The Source", a program put out by NBC since 1979, distributed via radio show LPs. Seventy minutes of the live Genesis are supplemented with the usual announcements and adverts. As with the Capital Radio broadcast, the Source presenter mistakenly quotes the venue as Drury Lane Theatre. A further US broadcast was by WNEW but with rearranged tracks and missing the Dancing With The Moonlit Knight prelude to Carpet Crawl.

The bootleg "Live at the Theatre Royal" [G 201 A/B/C/D - 2LP] is from one of these broadcasts. Closer to the radio show sound quality is "In Concert" [Gold Records LP-s - 2LP] with bonus tracks taken from Wembley 1975. "In Concert" was originally pressed in the US and has been re-released in Italy with similar sleeve and slightly inferior sound quality [Pulgar Grande SS6, Heavy Sound Records HG4 767 - 2LP].

25.2 NBC Radio "The Source" [24-26.Apr.81 - 2LP]
A reissue of NBC's Source concert with the same song selection but augmented with different adverts.

26. Nassau Coliseum, 29th November 1981

Recordings of this material turn up all over the place, and it is difficult to collate the information with certainty. It is the source of material used for the "Three Sides Live" album; the album has a subset of the material available on the various radio shows. Two songs missing from the album, Man On The Corner and No Reply appear on the Genesis Archive #2 box set, both credited as from the The Savoy, NY 28.Nov.81. Man On The Corner is the same performance as appears on the radio shows and video, but No Reply is different. Some of the songs on the "Three Sides Live" video soundtrack are the same as the album and radio shows but most are alternative versions, duplicated songs being: Behind The Lines/Duchess, No Reply, Man On The Corner and Turn It On Again.

The material was recorded at two or more performances and correctly attributing the songs to venues and dates is problematic. Radio show announcers say "New York" and sometimes "Nassau Coliseum", the video credits "Nassau Coliseum" and "The Savoy Club" in New York. However comparison of both video and album with an audience recording from The Savoy reveals few matches: probably Man On The Corner and maybe Misunderstanding and Me And Sarah Jane. Other songs likely draw from the following venues:

Mixed in with the Abacab tour songs is a slightly doctored version of Follow You Follow Me from the Duke tour recording Lyceum 7.May.80 (section 25). A small edit swaps a few words of a chorus towards the end so that the words sung match the album lyrics.

Firth Of Fifth appears as 12 inch single b-side to That's All on two separate editions [Charisma/Virgin TATA 1-12] and [German Vertigo 818-096-1Q] where it is claimed to be from The Savoy. It is also reproduced on a Genesis Information flexi disc [Genesis Information LYN 13143] where it is claimed to be from Nassau Coliseum. The radio show versions of Firth Of Fifth have an annoying cut in the closing vocal section, so you will need to get one of the official sources to hear this song without the splice: the best version is on the compilation CD "Best of 1981-1983" [Vertigo 848854-2 - CD]. Apart from a splice-free version of Firth Of Fifth the only portion of these radio shows not to have received official release is Dance On A Volcano/Drum Duet/Los Endos.

Compared with other radio shows the 1981 recordings have proved difficult to date precisely and it is worth pointing out that some of the controversy might be caused by overdubbing and/or splicing together of different performances. For example one view is that the intro of Man On The Corner is from the Savoy Theater, then the song switches to Nassau Coliseum. Troublesome though venue attibution is we're now beginning to make headway and get some general consensus, though details remain uncertain and sketchy. In the list below the following abbreviations are used:
NEC = National Exhibition Centre, Birmingham, UK 23.Nov.81
Savoy = Savoy Theater, New York, 28.Nov.81
Nassau = Nassau Colisseum, Long Island, New York, 29.Nov.81
video = official Three Sides Live video
audio = the various radio shows and the Three Sides Live audio CDs
archive2 = the Genesis "Archive #2" box set

Where a video attribution says Nassau??? this is deduced from the (possibly false) assumption that only these three dates contribute to all the official live 1981 material. Special thanks for this work goes to James Hendry et al for the FAQ on the Genesis Forum at and also to Robert Brousseau, Chris West and Kasper Michelsen.

26.1 DIR/ABC "Supergroups In Concert" [10.Apr.82 - 3LP]
This fine radio show is a good one to own because it is the most complete, the only significant omission being Turn It On Again, found on Westwood One radio shows and the "Three Sides Live" album. DIR, who produced the show in association with ABC, are the people behind King Biscuit. With a broadcast date of 10th April 1982, this is one of the oldest US radio show LP sets.

Before paying a small fortune for the radio show, consider the option of "Fiaba" [Buccaneer Records 017 - 2CD] (re-released more recently as "Perfect Three Sides Live" [Highland HL081/82#G13]) which is a fraction of the price and just as good sound-wise.

26.2 King Biscuit "Flower Hour" [20.Jun.82 - 2LP]
Another King Biscuit offering contains a subset of the "Supergroups In Concert" show.

26.3 Westwood One "In Concert" [IC 82-19-X, 13.Sep.82 - 2LP]
To obtain a fantastic recording of this material, hunt down a copy of "Perpetual Soundwave" [Oh Boy 1-9098 - CD] which was probably mastered directly from the Westwood One LPs. Similar releases are "Limbo" [Living Legend LLRCD 160 - CD] and "Genesis Live in USA 1982" [International Pop - INP010 - CD].

I was surprised to learn Follow You Follow Me on this radio show and on the "Three Sides Live" album is actually a doctored version taken from the Lyceum gig (section 25). Whereas the UK sleeves of early pressings of "Three Sides Live" correctly credit the song as being a 1980 recording, subsequent releases omit this fact.

26.4 DIR-TBS Syndications "Supergroups In Concert" [TBS-SG-4, 18.Oct.82 - 2LP]
DIR partnered with TBS to produce this rare Canadian edition of their "Supergroups In Concert" show, which also boasts the full set of selected New York tracks (tracks as section 26.1).

26.5 DIR-TBS Syndications "Live From Central Park (advance copy)" [TBS-CP-2, 1982 - 2LP]
Described as a "promo advance copy" this double set has a selection of the Genesis tracks on the first LP (liste below) and has material from Kim Carnes and Loverboy on the second LP.

26.6 DIR-TBS Syndications "Live From Central Park (advance copy)" [TBS-LC-10, 1983 - 2LP]
A similar product to that described in section 26.5, but with a different selection of tracks and featuring Stray Cats and Duran Duran on disc two. Genesis tracks are:

26.7 Westwood One "Superstar Concert" [SSCS-83-5, 29.Jul.83 - 3LP]
Musically similar to the "In Concert" show (section 26.3) but with a different ordering to the songs:

26.8 DIR "Live Cuts" [26.Apr.84 - LP]
Another compilation of disparate excerpts from their archives, the Genesis offering, Me And Sarah Jane, is the first on the LP. It is followed by "Ramblin' Man" (The Allman Brothers), "Horizontal Departure" (Robert Plant) and on side B: "Hand To Hold Onto" (John Cougar), "Black Limosine" (The Rolling Stones and "Girls On Film" (Duran Duran).

26.9 Westwood One "In Concert" [show #86-23, 17/24.Nov.86 - 2LP]
Since all of the 1981 songs on this radio show are available on the original "In Concert" show, these LPs are more noteworthy for their Wembley 1975 content (see section 10.4).

26.10 King Biscuit "The Genesis Event, Part 1" [30.Nov.86 - 2LP]
This live compilation, described in section 30.1, includes two tracks from the 1981 set.:

26.11 Westwood One "In Concert" [show #88-25, May.88 - 2LP]
Another coupling with Wembley 1975 material (section 10.8), in fact a reissue of show #86-23 (section 26.9).

26.12 Westwood One "Pop Concert" [show #88-45, 31.Oct.88 - 2LP]
Comprises material from Wembley 75 described in section 10.9. together with the following songs from 1981:

26.13 King Biscuit "Flower Hour" [20.Nov.88 - CD]
This compilation CD, described in section 13.4, contains some material from the 1981 shows. Although largely redundant, it does have the advantage of being a digital source which includes that blistering performance of Volcano/Los Endos. Another track on the compilation is Abacab, which King Biscuit claim is from 1981 but is in fact from Philadelphia Spectrum 1983 (section 28).

26.14 King Biscuit "Flower Hour" [3-9.Apr.89 - CD]
Reissue of the "Best Of Genesis Live" show (section 26.13). described in section 13.5.

26.15 Westwood One "In Concert" [show #93-18, 26.Apr.93 - 2CD]
CD reissue of Westwood One show #86-23 (section 26.9), mixing Wembley 1975 (section 10.17) with the 1981 songs.

26.16 Westwood One "Superstar Concert" [show #93-45, 1.Nov.93 - 3LP]
This is the "Superstar Concert" counterpart of the "In Concert" show #86-23, (section 26.9), another coupling of Wembley 1975 (section 10.19) with 1981 songs.

26.17 Westwood One "BBC Classic Tracks" [show #97-04, 20.Jan.97 - CD]
Though the BBC have never been near this material, Westwood One see fit to include it on one of their "BBC Classic Tracks" CDs! The songs are supplemented with live cuts from Wembley 1975 (section 10.24) and one from Knebworth 1978 (section 21.9). 1981 tracks are:

26.18 Westwood One "Superstar Concert" [show #99-33, 14/15.Aug.99 - 2CD]
Another portion of the show released as the first disc of a two CD Westwood One retrospective; disc two is from their recording of LA Forum 1984 (section 29.3). Nassau Coliseum tracks are:

26.19 Westwood One "Superstar Concert" [show #00-35, 26/27.Aug.00 - 2CD]
A reissue of Westwood One "Superstar Concert" show #99-33, described in section 26.18, combining 1981 and 1983 recordings (section 29.4) with different sponsors adverts.

26.20 Westwood One "Superstar Concert" [show #03-05, 1/2.Feb.03 - 2CD]
Exploring further Westwood One's potential for recombining old shows, this one couples a fairly large chunk of the 1981 recording with a small slice of Knebworth 1978 (see section 21.12). 1981 songs are:

27. Spectrum, Philadelphia, 26th November 1983

Radio show producers RKO recorded 100 mins from the second of the three 1983 dates at the Philadelphia Spectrum for broadcast as part of their "Captured Live" series. The RKO Network originated from the Radio-Keith-Orpheum theatre chain formed in 1928; RKO was purchased by General Tire in 1955 then merged into General Teleradio in 1958 as the RKO Radio Network.

In this performance Phil's vocals are on top form: his performance on Mama is the best I have heard. It is reproduced on a bootleg named after the show "Captured Live" [Flying Cat - 2CD].

27.1 RKO "Captured Live" [CL2684 23.Jul.84 2LP; CL2784 30.Jul.84 2LP] shows, 4LP]

27.2 RKO "Captured Live" [CL4184, 5.Nov.84 - 2LP]
RKO put out an edition of their recording for broadcast later in 1984, abbreviated to one show and concentrating mainly on the hits:

28. Spectrum, Philadelphia, 27th November 1983

The third date in Philadelphia was recorded by King Biscuit: the material is certainly different from Captured Live's recording and the mix is a little heavier on bass and audience noise. This show is the original source of the live version of Turn It On Again containing snippets of famous songs - now affectionately known as "That Damn Medley" - released as the b-side of the Illegal Alien single [Charisma/Virgin AL 1-12] and appearing on the compilation "Best of 1981-1983" [Vertigo 848854-2 - CD].

28.1 King Biscuit "King Biscuit Flower Hour" [20.May.84 2LP; 27.May.84 2LP]
110 minutes of this concert were broadcast by King Biscuit over two consecutive "Flower Hour" shows. Again, it is not necessary to own the radio show to get this material: "Three Nights In Philly" [Buccaneer Records BUC 051/2 - 2CD] is just as good, and was probably mastered directly from King Biscuit LPs. Don't be fooled by the cover of "Philly" claiming it to have been recorded in 1981, or by the fact that a few songs from Nassau Coliseum 1981 are mixed in (Behind The Lines, No Reply At All, Dance On A Volcano). But for a real treat try the CDR bootleg in the "Coaster Factory" series entitled "Phabulous Philly" which combines great remastering and editing to take the music on those old vinyl radio show LPs to new heights.

28.2 King Biscuit "Best Of The Biscuit" [BOB543, 30.Sep.84 - 2LP]
This show comprises half of King Biscuit's Philadelphia Spectrum material, selected by King Biscuit on a "greatest hits" basis.

28.3 King Biscuit "The Genesis Event, Part 1" [30.Nov.86 - 2LP]
King Biscuit's Philadelphia recording is represented by the single track Illegal Alien on this compilation (described in section 30.1).

28.4 King Biscuit "Flower Hour" [20.Nov.88 - CD]
Abacab on this compilation (see section 13.4) is from the Philadelphia recording despite presenter Bill Minkin claiming it to be recorded in 1981.

28.5 King Biscuit "Flower Hour" [3-9.Apr.89 - CD]
Reissue of the "Best Of Genesis Live" show (section 28.4). described in section 13.5.

29. Forum, Los Angeles, 13th/14th January 1984

Later during the Mama tour, Genesis played at the LA Forum for three nights commencing on the 12th January and were recorded by Westwood One. A related bootleg, "Straight In My Eyes" [American Concert Series ACS 014 - CD], reproduces the Westwood One show in good sound quality.

The Highland release, "Los Cage" [Highland HL171#G26 - CD] is important for documenting a different broadcast of this material on German radio Norddeutscher Rundfunk (NDR 2), as evidenced by the radio announcer who introduces the programme thus: "Now its the turn for Genesis, recorded in Los Angeles, California in January 1984, on a Friday 13th which, as we know, doesn't say much but the name of this band says everything - Genesis"

Although the Westwood One and German versions claim to be from different nights, all songs present on both are identical versions. Yet there are a number of interesting differences between the German and Westwood One broadcasts which merit attention. The German show has the addtional duo Dodo/Lurker while missing Home By The Sea, Keep It Dark and It's Gonna Get Better. Los Endos is spliced for the German broadcast so that the entire Squonk reprise is excised; I take this to be a radio edit necessary to squeeze the show into 60 minute format.

Phil's greeting after Abacab, "Good evening Los Angeles!" is phrased differently verifying that we are dealing with recordings from at least two separate nights. On the Westwood One show Phil says "It's Saturday night and we're going to have some fun..." pinpointing the 14th as one of the nights and, if the NDR 2 announcer's information is accurate, the other night is the 13th. So for example Abacab and That's All were probably recorded on different nights and when edited together for air play the two versions took Phil's greeting from alternative nights. Tracks broadcast by NDR 2 were:

In addition to this partial broadcast, there was also reportedly a fuller NDR 2 broadcast consisting of all the songs from Westwood One plus Dodo/Lurker with no edit to Los Endos on christmas day of 1987 or 1988 at 8:05pm where it was described as a "Christmas concert"!

Illegal Alien and Its Gonna Get Better from 14th January have turned up on the Genesis Archive #2 box set. Since this version of Its Gonna Get Better differs from that of the radio shows, we now know that the radio show version is from 13th January. While it is good to get versions of these two songs which are not already available in bootleg form, fans of live Genesis will bitterly regret that the unique medley including parts of Eleventh Earl Of Mar and Squonk has once again been passed over. The medley has been omitted from all three lengthy radio recordings and from the official Mama Tour video. Unfortunately the laudable aim of providing fans with live versions of songs not present on previous live releases is rather compromised by the fact that many of the target fans already have the same or similar versions on bootleg.

29.1 Westwood One "Superstar Concert" [SS84-5, 21.Apr.84 - 3LP]
Compared with the Philadelphia shows, this has a much jazzier feel, probably induced by guitar and percussion being higher in the mix and bass a little lower. Played loud, the guitar sound creates a wonderfully hypnotic effect during the later stages of In The Cage.

29.2 Westwood One "Superstar Concert" [PAN84-2, 20.Oct.84 - 3LP]
Reissue of Westwood One show SS84-5 (section 29.1), same tracks.

29.3 Westwood One "Superstar Concert" [show #99-33, 14/15.Aug.99 - 2CD]
Another portion of the show released as the second disc of a two CD Westwood One retrospective; disc one is from Nassau Coliseum 1981 (section 26.18). Tracks from LA Forum are:

29.4 Westwood One "Superstar Concert" [show #00-35, 26/27.Aug.00 - 2CD]
A reissue of Westwood One "Superstar Concert" show #99-33, described in section 29.3 combining the 1981 (section 26.19) and 1983 recordings with different sponsors adverts.

30. Forum, Los Angeles, 14/15th October 1986

King Biscuit have provided us with another classic, this time from the "Invisible Touch" tour. Genesis played five nights from 13th to 17th October at the Forum and from comparison with audience tapes we know that Phil's dialog is all from 14th and 15th. Presumably the songs are also from these two dates but they have not so far been positively identified. The set features the closing sections of Supper's Ready at the end of the "oldies medley", subsequently dropped when Genesis reverted to their standard ending of Afterglow. In Too Deep and Follow You Follow Me, also droped early in the tour are present.

A further BBC Radio 2 broadcast of an hour of this material occurred on 4th October 1997. The "In Concert" show was introduced by Johnny Walker and preceded by a one hour documentary "The Genesis Story" hosted by Rick Wakeman. Songs broadcast by the BBC were:

This gig is the source for the live versions of Invisible Touch and Throwing It All Away released on 12 inch single in the UK [Virgin Gens 5-12]. The best bootleg release is "Touch to Supper's Ready" [Highland HL127/28#G23]. "Afterglowing" [Main Events Records ME-CD-010-2 - 2CD] is a rather poor transfer with clumsy editing due in part to the need to excise Bill Minkin's introductions from "The Genesis Event" version of the show (described below). CDs "Los Angeles '86" [Original Artist Concert Series ARR 92.008 - CD] and "Land of confusion" [That's Life TL 930015 - CD] have great sound quality but are incomplete. There have been quite a few King Biscuit rebroadcasts and as a result it is not too difficult to find master King Biscuit CDs originally distributed to local stations, or alternatively CDR clones which are now circulating of the King Biscuit CDs.

30.1 King Biscuit "The Genesis Event, Parts 3 & 4" [14.Dec.86 2LP; 21.Dec.86 2LP]
"The Genesis Event" was compiled by King Biscuit to showcase their new recording of Genesis on the Invisible Touch Tour, a marathon four part show broadcast over consecutive weeks. As with all King Biscuit LP sets, each of the four shows was distributed on two LPs one of which is one-sided, making 8 LPs (12 sides) in total.

Part 1 contains various live Genesis songs which over the years have accumulated in the King Biscuit archives, with a couple of the new 1986 songs to whet our appetites:

Part 2 concentrates on the various Genesis solo projects but with a couple more tasters from LA Forum 1986: Parts 3 and 4 are dedicated entirely to the LA Forum 1986 recording. Bill Minkin, the King Biscuit announcer gets a little carried away as he talks over several song introductions. LA Forum 1986 is a recurrent favourite for rebroadcast, repackaged at approximately yearly intervals.

30.2 King Biscuit "Flower Hour - Best of Genesis" [7.Jun.87 2LP; 14.Jun.87 2LP]
Los Angeles Forum 1986 featured in this two part broadcast, aired on consecutive weeks. Tracks broadcast were as described for parts 3 and 4 of "The Genesis Event" (section 30.1).

30.3 King Biscuit "The Genesis Chronicles" [14.Feb.88 - CD]
Invisible Touch from the 1986 recording features on this compilation described in section 15.3.

30.4 King Biscuit "Flower Hour" [20.Nov.88 - CD]
Two songs from the 1986 recording feature on the "Best of Genesis Live" compilation detailed in section 13.4

30.5 King Biscuit "Flower Hour" [3-9.Apr.89 - CD]
Reissue of the "Best Of Genesis Live" show (section 30.4). described in section 13.5.

30.6 King Biscuit "The Genesis Chronicles" [9.Dec.91 - CD]
A repeat issue of the earlier King Biscuit show with air date 14.Dec.88, see section 30.3.

30.7 King Biscuit "Flower Hour" [1.Jun.92 1CD; 8.Jun.92 1CD]
Even better than King Biscuit LP versions is the digital quality of this 2 CD radio show. The tracks are the same as for "The Event" but the talk-overs from the announcer are less intrusive - this and the various CD reissues represent the definitive source and CDR copies are now relatively easy to come by.

30.8 King Biscuit "Flower Hour" [13.Feb.95 1CD; 20.Feb.95 1CD]
Reproduces the show as described in section 30.7 but with additional live tracks by Rusted Root, each show being extended to 75 mins to accommodate the additional material. A further small variation are three promo spots for the Flower Hour by Phil (on part one) and Tony (on part two).

30.9 King Biscuit "Flower Hour" [shows #96-07 12.Feb.96 1CD; show #96-08 19.Feb.96 1CD]
Reissue of 1992 CDs (section 30.7)

30.10 King Biscuit "Flower Hour" [show #97-15 1CD; show #97-16 1CD]
Two consecutive shows, same tracks as the 1992 issue (section 30.7) but with the gimic of using red and purple discs.

30.11 King Biscuit "Flower Hour" [show #98-14 30.Mar.98 1CD; show #98-15 12.Apr.98 1CD]
1998 two show program, again with the usual set of songs as featured in the 1992 reissue (section 30.7).

30.12 King Biscuit "Flower Hour" [show #99-45 Nov.99 - CD]
Features a band synopsis plus some songs from the LA Forum:

30.13 King Biscuit "Flower Hour" [show #01-28, 9.Jul.01 - CD]
Four tracks from 1986 coupled with Wembley 1975 material, see section 10.27.

30.14 King Biscuit "Flower Hour" [show #02-47, 21.Oct.02 - CD]
A reissue of the show with air date 9.Jul.01 (section 30.13) combining songs from LA Forum 1986 with Wembley 1975 (section 10.29).

30.15 King Biscuit "Flower Hour" [show #04-39, 20.Sep.04 - CD]
Another slice of the LA 1986 concert comprising the following songs:

31. Estadio Vicente Calderon, Madrid, 13th May 1987

Genesis played two dates in Italy during the Invisible Touch tour; they were at a peak of popularity and accordingly RAI radio gave the tour excellent coverage: in fact RAI broadcast three dates! First came the four opening tracks from Genesis' Spanish concert in Madrid, intended to give the Italian audience a preview of the gigs to be performed in Rome and Milan a few days later. RAI produced the show in collaboration with Italian promoter David Zard who provided commentary. Unfortunately the announcers did a fair amount of talking in the middle of the songs - common practice for Italian Radio!

32. Stadio Flaminio, Rome 17th May 1987

Coverage of the 1987 Rome gig provided the second and most complete RAI broadcast of the Invisible Touch tour; the first half of the gig, inclusive of Throwing It All Away, was transmitted. Ample commentary between songs was in evidence, though was not so intrusive in the middle of songs as during the Madrid broadcast. Prior to the concert RAI broadcast interviews with Mike, Tony and Phil throughout the day, covering such topics as the making of Invisible Touch, on-stage clothing and choice of set list. None of the RAI broadcasts have been bootlegged or even circulated much in tape form, probably due in part to the amount of talking over the music.

33. Stadio San Siro , Milan, 19th May 1987

The last of RAI's trio of broadcast consisted of highlights from their performance in Milan.

In addition, a couple of complementary songs were televised:

34. Hippodrome, Paris, 3rd June 1987

An amusingly disingenuous attempt by the BBC to give the impression of live coverage of a concert, while actually being an excuse for Johnny Walker and a small sound crew to have a day out in Paris. All songs played were from pre existing album and live material, but the BBC editors did everything in their power to convey that the rag bag of songs were recorded in Paris, short of actually saying so directly. The results broadcast on the Radio One "Stereo Sequence" program (most likely on Saturday 6.Jun.87) give a plausible imitation of live coverage without the big budget required to transport and staff the BBC mobile.

As there are no live songs from the Paris concert it would be possible to ignore this broadcast completely here, were it not for three snippets appearing alongside the on-location interviews. The first is Phil introducing That's All in French at the Paris concert, which is faded into the studio recording of That's All. Here the difference in sound quality emphasized by this transition is evidence that only rudimentary recording equipment was used at Paris. The second point of interest is a soundcheck taking place in the background while Mike is being interviewed. At the end of the soundcheck is a few seconds of Throwing It All Away which the BBC editors quickly merge seemlessly into the LA Forum 15.Oct.86 recording of the song (section 30). Finally at the end of the documentary we hear Phil saying "Au revoir" to the Paris audience.

Program content:

35. Reichstagsgelaende, Berlin, 8th June 1987

On the European leg of their mammoth "Invisible Touch" tour, Genesis were broadcast live from Berlin by SFB. (When I first learned of the broadcast I was told it was transmitted by "2 TEIL Radio", but there's some doubt as to whether such a station exists). A string of Western rock stars including David Bowie and the Eurythmics had played at the same location on previous nights.

Reichstagsgelaende which translates as "the area around the parliament" stood right next to the Berlin wall. Great crowds gathered on both sides of the wall and GDR security police feared a riot situation; East German fans became so angry about not being able to see the band that they almost breached the wall and the incident headlined German TV main news. In fact there were also reports the following day on the Independent TV network in the UK showing dense crowds around the Brandenburg gate, some linking arms others holding lit candles and chanting "The Wall Must Go" (in German). It showed scuffles among the crowd and clashes with the Police leading to a reported 50 arrests; uniformed guards with dogs ordered western press to turn off their cameras. A few days later in a dramatic echo of these events Ronald Reagan made an impassioned speach from the Brandenburg Gate, urging "Mr Gorbachev, tear down this wall".

"Invisible Tour '87" [Domino 878801 - 2LP] reproduces the live Genesis broadcast without the Cage medley; "Triangle on Domino" [Highland HL 108/09#G20] has most of the show but missing are the opening and the second half of Los Endos.

36. Maimarktgelande, Mannheim, 20th June 1987

Within a couple of weeks German fans were treated to another complete live Genesis broadcast, this time courtesy of SWF3 Radio. SWF stands for sud-west-funk which translates to south-west-radio, and covered the south western region of Germany consisting of "Rhineland-Palatinate" (Mannheim, Mainz, Koblenz, Trier, Saarbrucken) and "Haden-Wrtthemberg" (Karlsruhe, Stuttgart, Ulm, Lindau, Singen, Freiburg). In 1999 SWF3 was dissolved and merged with another station, SDR, to become SWR3. Before the merger SWF3 had a strong reputation as a progressive station and regularly made complete and uninterrupted broadcasts of live concerts by major acts. SWR3 archives informed me that they do not have this Genesis concert in their archives because the contract was for one broadcast only.

While the performance itself was wonderful it was beset with difficulties. Torrential rain continued throughout, so that half way through the concert (immediately after the old medley) it was necessary to move the stage back to avoid the electrical problems which flooding might cause. So SWF3 listeners were treated to a few minutes of live coverage of the stage being relocated instead of the planned performance of Tonight Tonight Tonight.

From the outset a troublesome element in the crowd, identified by Phil as an American contingent, threatened to disrupt the show. Phil requested a halt to pushing at the earliest pause immediately after Abacab. Problems intensified after Domino with a prolonged chant of U.S.A after which Phil dropped his amiable persona to announce "... I know you want to have a good time, I know you're Americans, but just cool it ... don't make trouble".

Further entertainment is provided by an uncharacteristic slip up from Mike for the climax of his solo finishing That's All, several rather creative notes cascade from the guitar before getting back on track. Perhaps the wet conditions were responsible.

The show has been nicely bootlegged by: "Invisible Life" [Gen A-1462/2 - 2LP]; "The Invisible Cage" [Kiss The Stone KTS042/43 - 2CD]; "Invisible Touch Tour 87/88" [Abacabs 002/91 - 2CD]; "Genesis Live in USA & Germany 1987/88" [International Pop - INP004/5 - 2CD]. For the best version you're ever likely to hear from this show, make sure you have the fan release FAde005 which is from a complete recording off broadcast onto cassette (scheduled for release, July 2003).

37. Wembley Stadium, London, 4th July 1987

Genesis were broadcast live by the BBC on the very last day of the "Invisible Touch" tour at Wembley Stadium. This was the BBC's first ever digitally mixed live broadcast (transmission itself was not digital, of course). It was rebroadcast the following month on 31st August 1987.

While there is some overlap between this material and the soundtrack of the "Invisible Touch Tour" video, much of it is unique: the video compiles footage from all four nights at Wembley and does not have the In The Cage medley. Television airings of the video include UK terrestrial Channel 4 in 1990, satellite channel UK Gold in 1994 or 1995 and German channel 3sat on 31.Dec.03. The format of the video master tape was Sony analogue HD1 format, converted to both HDCAM (the modern equivalent) and digi-beta for production of the official DVD release.

Many fans in the UK must have taped the live broadcast and it is now common on CDR, though no commercial bootlegs have so far emerged. An interesting version circulating under the title "Live In The City Of Light" is sourced from a DAT tape recorded by the BBC mobile. This is distinguished from broadcast recordings as having longer opening and closing sections (including exit music) and extended applause before the encore. Tonight Tonight Tonight backing one of the Dreaming While You Sleep singles [Virgin GENDX11] is from this performance as is the Brazilian on Genesis Archive #2.

38. Madison Square Gardens, New York City, 14th May 1988

As part of their 40th birthday celebrations, Atlantic Records staged a celebrity concert featuring many of their top selling artists, each band playing within a 30 minute time slot. Among these were Genesis who played a 23 minute medley having the distinction of being the only instance of the band performing solo material. The sound too is quite unusual; with many bands following in rapid succession and sharing same stage it was necessary to restrict equipment setup time. As rock critic Shawn Perry put it:

(Read the rest of Shawn Perry's excellent online account:

Various parts of the "Atlantic at 40" concert were broadcast on TV by BBC 2 in the UK, HBO in the US and on Australian television. The UK and US broadcasts featured the Genesis set (I'm not sure whether that part was aired in Australia). Five programs of highlights were televised by BBC 2, the fourth of which on 20th May 1988 carried the Genesis medley. A master VHS video of this program is lodged with the National Sound Archive. WYSP Radio in Philadelphia broadcast the Genesis medley the day after the performance (on 15.May.88) and later Westwood One produced a couple of radio shows from the event, one of which included the Genesis medley (described below). So far no commercial bootlegs contain the audio portion of this recording, but CDR bootlegs are circulating, the best being sourced from the Westwood One radio show.

38.1 Westwood One "Superstar Concert" [CO 89-16, 14-21.Jul.89 - 3LP]
Westwood One broadcast some highlights of the show, including the Genesis medley. Superstar Concert CO 89-16 was hard to track down on account of Genesis not being mentioned on the cue sheets or elsewhere on the box set packaging. Led Zeppelin and Yes are billed as the main attractions and both bands are credited on the cue sheets along side their set lists; but Genesis' contribution is simply marked as "MEDLEY" with no reference to the band. The only way to determine that Genesis are on the LPs is to play them! To add further to the confusion, the first program put out by Westwood One including Yes and Led Zeppelin, Superstar Concert #88-18, featured the Foreigner set instead of Genesis.

Genesis medley:

39. Knebworth Park, UK, 30th June 1990

The annual Knebworth festival in June 1990 was dedicated to fund raising for a UK charity who's goal is to enhance the lives of disadvantaged children through music. Nordoff-Robbins Music Therapy, pioneered by Paul Nordoff and Clive Robbins in the 1950s and 1960s, is based on the premise that everyone no matter how ill or disabled can respond, benefit and learn through music. A registered charity with no statutory funding, Nordoff-Robbins Music Therapy finance, research and promote this concern throughout from their London base via their "Silver Clef" program.

Planning for the Knebworth "Silver Clef Concert" started in September 1988 with the aim of raising in excess of three million pounds. Trumpeted as the concert of the 1990s and reminiscent of Live Aid, there was quite a build up to the event with prestige artists such as Pink Floyd, Paul McCartney, Robert Plant, Cliff Richard and Status Quo lining up to lend their support. Tickets sold out almost instantly. All this drew plenty of media attention: the entire event was were broadcast live by BBC Radio One; a big portion of the concert was televised shortly afterwards by MTV (14th July); several regions of ITN (the Independent TV Network) in the UK broadcast abbreviated highlights a few weeks later.

Genesis appeared on the bill, their set being preceded by some solo songs from Phil Collins:

Phil announced that he had bought some friends and was joined on stage by Tony and Mike to perform some of their hits of the 1980s: The performance itself was a little lack-luster: Phil's voice was not on form and the band made several uncharacteristic mistakes. In mitigation Genesis were playing together for the first time in quite a while, with little opportunity to rehearse and optimise their sound. In interview it was stated that the songs played were chosen because they were the easiest to re-learn at short notice.

The official video of Knebworth, entitled "The Event" was released in four volumes; Genesis' contribution appears on volume 3, but minus That's All, with an edited version of Mama and only the oldies medley portion of Turn It On Again. Phil's set was shortened to In The Air Tonight and Sussudio. Other formats of this release are DVD, laserdisc and the soundtrack on CD, all with the same material. MTV coverage included Sussudio from Phil and the full Genesis set except that Turn It On Again and Mama were edited as described for the official releases. ITN coverage (in regions TV South, Scottish TV, Central TV, London Thames or LWT and probably a few others) was limited to Throwing It All Away and the Turn It On Again medley, with no material from Phil. A copy of the full concert soundtrack resides at the National Sound Archive on Betamax video cassette, but sound only.

39.1 Westwood One "Superstar Concert" [show #95-24, 5.Jun.95 - 2CD]
The Genesis material, complete and undedited, contributed to a Superstar Concert Series CD sets from Westwood One, coupled incongruously with Wembley 1975 material (section 10.21).

Westwood One also produced an edition of the Pink Floyd set at Knebworth 1990 (show #92-23) using some devious editing to extend their one hour playing time by more than five minutes to fill the standard Superstar Concert program slot!

40. Irving Stadium, Texas, 6th May 1992

Two days prior to the commencement of the "We Can't Dance Tour" Genesis rehearsed at the Irving Stadium in Texas. Afterwards they met JJ Jackson representing the Global Satelite Network to discuss the tour and answer questions phoned in from fans. Initially Phil, Mike and Tony were interviewed and later joined by Chester Thompson and Daryl Stuermer. All were in a lighthearted mood, having a number of jokes at each other's expense, Phil especially being on form with witty retorts. During the course of the 75 minute show, dubbed "The Soundcheck", a couple of songs were aired announced as having been recorded in rehearsal earlier that day:

As is to be expected crowd noise was lacking, but to generate atmosphere a little applause was played as JJ Jackson started to introduce Land Of Confusion. Careful listening reveals that this applause is stolen from the Chicago 1978 show broadcast by WXRT (section 22) and Phil can be heard to say "Good evening Chicago ... good to see you all again"!

The rehearsal was also covered by the "Opening Night" documentary broadcast on MTV, though not in as much depth. Land Of Confusion appeared later as a B-side on the official CD single of Jesus He Knows Me. Probably the best recording was bought off Ebay as a pre-broadcast cassette. While the cassette and case appear authentic a little rough editing calls into question this provenance, nevertheless it is cleaner than other off-air recordings circulating. There are two items held by CDR trading circles containing We Can't Dance rehearsals recorded from the soundboard, but these are thought to be from an earlier rehearsal on 4th May. Another curiosity is a rare promo CD sporting one half of a live performance of Driving The Last Spike [PR 4666]; the origin of this is not known but it might have been taken from one of these rehearsals.

41. Ullevi Stadium, Gothenburg, 8th July 1992

Due to strike action by French truck drivers, this show originally scheduled for 7th of July was delayed by a day. Swedish national radio broadcast just two live songs within a week of recording:

The inside story on this one is as follows: Swedish radio negotiated the rights to broadcast one hour of the concert, but when they arrived at the venue Genesis management refused to let the radio engineers produce their own sound mix, insisting instead that they use the PA sound mix. Swedish radio has an international reputation for recording live concerts which is superceded only by the BBC. As a protest against the edict it was decided to drop the Genesis gig, but public demand was such that these two songs were aired to placate the fans.

42. Wiener Prater Stadion, Vienna, 16th July 1992

Austrian National Radio "O3" broadcast this concert live in its entirity. Before the show, a short interview with the band and fans was aired. The bootleg "Vienna" [BKCD 003/4 - 2CD] reproduces the show and has very good sound, though Phil's song intros are all absent and the opening lines of Hold On My Heart are omitted in order to remove the radio commentators' voices.

43. Olympiastadion, Munich, 17th July 1992

German radio station Bayerischer Rundfunk broadcast this show on Saturday, 25th July 1992. Due to sound problems the opening track - Land Of Confusion - could not be broadcast; the presenter apologized for this and proceeded to play the album version of the song half way through the broadcast! Although presented as a complete concert, two further songs were absent: Home By The Sea and Domino. Bayerischer Rundfunk have not retained the master recording in their archives because of transmission conditions agreed with the band. So far, there are no corresponding bootlegs.

44. Knebworth Park, 2nd August 1992

A favourite of the bootleggers, this final concert of the stadium leg of the "We Can't Dance" tour received much exposure world-wide. It received live air play on BBC Radio 1 in the UK and also in Germany on SWF3's "Liverock" station. In addition it was broadcast twice on Sky One in the UK and was shown via satellite TV in various other countries. A futher TV rebroadcast was on UK Gold in 1993, but marred by frequent adverts. Genesis were firing on all cylinders and turned in a wonderfully energetic performance, though this comes over much more strongly on video than from sound alone.

The first of the two original UK TV broadcasts was live on the air and the technicians had some problems with the sound mix. For all shows on the We Can't Dance tour, the main concert mix was provided by a Midas XL3 desk. Using direct and auxiliary outputs from this desk feeds were sent to a Mackie 1604 rack desk and a couple of microphones pointed at the audience. Broadcasting companies could tap into the Mackie 1604 and produce a stereo mix independently of the main board, tailored to their own requirements and capturing crowd noise for a more authentic live sound. In the event, for the Knebworth show, the crowd were too high in the mix and the microphones were placed too far back and pointed at the PA instead of the audience!

Sound on the second broadcast (a few days later) was better, suggesting that the recording was doctored afterwards. For this to have been technically possible, the BBC must have made a multitrack recording from the Mackie 1604 independently of their live stereo broadcast mix, allowing them to produce a different stereo mix in a studio prior to rebroadcast.

There are several good bootleg CDs of this show including a sneaky release which attempts to beat the competition by advertising itself as "Espace Grammont, Montpelier, 20th July 1992" [WN-EG 3-PC 12.1-2 - 2CD]. One to go for is "Summer Nights" [Kiss The Stone KTS 106-107 - 2CD] due to excellent CD mastering, though some of Phil's song intros are missing. Another fake liable to cause confusion is "But You Can Dance" [Dead Dog Records SE311 - CD] labelled as "Live Switzerland Radio" and attributed to St. Jakob Football Stadium, Basel, Switzerland 26th July 1992. Very probably, this was recorded from a Swiss broadcast of the Knebworth gig, as evidenced by the inclusion of a Swiss announcer on the CD. A couple more strange ones are "We" [Alien Sound Music] and "18 Million Dollars To Dance" [German records Gen CD 0.17 - CD] which have songs from earlier tours mixed in haphazardly. Also circulating are a great CDR transfer of the BBC Radio broadcast caught on VHS video soundtrack, and a definitive DVD version using the same soundtrack synced with a PAL video from the TV broadcast. The National Sound Archive lists a VHS cassette with sound only from the live BBC Radio 1 broadcast, presented by Anne Nightingale, where listener's record requests are followed by the Knebworth 1992 concert.

45. Royal Albert Hall, London, 16th November 1992

After Knebworth, Genesis played numerous small venue dates in the UK. The Royal Albert Hall, a fine venue with great acoustics, was selected to give a charity performance in aid of the Prince's Trust - a UK charity for homeless people patronized by Prince Charles. Despite the fact that the tour brochure suggests this show to be the last of the tour, there was one further performance on 24th November at a small venue in the midlands: The Civic Hall, Wolverhampton, postponed from its originally scheduled date of 26th October due to Phil experiencing problems with his voice.

The Royal Albert Hall show was broadcast over the UK on several local radio stations including Capital Radio (London) Trent FM (Nottingham) and BRMB (Birmingham). Some of these broadcasts feature local DJs babbling incoherently over the start of several songs, but others are cleaner. Highland's "Never Forget Jesus" [HL 315/316 - 2CD] reproduces one of these broadcasts. The best recording circulating is rumoured to be sourced from the broadcast reels but is in fact merely a good recording on VHS soundtrack from the Trent FM broadcast.

46. Fernsehturm Am Alexanderplatz, Berlin, 26th August 1997

Genesis chose this venue to launch "Calling All Stations" in Europe introducing new vocalist Ray Wilson. Ray, Mike and Tony performed four acoustic numbers punctuated by interviews conducted by Alan Bangs. Essentially this was a promotional occasion so various journalists and media representatives were present and a press conference was held after the show. VH-1 televised the event worldwide and it was transmitted by ORB Radio to various stations including WDR 2, Cologne and SWF 3.

The live acoustic songs (without intervening interviews) can be found as bonus tracks on "Nothing Left Now" [Alternative Recording Company ARC 026 - CD] which is devoted mainly to the first electric set at Copenhagen (section 48). The Berlin portion of this bootleg sounds a little compressed.

47. NASA Launch Pad, Cape Canaveral, 28th August 1997

Having launched in Europe, Genesis were keen to launch in the US too, this time as guests of NASA at the Kenedy Space Center in Cape Canaveral. The format and songs played were the same as for the European counterpart, but the whole event took rather longer as it included numerous album cuts, a question and answer session and interviews with the band and various members of the Cape Canaveral staff. The acoustic performance took place from the floor of the newly opened Apollo/Saturn V Centre in front of an actual 363-foot, 435 thousand pound Saturn V rocket of the type which propelled America towards the moon during NASA's Apollo program between 1968 and 1972, one of only three remaining.

US transcription syndicate "Album Network" had exclusive broadcast rights and the show was transmitted the following day. The North American CAS Premier made news on Independent TV in the UK in the form of a 3.5 minute report made by Reuters Television (RTV). It featured the band members posing at Cape Kenedy for photos, an excerpt of the music video for Congo, some words from Ray about his new job, more words from Mike about the new album and a small section of the live acoustic performance.

47.1 Album Network "Calling All Stations World Premier" [NS-9310]
Two distinct formats were used by Album Network to distribute their radio show special: DAT cassette and original 7.5 ips reels, both bearing the same labelled NS-9310 and with air date 29th August 1997. The Live acoustic tracks performed were as for the European launch:

48. Hotel Richmond, Copenhagen, 15th November 1997

Danish National Radio P3 broadcast the very first full electric live set with Ray Wilson on the show "Med et Z", the Saturday morning program transmitted between 9am and 12am. Genesis played live for 50 minutes and were interviewed by the radio presenter, during which there was an amusing exchange where Ray was quizzed about early Genesis history!

Hotel Richmond was a rather unlikely Copenhagen venue; one third of the function hall was filled with mixing desks and broadcasting equipment which together with the usual entourage of roadies left little room for the assembled fans. The gig was not advertised other than by word of mouth, the 51 lucky attendees being chosen at random among those who sent in postcards listing the names of the three lead singers over Genesis' history.

Bootleggers wasted no time in releasing "Nothing Left Now" [Alternative Recording Company ARC 026 - CD], a first class recording of this material (minus the interviews). Bonus tracks are taken from the Berlin acoustic set (section 46). The Copenhagen portion of this bootleg was taken from a direct digitial copy from broadcast, a feature of which is a digital skip at the end of Land Of Confusion. As evidenced by the skip, the digital recording was also the source of disc one of the Highland bootleg "Calling Radio Stations", though the recording on that source is speeded up by a fair amount. An official CD "Radiohitz" [Multimedie ZCD-001] released in Denmark 1998, includes Congo live from this recording.

On 2nd February 1998 the French station Europe 2 aired three songs from this show to supplement their recording of an acoustic set (section 49).

However the distinction of first rebroadcast goes to German radio station SWR (formerly SWF) who aired Land Of Confusion as part of an appearance by Ray Wilson on 18.Nov.97, where Ray was interviewed and performed an acoustic live rendition of Not About Us and a much foreshortened version of the Stiltskin hit Inside. Ray at SWF is reproduced on "Calling Radio Stations" where Land Of Confusion can be heard this time without the digital skip. A similar German radio appearance by Ray was for WDR in November 1997, where Ray was interviewed and performed Not About Us together with a full acoustic version of Inside; Land Of Confusion from 15.Nov.97 was not broadcast by WDR.

49. Europe 2 Studios, Paris, 9th December 1997

Europe 2 radio broadcast an exclusive acoustic Genesis performance recorded in December 1997 (probably 9th). The broadcast date of 2nd February 1998 is no coincidence: Europe 2 was keen to play live Genesis before their rivals RTL who broadcast on the same day (section 50)!

After this they aired three further songs taken from the Danish electric set (section 48).

50. RTL Studios, Paris, 13th December 1997

Another rehearsal in preparation for the Calling All Stations tour was a set played at the RTL Studios, Paris. RTL radio broadcast the whole 80 min set on 2nd February 1998 around 10:15pm. From comparison with an audience recording of the show it is clear some post production work was applied prior to broadcast. For example at the gig the synthesized sounds at the start of No Son Of Mine were not present. Genesis used these radio broadcasts as opportunities to rehearse live material and guage audience reaction. It is interesting to track the development of their live set and the progress of their expertise: this performance was a noticable improvement on the Copenhagen show.

Entry to the gig was free on presentation of the following invitation slip:

  Invitation gratuite pour une personne
  RTL vous invite a vivre le "Concert d'un soir"
  Samedi 13 Decembre 1997 20H30
  Grand Studio, 22
  Rue Bayard, 75008 Paris
Songs broadcast were: The broadcast included some introductory comments by the radio presenter and additional commentary during a short intermission. Especially interesting is Smalltalk (with a great guitar solo by Anthony Drennan) which was not performed during the tour.

Five songs from this recording have been released on the promo CD "Live Rehearsal". Some of these CDs were given away at another tour rehearsal held at Bray Studios near London, other CDs were used as prizes in various competitions held throughout the UK. Demand for this promo is high and it is consequently difficult to find. The Promo CD has the following songs:

Another airing of this recording required some detective work. The Highland bootleg "Calling Radio Stations" has two songs, Not About Us and Land Of Confusion, attributed as "RSTT Gad Radio 13.Feb.98" which actually turned out to be two songs mimed for a TV appearance at the R.SH Gold Awards Ceremony. Radio Schleswig Holsten (R.SH) organise an annual "Gold" music awards ceremony at which bands appear in a large venue with a lighting rig and mime to their music. In 1998 the show was recorded on 7th February and transmitted by German National TV channel 2 (ZDF) on 8th. Genesis were in Berlin on 6th, appeared at the R.SH awards on 7th and went over to France on 8th. Not About Us is clearly the album version, but Land Of Confusion sounds to be live. Well in fact it is and it isn't: Genesis mimed to the Live Rehearsal promo CD version of the song and the applause at the end is from the RTL Studio audience immediately before the Gold Awards audience takes over!

One of the better known and most complete bootlegs of this broadcast is "Small Talking In Paris". The best recording, circulating as the CDR bootleg "Practice Makes Perfect" is said to be sourced from the pre broadcast DAT tape. In Support of this claim: Ray's opening comment "What a strange place to do a gig" is edited out and then the initial tick-tock from No Son Of Mine plays over audience applause; in contrast the tick-tock on the broadcast begins in silence following Ray's comment. Editing and dubbing of this kind is typical of post production work undertaken to prepare a raw recording for further broadcast or release.

51. Westfalenhalle, Dortmund, 10th February 1998

German Radio WDR 2 broadcast a small part of the band's 1998 Dortmund show live on the air. Transmission started at 8:25pm in the middle of the "Reisezeit" program with an interview between the studio presenter and the reporter on location at Westfalenhalle. When the music began it was so loud that it drowned out the reporter's description of the situation in the concert hall, only a small part of No Son Of Mine can be heard without the reporter's voice. After the first three songs (punctuated by a brief traffic report) "Reisezeit" continued. The live broadcast carried the following songs:

WDR 2 received a recording of the show from Genesis' sound Engineers consisting of the first five tracks (those on the live transmission plus Calling All Stations and Alien Afternoon). As a nice Christmas present, they put out an extended rebroadcast on Christmas day 1998 which included Calling All Stations. It was aired during a Christmas special edition of the daily program "Roxy" featuring highlights from the 1998 live concerts sponsored by WDR 2, each item running for about half an hour. The Genesis portion started at 10:05pm with an announcement by the presenter and two nearly identical station ID's by Tony, Mike and Ray (probably repeated by accidient) over the intro of No Son Of Mine.

52. National Exhibition Centre, Birmingham, 25th/26th February 1998

Genesis were recorded by the BBC at Birmingham during their "Calling All Stations" tour. The show has been aired on two separate "In Concert" programs (on 25th April 1998 and 10th October 1998), both introduced by Johnny Walker. The second broadcast was advertised as a "revised repeat" and contained three songs not broadcast first time around. "In Concert" is now broadcast on Radio Two, the preserve of "golden oldies" style music, a fact which indicates the current views of the BBC regarding bands such as Genesis.

Although in the first broadcast Johnny Walker quotes the date of recording as 25th February, doubt is cast by reports that Not About Us was not part of the set that night. I have also heard the BBC recorded quite a few gigs before making the final selection for broadcast, so in the absence of further evidence it seems likely that the songs broadcast were compiled from a combination of dates, probably 25th and 26th February 1998.

The recording shows the new line up becoming more confident and the level of performance reinforces Genesis' reputation for powerful live shows: The Dividing Line being a particular tour de force and a nod to the band's progressive roots.

25th April 1998 broadcast:

10th October 1998 "revised repeat" broadcast:

Predictably a good quality bootleg soon arrived in the form of "A New Beginning" [Gentle Three-001], though unfortunately marred by noticable radio distortion on one channel for a short time during Mama. As this was released months before the second broadcast, it contains only the songs on the first.

Highland's version "Live After Dividing" [Highland HL 283/84] couples the first broadcast with some additional tracks taken from the soundtrack of a Czech TV broadcast recorded at the Prague Sportovni Hala on 2nd February 1998. (I understand that the Czech concert was broadcast only on TV, not radio as rumoured, hence it does not qualify for a separate section in this guide). The Czech broadcast covered about two thirds of the concert and the bootleg contains just those tracks not duplicated by the BBC broadcast. When edited together in order, the two shows do not quite form a complete set - it would perhaps have been preferable to have a single disc compiling material from both BBC broadcasts.

A CDR version circulating under the title "Nir Perfect" consists of the songs from both broadcasts and claims to be sourced from the broadcast master DAT recording. Evidence against this claim is the presence of what sounds like FM whisper at the start of Domino and during the quieter passages of the acoustic songs. All off-air FM stereo recordings I've heard of this show share the whisper, but it was not present on my mono recording of the first broadcast which suggests it was indeed an FM artifact.

53. Olympiahalle, Munich, 27th March 1998

Three tracks only were broadcast on a German FM station:

There seem to have been a few broadcasts consisting of the first few songs of Calling All Stations concerts; Dortumund, Munich and the TV broadcast "Rock Im Park" from Nurnberg. There was also a reported to have been a broadcast of the first three songs of the gig at Alsterdorfer Sporthalle, Hamburg (30th March 1998), said to have been broadcast by Radio Hamburg after the 11:00pm news.

A plausible explanation for this phenomenon is suggested by the ticket stubs issued in Germany which each sport the logos of a newspaper and a radio station, presumably reproduced to acknowledge sponsorship, promotion or support. In Mannheim the radio station was "Hit Radio FFH", in Dortmund and Bielenfeld "WDR 2", in Stuttgart "Antenne", in Munich "Bayern 3". A backstage pass of the Hamburg and Bielenfeld gig gives journalists permission to take photos during the first three songs and broadcasters to record these songs from the soundboard system. It is reasonable to suppose that the various broadcasts feature the soundboard recordings taken by sponsoring radio stations. All this ties in with the "Calling All Stations" concept and supports the rumour of a broadcast of the Hamburg Gig by the local Hamburg radio station, though no recordings have emerged.

54. Globenannexet, Stockholm, 3rd April 1998

An excellent 55 minutes of this show were broadcast by Swedish FM radio "P4". At this later stage in the tour Ray seems better integrated and more at home with the band and the show is a treat to hear: a committed and mature performance coupled with good recording and mixing. Home By The Sea is probably the heaviest and most manacing version I've yet heard.


There is a wealth of excellent live Genesis material available on radio show transcriptions, though many broadcasts have not surfaced on radio owned media. Most of the shows and broadcasts have been bootlegged, but there are still some shows and parts of shows which can currently be found only as traders' tapes and CDRs.

Collecting information about broadcasts gives some fascinating insights into the origins of bootleg recordings and provides a framework for categorizing and judging them. I have attempted to give a detailed and comprehensive account of this subject area: if you have any additional or corrective information I would be delighted to hear from you and to improve this document accordingly.


BBC sessions were not recorded live in the sense of a single take in front of the watchful eyes of an audience, yet the music often has a direct "live" feel. One contributory factor is that studio time slots for BBC sessions were so tightly controlled that practically no scope was left for over-dubbing or re-recording. Between 1970 and late 1972 Genesis recorded four sessions for the BBC. I will describe each of these then discuss available bootlegs. Most of the dates and track details are taken from Ken Garner's excellent BBC 'sessionography' book "In Session Tonight".

[#1] "Night Ride" 22nd February 1970

On Genesis' first visit to the BBC they recorded a session of Trespass era material, the majority of which did not appear on the album. The session was recorded at Studio 4, Maida Vale and the lineup at that stage was Tony Banks, Mike Rutherford, Peter Gabriel, Anthony Phillips and John Mayhew.

First broadcast on the "Night Ride" show 1.Apr.70, the original program billing in the Radio Times read as follows: "12.5 Night Ride. Jon Curle with swinging sounds on and off the record featuring tonight GENESIS. Produced by ALEC REID". Tracks recorded at the session were:

The Night Ride session was re-discovered and broadcast by Alan Freeman on his "Saturday/Sunday Rock Show" circa 1989, minus Dusk but with the bonus of a session version of Musical Box recorded for a later session session (see [#2]). Stagnation and Looking For Someone are embryonic versions of Trespass songs. The first three songs remained unreleased until their inclusion in the retrospective "Genesis Archive" box set.

Dusk, not present on the rebroadcast, now appears to be lost - the story goes as follows: BBC policy until about 1980 was that session tapes should be erased after broadcast - though some producers enforced this policy more zealously than others. The "Night Ride" session survived only because producer Alec Reid made his own cassette copy of the BBC master prior to it's destruction - presumably his tape did not include "Dusk".

Musically we are treated to a helping of how Genesis might have sounded on "From Genesis To Revelation" had they not been swamped under heavy handed production. Stagnation has a different ending from Trespass - instead of the powerful closing passage with the vocals "Then let us drink .." there is a reprise of the opening theme with some rather twee accompanying lyrics. Of the five tracks "Let Us Now Make Love" would have been most at home on "From Genesis To Revelation" with it's more rhythmic beat and vocal arrangements threatening to emulate the "Bee Gees" as in "The Silent Sun"!

The session has a somewhat medieval feel, contrasting gentle "pastoral" melodies with heavier and more menacing themes. The panel evaluating the session commended it highly for it's "intriguing tone colours". Overall, there is a sense that the band is promising yet still trying to find it's feet: evidence of writing flair and originality abounds but the performance itself does not reach the level of professionalism displayed in later recordings.

[#2] "Sounds of the 70s" 10th May 1971

Genesis' next session was recorded six months before the release of Nursery Cryme. It was recorded at Studio T1, Kensington House, produced by Pete Dauncey and Engineered by Adrian Revill. Anthony Phillips and John Mayhew had by now been replaced by Steve Hackett and Phil Collins respectively. The session consisted of just two tracks:

It was first broadcast on Bob Harris's "Sounds of the 70s" program on 31.May.71 and received a couple more airings in the 1980s. More recently, "Musical Box" was rebroadcast along with the "Night Ride" session.

"Stagnation" shows progression from the 1970 version, the time changes carried off with noticeably more elegance - especially on the part of the drums! Tony has honed the opening passage of the keyboard solo and plays with more confidence than on the "Night Ride" session. A superb performance with subtlety and power, I rate this as the definitive version of this song.

"Musical Box" has some interesting differences from the album version. The "Old King Cole" refrain is preceded by an extended flute section followed by the lyrics beginning "And the clock ..." which are then repeated before the launch into the frantic keyboard/guitar duet. Clearly Gabriel had not yet finished the lyrics of the closing section, the famous Gabriel-ese grunts taking the place of real words!

There is a marked improvement in musicianship compared with the previous session. Phil Collins' skilled and creative drumming is an obvious improvement; Steve Hackett's guitar (high in the mix) adds an extra dimension and texture to the sound. The band as a whole have matured technically and become a more cohesive unit. Listen to a good quality recording of this session, if possible, because there is a considerable range in volume between the quieter and louder passages.

[#3] "Sounds of the 70s" 9th January 1972

Recorded again for the "Sounds of the 70s" program, this time hosted by John Peel, was a session consisting of the following:

It was broadcast on 28.Jan.72 except for Harlequin which was broadcast on 17.Mar.72. The songs do not differ greatly from the versions on "Nursery Cryme", which is not surprising as the album was released just two months before the session.

Material from this session is quite hard to find and may not have received a second airing. As a result tape copies are elusive and it makes low-key contributions to just two compilation bootleg LPs with "Salmacis" and "Harlequin" not featuring on either. Although there is a copy of this session in the BBC archives there is a question mark over whether it is the original master or a poor quality verions recorded off air and subsequently acquired by the BBC. The reported low fidelity of this material on the aborted Virgin release (see later) suggests the BBC no longer have their original master but instead intended to release a version of the tape copy available in trading circles. All known recordings are missing Fountain Of Salmacis.

[#4] "Top Gear" 25th September 1972

The last of the band's early BBC sessions was again recorded at Studio T1, Kensington House. It was first aired on John Peel's "Top Gear" show on 9.Nov.72 and rebroadcast (at least) twice together with the [#2] session:

This session is magnificent: we are treated to excellent versions of two classic "Foxtrot" tracks plus the much underrated "Twilight Alehouse" which never made it onto a Genesis album.

"Watcher" is played with power and conviction, a real tour-de-force. Mike turns in some of his very finest work on bass and Phil's backing vocals complement and enhance Peter's to great effect.

"Twilight Alehouse" exhibits all the hallmarks of a classic Genesis song: imaginative composition, variety of mood and texture, strong and emotional vocal delivery, committed performance. The extent to which Phil's contribution drives the band is particularly noticeable on the session, and this version of "Twilight Alehouse" showcases his talent.

"Get 'Em Out By Friday" is also faultlessly performed. The ironic and operatic style of the song is heightened by some amusing voices for the cast - some of which differ from their characterization on "Foxtrot". Again, listen out for some great bass lines from Mike.

Superb recording and production are key contributary factors to the success of this session: they highlight the wonderfully accomplished level of musicianship attained by the band in their "Foxtrot" era. A convincing performance, delivered at a high point in the bands' career.

Available Recordings

The "Night Ride" session [#1] (minus "Stagnation") received airplay in the US as part of Westwood One's "BBC Classic Tracks" series for which a broadcast-only radio show CD was made hosted by former Capital Radio DJ Nicky Horne [Show #94-19 for broadcast week of May 2, 1994]. Several high quality bootlegs of this session are now available. The first three tracks of the session are reproduced on the "Genesis Archives" box set [Virgin 72438 422221 2 3 - 4CD].

A very rare BBC transcription services LP exists of the 10.May.71 session [#2], entitled "Pick Of The Pops For Your D.J. - 346" [128505-S, expiry date 23.6.72]. This was news to me as I wasn't aware the BBC produced early LPs of their sessions so this is an exceptional find. It would be amazing if there were a similar release including the rare 9.Jan.72 session [#3]. Musical Box from 10.May.71 also appears on the Westwood One #94-19 CD.

Around the time the Archive #1 box set was being prepared a release of all the Genesis BBC sessions was proposed, a collaboration between the BBC and Virgin. A few promotional 2CD sets were produced before the project was abandoned when Tony Banks refused permission.

For a long time songs from [#2] and [#4] appeared only as "bonus tracks" on bootlegs of other shows. This changed when the "Night Ride" session was rebroadcast and bootlegs dedicated to BBC sessions emerged. At this point the quality of the recordings used for all sessions improved noticeably. (A rumor claims that "The Shepherd" was mastered direct from a BBC tape containing all the available Genesis sessions, the tape having escaped following it's release from the BBC archives for the repeat airing of the "Night Ride" session). Stagnation from [#2] is the version which appears in the "Genesis Archives" box set where it is labelled as "live".

Material from session [#3] is scarce: "The Return Of The Giant Hogweed" can be found on the bootleg LP "The Rarest Vol 3" [Stemka 50013 - LP]; "Harold The Barrel" appears on the bootleg LP "All Together!" [Arc 0075 - LP]. For sessions [#1],[#2] and [#4], two bootlegs stand out as being excellent sources in terms of both sound quality and completeness: "The Shepherd" CD and the three CD set "From One Fan To All others".

"The Shepherd" CD [Flashback Records-09.90.0126 - CD] is preferable to its LP counterpart [Flashback Records-09.90.0126 - LP] which is missing a few tracks. The [#1] session has a slight layer of hiss which seems to be inherent in the BBC's tape (judging by my tape of the rebroadcast). "Stagnation" from [#2] is missing from "The Shepherd", the song being taken instead from [#1]. Amusingly the bootleggers have dubbed the same segment of canned applause between songs in a somewhat comical attempt to convince us the material was performed before an audience! Despite these minor quibbles, this is a classic CD with amazing sound quality.

"From One Fan To All Others" [Stonehenge-STBX 016/17/18 - 3CD] has a little more digital processing which succeeds in factoring out the slight hiss in the "Night Ride" session, but which slightly damps the clarity of the other better recordings. Again, the bootlegger's seem to have shied away from having two versions of "Stagnation": this time the [#1] version is missing. This nicely packaged three disc set also boasts the "Lamb" soundboard from West Palm Beach aka "The Lamb Lives".

The best option nowadays is to find a copy of the CDR bootleg "The Almost Complete BBC Sessions" much of which is sourced from leaked BBC masters. This is as complete as it can be, missing only the two "lost" songs Dusk from [#1] and Fountain Of Salmacis from [#3] and as a great bonus has the BBC live set from their Paris Studios 02.Mar.72 (section 2). Sound quality of the January 1972 session [#3] is poor as usual.

"The Shepherd" CD (Flashback Records-09.90.0126)
  [#1] The Shepherd/Pacidy/Let Us Now Make Love/Stagnation/Looking For Someone
  [#2] The Musical Box
  [#4] Twilight Alehouse/Watcher Of The Skies/Get 'Em Out By Friday
"From One Fan To All Others" 3CD (Stonehenge-STBX 016/17/18)
  [#1] The Shepherd/Pacidy/Let Us Now Make Love/Looking For Someone
  [#2] The Musical Box/Stagnation
  [#4] Twilight Alehouse/Watcher Of The Skies/Get 'em Out By Friday
"All Together!" LP (Arc 0075)
  [#3] Harold The Barrel
  [#2] The Musical Box
"The Rarest Vol. 3" LP (Stemka 50013)
  [#3] The Return Of The Giant Hogweed
"The Shepherd" LP (Flashback Records-09.90.0126)
  [#1] The Shepherd/Pacidy/Let Us Now Make Love/Stagnation/Looking For Someone
  [#4] Twilight Alehouse/Watcher Of The Skies
"Happy The Man" CD (Chapter One-CO 25202)
  [#1] Let Us Now Make Love/Pacidy/Stagnation/The Shepherd/Looking For Someone
"The Unreleased Live Collection" 2 CD (Never End-NE 8.22)
  [#1] Let Us Now Make Love/The Shepherd/Pacidy/Stagnation/Looking For Someone
  [#4] Twilight Alehouse/Get 'Em Out By Friday/Watcher Of The Skies
"The Unreleased Live Collection" 2 LP (Never End-NE 8.21)
  [#1] Let Us Now Make Love/The Shepherd/Pacidy/Stagnation/Looking For Someone
  [#4] Twilight Alehouse/Watcher Of The Skies
"The Hiding Place" LP (Gnv 100)
  [#1] The Shepherd/Pacidy/Let Us Now Make Love/Looking For Someone/Stagnation
"Live In Montreal" 2CD (The Swinging Pig-TSP CD 040-2)
"Live In Montreal" 3LP (The Swinging Pig-TSP 040-3)
"Magma" 2CD (Lobster Records-CD 024/2)
  [#2] Stagnation
  [#4] Get 'Em Out By Friday/Twilight Alehouse
"Genesis In Concert" 2 LP (Music Of Distinction MOD 1005)
  [#2] The Musical Box/Stagnation
  [#4] Twilight Alehouse
"The Rarest Vol. 1" LP (Stemka 5001)
  [#2] Stagnation
  [#4] Get 'Em Out By Friday/Twilight Alehouse
"Some Old, Some New" 3 LP (79-054)
  [#4] Get 'Em Out By Friday/Twilight Alehouse/Watcher Of The Skies
"Twilight Alehouse" CD (Flashback Records-FB 1089 0109)
  [#4] Twilight Alehouse


This guide is dedicated to fellow conspirator Brother Jon who has always steered me in the right direction.

I would like to express my thanks



This copyright gives permission for you to have a copy of this document for your own personal use, either as an electronic document or a hard copy. You may not sell this article for any reason, and you may not charge people for the media on which a copy of this article is given, or distribute this article in mass quantities.

David Dunnington