Genesis Live

some that I don't like too

At least some of the Phil Collins-era stuff worked on an earcandy/stadium rock level.

Genesis in the early '70s may have seemed like the poor cousins of Yes and ELP to some degree, but I think that has more to do with being an indie band with no recording budget: their first three records suffer sonically. On the other hand, unlike Yes and ELP, Genesis didn't fall into the solo-wanking for wank's sake trap. Hackett, Banks and Rutherford were songwriters first, not virtuoso soloists to the same degree of Howe, Wakeman, Emerson et al. Taste over technique is not necessarily a bad thing.

Who was it that said (paraphrasing) progressive rock was a rebellion against three-minute songs about love by writing twelve-minute songs about nothing?

Surely this is a joke?

Or as Edward Macan put it, "If ELP were the Richard Wagner of progressive rock, Genesis were the movement's Mozarts".

iii No You can listen to this one again and again. I don't actualy like England or Lamb Lies Down much. Tresspass is mainly poorly recorded and the songs week. The studio versions of Nursery and Foxtrot both have weak tracks where Genesis go all mideval and dull.

ii Are there other albums that bear sequential play? Well many prog albums,esp ones by Yes, ELP and Pink Floyd need to be listened to in context, with the listener willing to engage (and even welcome) the stereotypical Progisms and I dont always do this. Fragile and Relayer are fine albums, but I wouldn't think they can suit all moods. Topographic Oceans can't, maybe Close to the Edge can. The first three VDGG albums (pawn, least, h to he) are pretty close to Genesis anyway, the three mid 70s KC albums (larks, starless, red) can (obv). I can do this with Hawkwind's DoRemi FaSo LaTido - but that may be just me.

Outwith Progrock (but still in modern popular idiom) Only really Closer (but not Unknown Pleasures) can bear whatever the mood listening - its no comment on how good they are.

i I think there are lots of albums as fantastic as this, from all sorts of genres. Its the lack of some of Progs worst excesses that makes Live special. There is a widely available bootleg video of 74 era Genesis live (ie slightly but not much later) which really brings home how out of the loop they were (The albums were minor hits only). Somebody above says "DIY" and thats spot on.

Got an advance of the forthcoming Live 1973-2007 Rhino box in today's mail. It includes the 1973 Live album, as well as Live at the Rainbow, also from 1973 and with two previously unreleased tracks ("Cinema Show" and "The Battle of Epping Forest"), five tracks from L.A. circa 1975, Seconds Out, Three Sides Live and The Way We Walk.

that set is a bewildering fuck off considering they didn't put on Suppers Ready that was cut from Live, and included crap from the archive box they already released.

If it is any consolation, "the crap from the archive box" has fewer Gabriel overdubs this time around.

We need a v-chip on here that edits out every time I moan about "Epping Forest".

those didn't bother me that much, it's just lame that they have better stuff, in great quality, that they didn't put on here. why?

for instance: what's known as "musica", a show from the Duke tour that they have in soundboard quality. sure you can get it in unofficial circles but if you're compliling your live stuff, just put it on there! They finally located the masters for Genesis Live and skipped Suppers Ready, a track whose intended inclusion on this album was all hushed up for a long time until test pressings with it on there appeared? It's not the best version ofthe song but they may as well put it out.

Genesis were fantastic back then, but I don't care about live albums at all.

I don't care about live albums at all.

Yeah, I'm a little thrown by that. Three Sides Live is pretty weak, and I loathe the studio albums post-Genesis (and all but two or three songs from that one), but I listen to Genesis Live more than any of the contemporaneous studio discs.

The drumming on the live "Musical Box." The cymbal shit is next level.

unaccompanied bass pedal solo imo

https://www.youtube.com/watch?v=_FBcz3tBH74

Musically it's great, but I wish I hadn't looked this up & seen Peter Gabriel in Genesis now :-/

Some of you are going to die ;_;

What IS it with this album? Tried to get into the studio albums but completely failed to - dated and pretentious, bah. But this, this mesmerising masterpiece, I can listen to this once or twice a day for weeks on end (even during new Burial EP or Arcade Fire times).

listening to Seconds Out now - this is probably my favorite of their live records. perhaps heresy but I love Phil Collins taking on "Suppers Ready"!!

So do I. That was the album and song that made me a Genesis freak.

I still like that version more than the ones on Foxtrot and Genesis Archive. Phil's smoothness fits the song better than Gabriel's bark.

yeah - I just wrote a bit on Wind & Wuthering here in which I kinda realize that Phil wasn't really a downgrade
http://critterjams.wordpress.com/2013/12/18/genesis-wind-and-wuthering-1976/

the incredible second half of "Cinema Show" is also ace

Great piece. It's impressive that in 1976, they could still make a record as totally confident and casual as Wind & Wuthering. There's not a trace of strain over the prog-rock crisis on that album.

Phil I see as being a lateral move. Somehow I don't think that he could pull off "The Battle of Epping Forest" (not sure if he ever attempted it).

during my brief all-prog phase in high school I ran with a crowd that considered no-Gabriel era The Beginning Of The End - really enjoyed reading a clear-eyed take on Wind and Wuthering even if every time I try to revisit Genesis I feel like my departure from them was permanent and I can't ever really get back inside

That "Daddy, you promised!" bit sours me on the album every time.

They did "White Mountain" on the '76 tour. Phil's thin melodic voice made it sound especially silly — there was some combination of Gabriel's rasp and his aura of lunacy that made the words he sang seem almost meaningful.

Somehow I don't think that he could pull off "The Battle of Epping Forest" (not sure if he ever attempted it).

I don't think he did and you're probably right, but I would've said that about "Supper's Ready" too. Never heard the '76 band do "White Mountain", but that's kind of a ridiculous song anyway, isn't it?

Re-listening to some of this I'm astounded by how much of both W&W and Spot the Pigeon draw off the second disc of The Lamb, in particular the bits that I was always bored by. I wonder if they would've included any of that stuff had the storyline not been so long.

"All in a Mouse's Night" a bit of a let-down on W&W, "Epping Forest" no great loss in any situation. kinda feel like if they'd made a W&W a couple of years later it wd've been perfect

the gloss and distance they're on the way to acquiring on W&W might as well be a different band to the sludgey doom of Genesis Live tho

"All in a Mouse's Night" was my favorite song on it the first time I listened to it. That's the one that everyone seems to say would work better with Peter but I love the way Phil sings the main melody line ("come on baby, let the poor thing go"). Also the story itself isn't very interesting. My main point through all that is that even if Peter does some pretty amazing things (especially on The Lamb) I feel like Phil serves the actual songs a bit better. W&W having three instrumental tracks really says a lot about the direction the band was going (and pulled back on)

W&W is mainly let down by cloudy mix and production (the only case where I think the remix/remasters bettered the original), always felt like there was a veil over the music or a blanket on the speakers. The second side of the album is tremendous.

That Ylvis song is basically just a Genesis rip-off.

https://www.youtube.com/watch?v=7tYyqf0KJWY

Could be bullshit but I heard a radio DJ last week say that Collins and Gabriel are in talks for a real Genesis reunion...

They're always in talks. Genesis may be the only huge act constantly breaking up and reuniting where every member old and new is still friends.

I thought Phil could not play drums?

I have heard Phil can't drum from a whole bunch of people. Didn't know Genesis were all still friends though, doesn't Gabriel routinely refuse to sign off on reissue extras & stuff?

Money talks.

Gabriel recently acknowledged recently that them all being still alive might be good reason to consider playing together once more

collins recently returned to drumming.

Which is thirty years ago. Fucking hell, I'm old too.

(Saw the Who in 2019 and they were pretty great tbh)

Collins is only 71, younger than my parents, it's kind of shocking to me to see him looking like that.

When I was a teenager my Dad took me to see a few older jazz/blues musicians at the Glasgow Jazz festival, he wanted to see them at least once before the possibility of them not touring became a reality, which I totally understand and I can see why devoted fans would feel the need to go see Genesis, despite the current presentation.

But I'm sure none of those people had such debilitating health issues and the tickets were probably like £30 (in today's money) not £100++

I just grabbed a recording of the last night to hear it, he doesn't sound *too* bad maybe, idk, certainly his timing is better than the earlier shows I heard, pitching is still pretty wild tho, but I'm listening to the last tune (Carpet Crawlers), and feeling a little sad that the music that I've listened to since I was a young 'un won't ever be rendered live again.

They ended with Carpet Crawlers? That's a bit of a heart-breaker.

Wonder which music means the most to Phil overall, Genesis or his solo stuff?

I saw them in November and again last night and Phil has improved massively since back then.

If they dedicated and sacrificed so much of their life to get that, it's no surprise they'd want to hold on to it for as long as they can.

The first concert I ever saw was Count Basie And His Orchestra in early 1983. Count was 78.

I’m seeing the Who at MSG in May. Roger Daltrey is 78.

I mean if we're talking age as a factor, having seen Sparks twice recently, Ron's 76 and Russell's 73; they have the advantage that their backing band is all younger by some decades, and I did note that there's been a second keyboardist added. But Ron didn't seem any different at all, steadily playing away looking nonplussed as he always does, occasional vocal moments aside (and he still does the Ron dance). Russell was all over the stage, singing away as he always does. Maybe it's all that comfortable SoCal living.

And Russell works out regularly, based on a clip from the Sparks Brothers

The record for me is 7 or 8 weeks shy of 90 years. That was Lee Konitz on August 26, 2017, who kept on performing until COVID hit, and sadly he died from it on April 15, 2020. (Besides his age, he had health issues that made him especially vulnerable.) He was great though, as soon as he played, there was no mistaking who it was. At one point during his set, this very old couple got up and danced together, and they even seemed to move slowly from age. It made me think of something Greil Marcus's wife said when she listened to Dylan's Sinatra albums - it's sad when you realize the mass audience this music once reached was now mostly gone. Such is life, it'll happen to everything, and just further reason to catch these people while you still can. It blows my mind when I meet someone who went to Duke Ellington or Benny Goodman concerts back in the day, like BEFORE rock 'n' roll.

It's a big thing for me watching the rock generation move so rapidly towards fragility and mortality - seems to me that from 1989 on a lot of those bigger groups settled back into their "classic" sound - which has helped band and audience to perpetuate a kind of time bubble of cheerful denial where everything was fine and these guys would soldier on forever. But it's just not sustainable any more, and watching these groups accept their limitations and mourn their losses is quite profound.

Like, I don't Believe In Rock or anything, but the aftershocks of the 1960s beat boom (and I guess 50s rock, and punk, etc) - still shaped my life, and gave me a way out of suburban small-mindedness, and eventually pointed to areas of music that were more interesting - and I guess I never totally stopped believing in the power these guys accessed as teenagers, and have always sought ways to keep connected to my own teenage self. But we are clearly none of us teenagers anymore - and seeing the old ones shuffle offstage does make me think about the ephemeral nature of the value system I still kinda sort of hang onto. Like, definitely already get a sense that the Beatles or the Germs or the Blue Nile are indistinguishable from James Last to my kids which is fine and even good, but still...).

It's also tied into the mortality of my parents, who are boomers of this kind of age.

(Also really respect Bowie for going there with his songwriting in a way that I wish more people of this generation had done)

Anyway, I think a lot about Mick and Keith holding hands at the front of the stage when they introduced their first show after Charlie died. It was so vulnerable and beautiful, and unlike anything you'd associate with the Stones.

Uh sorry about the lack of Genesis-specific content in that post.

watching these groups accept their limitations and mourn their losses is quite profound.

This. For a generation of us, this is literally watching our forbears crumble away. My dad's been gone twenty years this week, but he was entirely of his geenration - did tonnes of drugs, free love, saw Hendrix, The Who, Cream, etc - and it's hard not to feel especially maudlin as the rock generation slow drifts on to the next realm.

In the wake of the death of Charlie Watts, I revived this thread with a post about a 1970 rock magazine cover story wondering about the life expectancy of 20 musicians, half of whom are still around 52 years later. Of course, they were talking about musicians dying young rather than aging per se; and in February 1970, maybe Brian Jones was the only big name rock star of that era to have already gone.
I feel like the death of George Harrison in 2001 was the "watershed" for attitudes about the loss of musicians of that generation. 58 is not old but the manner of his death and perhaps his retreat from public life beforehand made it seem more "natural". For instance, I never heard anyone say of George, as they did of Lennon, "what would he have done if he had lived"?
For so many years, there was this small canon of dead rock stars, appearing in airbrushed paintings - now those paintings would be too crowded.

I guess everyone has their notebook with their own personal favourites that will be devastating when they finally go, Ivor Cutler was the first big one for me, as odd as that sounds, we went to his last gig at the Queen Elizabeth Hall and he was so frail.

At the end he came out to the front of the stage, fingers in his ears, then after the applause died down he quietly said something along the lines of 'you all have such beautiful bright faces' and I realised at that point I wouldn't be seeing him again, it was so sad.

yeah its getting to the point where there's a "now or never" feeling to seeing your favorite bands especially given the unpredictability of Covid. I missed a King Crimson show due to my daughter getting sick (thought it was appendicitis, turned out to be a relatively harmless infection) and right after they announced that was the end. couldn't make seeing Sparks in Chicago work and now I think I'll probably never get the chance for them. Gary Numan just played Milwaukee - last show before they all tested positive for Covid - and I couldnt go because it was Spring Break and shit was too complicated with the kids. I guess I should stop making excuses b/c yeah for the first time in my life "they'll be around again" is very much not a given

Was just telling someone how frustrating it was to hardly be able to hear Ivor at that last show, although I suppose that is what he probably wanted

It was filmed by the BBC, I think I have it somewhere.

Here it is, apologies for the derailing, folks.

https://www.youtube.com/watch?v=OS0-vN8E3FU

COVID has definitely made things brutal. Besides Konitz, I also saw Toots & the Maytals in 2019. I was front and center holding the edge of the stage and Toots even gave me fist bump. What a wonderful man and full of life, I can't believe that was the last time he played in NY because I left thinking I was definitely seeing the next one.

And I never saw John Prine. Really sad about that.

you're not missin' much by not seeing gary numan in 2022

yeah he's been goth industrial for quite some time. I know people who are still very very into him though. Anyway, I'm still sad that I never went and saw Genesis; they toured so infrequently and the times I was passionate about them never lined up with times when they were touring. I really assumed they'd hit the west coast on this one, and it wasn't to be. At least I've seen Gabriel half a dozen times. I do make it a point now to try to see people; had I not seen Bowie on his last tour when he played right down the street from me I would have really hated myself. I'll be going to Roxy this year as well. I see McCartney every time he comes to town and each time I've assumed it was the last opportunity; guy will probably still be touring 15 years from now.

Reminds me of someone I knew who decided to see B. B. King over Stevie Ray Vaughn, thinking "I'll be able to see Stevie anytime, this might be my last chance to see B. B."... and King outlived Vaughn by 25 years.

idk I like Numan's recent stuff

xp apologies, dying young is terrible, but with the way that joke was phrased, LMAO.

Reminds me of someone I knew who decided to see B. B. King over Stevie Ray Vaughn, thinking "I'll be able to see Stevie anytime, this might be my last chance to see B. B."... and King outlived Vaughn by 25 years.

I saw Stevie Ray Vaughn and I'd give anything to take that directionless, opiated show back for a solid BB King show.

The couple of years where Bowie, prince, Mark Hollis and Scott Walker all passed away kind of ushered in a new era for me

https://www.youtube.com/watch?v=jLdFLl6iMek

one of the things i'm a huge nerd for is bootleg recordings

historically one of the things you find in boot circles is a sort of purism, you know, we want the whole show, including the tuning between songs, we have to listen to bob weir tell the "yellow dog" story every single time and that's never been my approach. like there's more music out there already than i can listen to

what i like about bootlegs these days is the _recording conditions_, they all _sound_ different. again some people only want bootlegs that sound _good_ and i am _not_ like that, i'm very up for shitty audience tapes. this is one of the reasons i avoided the dead for so long - i didn't even _know_ there were shitty-sounding dead audience tapes, but there's a _thriving_ audience tape fandom in dead circles these days, people who will stan for the AUD 1968-06-14 recording over the officially released board recording (and I agree with them). i worry that it's a little bit like people who prefer vinyl over cd, but with me it's not that, it's that for me it's better _because_ it's worse. the more megapixels there are in a picture, the harder it is to look good in one, you know? a little obfuscation is nice sometimes.

i'm also very into things that are _the same_ but _different_. bootlegs fill that niche for me. even if they're playing it the same way as on the album, it _sounds_ different.

so yeah i've gotten really into _the waiting room_, which i'd like to think, at least, is geir hongro's least favorite genesis song. and i said "ok i have to find every single recorded version of this song and listen to it"

i found the youtube channel of this person who's really into genesis boots in a way that... like i ain't got the time or the energy to devote that much thought to live genesis, you know? i'm a classic rock nerd and i'm very fond of live gabriel-era genesis, in large part i think because they _were_ uneven and inconsistent. gabriel didn't always hit the notes, _particularly_ at the end of the long and grueling _lamb_ tour. i was listening recently to a version of "anyway" where he sounds like fuckin' bob dylan. i kinda like that. when robert plant sounds awful i don't like it much, but when gabriel blows it i kinda like it. there's this famous bootleg of the lamb tour where there's a dramatic buildup to the first song and gabriel comes out doing his cultural appropriation bit (which is i fully acknowledge INCREDIBLY CRINGE) and starts to sing his first line and slips and falls on his face. i love that shit. there's a tape of the first gig on the european tour where a roadie does metric conversion wrong or something and puts in WAY TOO MUCH powder for the explosion at the end of "it". i mean at the time i'm sure it was terrifying, he could have fucking killed someone, chunks of the stage flew off, but knowing that nobody got hurt or killed it's _interesting_ to listen to.

anyway the person on the youtube channel, they go through the time of listening critically to all this stuff and i'm happy to use them as a secondary source to guide my listening. like things i didn't know about the tour. there are these real closed-off niche sites that i don't want to get into, i don't want to get involved in the _fan community_ because god knows how many Geirs there are in those places, nothing against them mind, i just gotta watch out what frames i put on my experiences. i didn't mess with yeeshkul, when it was around, i had the boots, but i didn't mess with yeeshkul.

anyway there's this kind of tension in the performances because gabriel's voice gets worse and worse as time goes on and instrumentally they get better and better. which isn't the same tension you see in zep, they didn't rise to new heights after plant blew his voice, though they were better in '72 than they were in '69 as a performing unit, probably. the line people usually draw is after the euro '73 tour, for plant's voice. i think that's fair. but with gabriel it's the reverse. that's what makes "the waiting room" particularly interesting, gabriel doesn't _necessarily_ sing on it (sometimes he puts in vocals or flute, later on), and the person on youtube, they say that it really starts taking off around march 29, most of the way through the euro tour - it's good before but on march 29 it becomes a completely different thing from the album version and not just an improvisation based _around_ the album version.

anyway the most interesting thing this person on youtube does is they have these painstaking meticulous edits put together, the "best versions" of any given song based on performance. with no regard given to sound quality, which i _love_ particularly. because you're hearing this song and you're hearing these drastic shifts in the soundscape sometimes within a line. and genesis is particularly rewarding for that because they _could_ be inconsistent in that way. you can say "oh he sings this line really well" and patch that in. but it's the reverse of seamless, it's obviously artificial, it draws attention to its artificiality. that's what i love about it. there are other groups you could do it with. you could do it with zep for certain - i don't know that anybody has. you could do it with van der graaf generator, i'm _pretty sure_ nobody has done it with them, unfortunately.

anyway this is the channel i'm talking about.

http://www.youtube.com/@KieranIsHome

Hard agree on this subject, I've been obsessed with boots since I was old enough to be able to attend record fairs and to peruse the tempting slabs of tapes that several of the record shops in Glasgow had laid out on their counters.

I feel exactly the same decades later and check D1m3 everyday, I have done since it was called Sharing The Groove, totally agree that a recording doesn't have to be EX, MX, FM or SB to capture your interest.

It has always mystified me how some bands that I liked to collect were very well served by live recordings (Floyd, The Bunnymen, The Cure, New Order, XTC) and some really are not (Cocteau Twins, Hawkwind, Laurie Anderson, Gong) all I can say is thank fuck for European radio stations (and the BBC)

I love shabby old festival or outdoor concert recordings where you can feel the texture of the crowd's responses and mood, recently I was listening to a pretty average recording of Roy Harper at the Ripon Rock Festival in 1984, it was most probably a dismal affair and the crowd sound so angry, (perhaps because the acts played quite far behind a big metal fence)

Similarly something like Pink Floyd at the Crystal Palace Bowl in 1971, the recordings are pretty rubbish but vibey in an unusual way, I think because crowds are more present where the music is often backgrounded by distance and amplified into open space and it flips the balance.

That Genesis site is great, thanks. I just listened to a Lamb tour soundcheck that was 10 mins of a sound guy saying 'test' over and over, that's real commitment to preservation.

oh, god yes, when bootlegs slide into outright ephemera? i _live_ for ephemera. that's why i binge on doctor who blu-rays. "here's an off-air recording of a BBC announcer promoting the next episode of _a question of sport_ right before the original broadcast of part 2 of "time-flight"." that's literally on one of the blu-rays.

With you on that one too, gimme a 10 min continuity slideshow of the set design from The Moonbase and I'm happy.

i was listening recently to a version of "anyway" where he sounds like fuckin' bob dylan

Pretty sure this is an intentional homage, though I never considered he might be doing it to give his voice a rest!

https://www.youtube.com/watch?v=fJ1AlDUhu28

Getting older has its plusses and minuses, but no joke, one of the best things about getting older is encountering people that have no idea how good a drummer Phil Collins was.

This Chester or Bruford era? Don't think I've ever seen Phil hand-drumming like during In the Cage before, and love him at the tympani at the start of Volcano. Wish the tracks weren't truncated tbh, but grateful for what's here.

It's Chester, isn't it? Think I see his head behind the cymbal on the drum duet

Bruford drummed with them in 1976, Chester was well established by this point.

Huge Genesis drop:

https://www.youtube.com/watch?v=q3WWWSl35MU

https://www.youtube.com/watch?v=EQ3hP51hTuA

http://www.youtube.com/@KieranIsHome

That last link is a host of soundboards.

http://www.youtube.com/playlist?list=PLZDBgECVwIyZK-RBZy0xFwWSLXZoB46iI

This is the full list of the leak, have grabbed everything up to before '92, and I'm not so fussed about Phil live, but I guess this Kieran guy will float them all on YT before long.

1973-01-10 Paris (VID)
1974-03-01 Passaic (SBD, tape 1 only)
1974-09-xx Lamb rough mixes and outtakes
1974-11-21 Chicago (OAM)
1976-07-09 Glasgow (SBD)
1976-07-10 Stafford (SBD, tape 2 only)
1977-02-24 Boston (SBD, tape 2 only)
1977-03-03 Quebec City (SBD)
1978-10-14 Chicago (SBD)
1978-10-22 Houston (SBD)
1980-04-28 Glasgow (SBD)
1980-06-30 Saratoga Springs (SBD)
1981-11-14 Rosemont (SBD)
1981-11-28 NYC (SBD)
1981-11-29 Uniondale (SBD, tape 2 only)
1981-11-30 Landover (SBD)
1981-12-02 Hartford (SBD)
1981-12-05 Ottawa (SBD)
1981-12-11 Syracuse (SBD)
1982-07-31 Peoria (SBD)
1982-08-01 Peoria (SBD, one tape only)
1982-08-07 Berkeley (SBD)
1982-08-13 Dallas (SBD)
1982-08-18 Clarkston (SBD)
1982-08-29 Montreal (SBD, tape 1 only)
1982-09-21 Birmingham (SBD, tape 2 only)
1982-09-30 London (SBD, tape 2 only)
1983-11-25 Philadelphia (AUD)
1983-11-26 Philadelphia (AUD)
1983-12-01 Hartford (SBD)
1983-12-02 Syracuse (SBD)
1983-12-07 Pittsburgh (SBD)
1983-12-10 Norfolk (OAM)
1984-01-12 Inglewood (SBD)
1984-02-01 Indianapolis (SBD, tape 1 only)
1984-02-16 Reno (SBD, tape 2 only)
1984-02-17 Las Vegas (SBD)
1984-02-20 Oakland (SBD)
1984-02-25 Birmingham (SBD, tape 1 only)
1986-10-01 NYC (SBD)
1986-10-03 NYC (SBD)
1986-12-17 Sydney (SBD, tape 2 only)
1987-02-01 Lexington (SBD)
1992-04-30 Houston, 1992-06-18 Los Angeles, 1992-06-25 Tinley Park (VID)
2007-04-25,26 Cossonay (SBD)

Phil Collins
1983-01-24 Fort Worth (SBD)
1985-02-07 Shepperton (SBD)
1985-02-08 Shepperton (SBD)
1985-02-09 Shepperton (VID)
1985-04-03 Sydney (VID)
1985-05-29 Dallas (SBD)

oyh nice, thanks for the hu on this

taken down :(((

Yeah, just saw that, I wouldn't fuck with Tony Smith, I bet he shouted very loudly at someone.

Oh, just seen that *all* the torrents on the Genesis movement website have been nuked, fuck, hope they don't go for d1m3

I assume someone saved them all, as they did with that Van Halen treasure trove?

Wish I had managed to grab some of the live Lamb shows and the Collins studio stuff but did manage a few 80-81 gigs. Great shows!

I think there are some mirror sires on reddit if you have a scout around