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Here are some inside pages from this program. I only included the pictures which, although B&W are quite nice. All text is in Italian which, although interesting (I think) I cannot read it. I have put this Italian text into a translator and came out with some much broken English. However, it is readable so I've included it below. Much of them are quite funny.


INTRODUCTION 

Just over 4 years ago .a young - and Entrepreneurial - manager rented an apartment in Soho, turned it into an office and with the contract of a complex on the brink-- the breakup of their record company of their record company, he formed one for them: Charisma. The complex was called The Nice, The Manager, Tony - Stratton-Smith. This - collaboration would give life to one of the most dynamic organizations in the recording world of recent years. Rare Bird, Audience, Van Der Graaf Generator, Genesis, -Jackson Heights, Davison Every Which Way, Bell +Arc, Lindisfarne, Monty Python's Flying Circus, Spreadeagle, String Driven Thing, Capability Brown, Atacama, Bo Hansson ... and sorry if I left out someone, these are THE names that during the last four years have characterized, brought to life and generated Unconditional Interest in this young furnace of talent.

Some of the names have already, alas, disappeared, but without first having had the necessary and deserved recognition. Tony Stratton-Smith; who continues to give his management to everyone, would not allow anyone to quit without first exhausted his cartridges. Other names became bigger and bigger until they reached little by little, big audiences such as The Lindisfarne and Genesis. The former reaching the high places of all the charts and becoming the Idols of the festivals crowds and the latter winning the admiration and respect of both public and critics wherever they have recently performed.  

Lindisfarne and Genesis, with -- support -of Capability Brown, newest discovery of Tony Stratton-Smith, will be among the Italian audiences to Start a new series of - Charisma Festivals -, an evening of love, music and (hopefully) peace. Milan and Rome will be the two stages of this first - package – and I should point out that Milan has been reopened to big rock concerts after a quarantine of a year and a half. We try to keep it open while leaving politics outside the concert hall. This is the wish of Lindisfarne, Genesis and Capability Brown, but more importantly I think it is also yours.

GENESIS

The summer of Genesis came with the fall of '72 and a wonderful album, - Foxtrot - which is quickly imposing -as one of the hottest group in the international field. - For those who have followed the musical developments of the English complex closely, it is like having observed a hearth constantly - lit under a layer of gray, but warm embers. - Nursery Cryme -has warmed the room and now - Foxtrot -has finally moved that ostentatious -greyish surface by enlivening the old hearth with tall, searing, colorful flames.

Genesis In a few months they have imposed themselves on the attention of the most meticulous critics and are suddenly going from triumph to triumph. Paris Olympia, li Coliseum in London, New York's Philharmonic Hall are only the first stops for this egregious lineup.

Genesis came into being several years ago at the Charterhouse School in Guilford one of the most respected English Public Schools, where Peter Gabriel, Tony Banks and Michael Rutherford, between examinations, found a deep musical bond. The boys then aspired to become excellent songwriters of hit songs, but they had not yet realized that their music and their verses were ahead of their time, too far ahead. When confident in their creations, they began to make the usual rounds of record companies they crashed into a wall. The discographers, attached to the simple musical themes of the hits of the moment, looked at our future heroes with bewildered eyes as if they were the advance party of a squadron descended from a U.F.O. (Unidentified Flying Object). They did, however, manage to arouse some Interest in Jonathan King, a former schoolmate, now a big pawn at the English Decca. They recorded an album, From Genesis To Revelation with him, but it died there, and the ensemble failed to understand whether that Interest was ill-motivated by a feeling of compassion. -Two years passed since their first album experience, and for The -Genesis it was months of fried eggs on toast and evenings for a few liras that were constantly being spent on buying recording tapes. - There was not a single English record company that didn’t return the tapes - recalls Peter Gabriel.

Then, suddenly, The Little Miracle - came - in the form of Tony Stratton-Smith who during that time had formed a record label, Charisma - with two hits, Nice and Rare Bird. A handshake, a new album, - Trespass -, a devastating piece, - The Knife - and Genesis were definitely on track.

Nursery Cryme -, Recorded in the summer-autumn of '71, proved too indecipherable for British critics who were ... giving The Numbers for Marc Bolan, -Hot Love - and Co. The album, however, by no means went unnoticed In Europe; In Germany, France, and especially Belgium and Italy Genesis were favorably received by both critics and audiences. - Foxtrot -, Recorded between July . and August '72, was now destined to become a milestone in the career of the group. The last one entered almost _all_ the European charts at the same time, and English critics blushed for not having -noticed long before one of the most stupendous homegrown products.

The rest is now part of history, and when the - .analysts - of rock in the next decade turn a retrospective gaze to the 1970s, they will find it very difficult to omit Genesis from their chronicles.  
 

Tony Banks - Organ, mellotron, electric piano and 12-string guitar (for now only in performance of -The Fountain Of Salmacis -) . Born in East Hoethly (Sussex) on March 27, 1950 (Aries) . Married to Margaret. Began studying piano at age 7, but with little -interest. - I think this was due to the fact that I was forced by my mother -noted Tony. - She is an excellent pianist and also a singer. No, she was never professional. but she is very good. It was because of her musical love that ml Started piano with a teacher when I was 7 years old. I hated it, but as the years went by my Interest grew. I was 13 or 14 I really began to love the instrument and then remember my practicing arrangements of Beatles songs. I always enjoyed doing this better than studying music. At the "Charterhouse" I met Peter and together we began to compose our own songs; I would play and he would sing. We did everything as a pastime. It was finally when we met Michael and Anthony that we began to think seriously about our music. l had asked them to help record a tape of their songs so we took the opportunity to put some of our own on it. That was the first of an Indefinite number of tapes.  

Phil Collins - drumming, various percussion, voice. Born in London (Cheswick) on January 30, 1951 (Aquarius) . Started playing the drums at the age of 5. - It was a miniature drum I got as a gift from someone, I don't remember who - said Phil. - I played on my own until the age of 13 after which I went to private lessons to Learn to read music and this I did until I was 16. I didn't think I would become a musician because until then I had worked as an actor In television, a movie and three years In "Oliver" in London's West End theaters. I had the part of Dodger which Previously had been covered by Davy Jones of the Monkees and Steve Marriott. My mother is a theatrical agent and that is why I was introduced to the career. When I decided to let it go My parents didn't ml talk for a pole of weeks; they were convinced I was doing a stupid thing - I let it go just At a time when I had many offers. But in the end beat won, My parents realized I was happy In what I was doing and for a pole of years I went from one complex to another including Flaming Youth. We got great publicity, but little satisfaction so I answered an Advertisement for a drummer for a Charisma complex. I knew Tony Stratton-Smith and thought it was for someone like Jackson Heights, (The Nice had just disbanded) I went to see Tony at the Marquee bar. I thought I would get The place without auditioning since I knew Tony, but he said to phone Peter Gabriel. I auditioned and I got the job ; this was two years ago-.  

Steve Hackett- Electric, 12 and 6-string acoustic-electric guitar. Born in London-(West End] February 12, 1950 (Aquarius) . Married to Ellen. Steve replaced Anthony Phillips, the original Genesis guitarist, two years ago. His father is a painter and his early Childhood was guided by all forms of art. Musically Steve could astound at the age of 4. - I played the harmonica and whenever he came someone at home I had to demonstrate my ... qualities - Steve says, smiling. - The harmonica and we were Inseparable until at the age of 14 I started playing the guitar. I learned on my own and continued to play by myself doing the harmonica solo and guitar accompaniment. Little by little I got deeper into guitar study and spent -about two years looking for musicians to form a group - I spent a capital In Ads on the Melody Maker; there were always about 30 musicians responding, one would try out and always I had to give up. Toward the end I became very cynical about the musical scene and the moment and I put up an ad that reflected that sentiment. I wanted some musicians who would agree with me that music was In a stagnant period and with The desire to come up with that thing again. Peter Gabriel replied; no, I didn't know Genesis, I hadn't badly heard of them. I didn't audition with them. but I invited him to my home. My brother played the flute and together we had put something together. They came to hear me and immediately asked me to join the ensemble: it was the exact lineup I had been looking for-to since my first advertisement  

Mike Rutherford - bass guitar, pedal bass, 12-string, vocals. Born in Guilford (Surrey] Oct. 2, 1950 (BiIancia). - I started playing guitar at the age of 9 years - Michael tells. - I didn't badly follow any particular system, so I'm really self-taught. It was much later, however, that I found myself involved in music, when I went to Charterhouse School. With Anthony Phillips, who was our- first guitarist, we played other people's songs at first, but soon, we began to compose our own. We made -friendships with other guys who played the piano and like us composed so we combined the two. The two were called Tony Bank's and Peter Gabriel and for me that was the official Beginning of Genesis, so 5 years ago. The pedal bass? A friend built it for me by taking the pedalboard .from a Hammond organ and adapting it to an amplifier. This ml allows me to play The bass even when I am busy with the 12-string guitar.  

Peter Gabriel- singing, flute, tambourine and bass drum. Born and Chobban (Surrey] On f11bbr. 13, 1950 (Aquarius] . Married to Jill).  

Musically I started by studying The piano from the age of 5 and 7, but I gave it up because I didn't like the teacher - said Peter .- As a singer I began with The school choir. When I went to "Charterhouse" I began to play the drums and during the vacations I played first with a traditional Jazz ensemble, then with a "soul" ensemble. I was seeing in the charts these little songs that were selling a lot of records so I started composing with the Intention of giving my songs to some "Big." I found first Tony's help, then Michael's and Anthony's, but our big ideas only came to fruition with a song Recorded by Rita Pavone's brother. i think Paolo. Our only song Recorded in the world by other people-.
 

How Did Genesis Begin?

Anthony and Michael decided to make a tape to send out and they needed a piano-organist so after accepting Tony's help we decided to put in our songs too. We learned theirs and they learned ours. We raised zero Interest and Johnathan King who had been in our school showed a camaraderie of interest and we had "From Genesis To Revelation" recorded. We went into the studio very nervous because we had not badly played Together In Public and we didn't even know what was going to come out. That was five years ago and we were still in school; the album did nothing for us, but cl convinced us to drop out of college and continue as musicians. We played everywhere we could get, but we never . . prostituted ourselves to play nothing but our music. Hungry we did, but strangely enough was the least thing that we thought -.

What is your opinion of that first album?

I didn't like the arrangements and we couldn't convey the ideas we had in mind. Without experience we didn't realize that all our ideas were left in our minds and didn't badly go on tape. There is one track, "A Place To Call My Own." that could have been really good and when I hear it again now gives me a lot of nostalgia.

How did you get to the Charisma?

Through gigs because our tapes had been rejected by all the existing English record companies. Our first audience was at "Queen Mary's College" where we did an acoustic "set" and we were able for the first time to communicate completely with the audience. Dave Anthony and Rare Bird saw us and told Stratton-Smith about it and we agreed to go with the Charisma because at that time we were all fascinated with The Nice. Mike Pinder of the Moody Blues had also shown Interest In us for the Threshold label, but we wanted to avoid a subsequent comparison with The Moody Blues.