Newspaper article on TMB

sent to Paperlate by Joanne Yearwood, May 2, 1996.

Date: Thu, 2 May 1996 10:28:44 -0400 (EDT)
From: Joanne Yearwood
To: Paperlate
cc: gabriel@ufsia.ac.be, Jack Beermann
Subject: Newspaper article on TMB (Long Posting)
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Sender: paperlate-owner@ansto.gov.au
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Reply-To: Joanne Yearwood

Hi,

I saw this over at the alt.genesis group and found it to be a pretty interesting and accurate article on The Musical Box...

 
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eye WEEKLY                                                 May 2, 1996
Toronto's arts newspaper                      .....free every Thursday
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LIVE EYE                                                      LIVE EYE

                            THE MUSICAL BOX

          Thursday, May 9. The Music Hall, 174 Danforth Ave.
                    $32 at Ticketmaster, 870-8000.

                                  by
                            MARC WEISBLOTT

Now that Phil Collins has bailed out, it's apparently up to Mike Rutherford and Tony Banks to decide whether or not the lingering legacy of their schoolboy rock band will transcend the image of three middle-aged schlubs doing a dorky line dance across a stadium stage. After all, there was once a time when the name Genesis carried with it a staggering amount of mystique -- a cachet that imploded forever somewhere around the time of "Illegal Alien."

Oh sure, not even the departures of Peter Gabriel and Steve Hackett prevented the remaining three from occasionally stultifying their adult contemporary faithful with a 20-minute wank-out, but the ornate sophistication of Genesis' most medieval era had long fluttered away. So where else but Quebec -- where the hankering for all things progressive rock will likely linger for time eternal -- could the premise of mounting a precise interpretation of the Selling England By The Pound stage show possibly be better appreciated?

This resulting tribute to Genesis' 1973 road show -- dubbed The Musical Box -- is now about to stray into a different province. Its pedantry extends to every last visual detail of the original concerts and every last musical detail of the original album. As a result, it demands the presence of two more musicians than Genesis ever had.

"If this type of music inspires you then the commitment that was put into it commands a certain amount of respect," suggests David Myers, the classically trained keyboard player who acts as The Musical Box's anglophone spokesman. "Back then, it was considered in vogue to indulge in such intricate music, but all good composers should want to challenge their own imaginations and abilities."

For the braintrust of The Musical Box, that meant two years and two months of research and preparation. "The team consisted of musicians, collectors and artistic designers," explains Myers. "The amount of film footage of that tour is extremely limited, but eventually they figured out exactly what type of equipment was being used onstage. Getting it to sound right was even more of a challenge -- Genesis had employed lots of non-standard guitar tunings to accommodate these very particular parts. But some of the old photos were helpful in figuring out exactly where Steve Hackett had his fingers on the fretboard for the chords of certain songs."

NO PLASTIC SURGERY

Actually, getting the music accurately was only part of the process -- because they were determined that the stage presentation be just as perfect. All the elaborate costumes worn by Peter Gabriel -- whether dressed as a marigold, a colonialist jester or an old geezer -- were stitched together from scratch and, just like Gabriel, the singer has shaved off the centre of his scraggly hair. The other Musical Box members aren't as faithful to the wardrobe of the other members of Genesis, though. "Since we've got two more guys than the original group it gets a little more complicated," admits Myers. "Nobody's gotten any plastic surgery or anything."

What The Musical Box's lead vocalist, Denis Gagne, has made a point of perfecting is Gabriel's often obscure stage patter from the era. "Since the equipment was so primitive, between certain songs they had to retune the guitars and change the settings on the keyboards, so he'd fill the time by making all these bizarre speeches. They were all pretty cryptic, but related to the songs to some degree."

Indeed, when touring around Quebec, the pseudo-Gabriel can duplicate the exact monologues improvised in the exact same theatres where the Selling England tour docked back in '73. But performing the full- fledged spectacle in this town means being a bit more hypothetical than the genuine Genesis. "The technical truck with all the sets and visual effects somehow got lost between Montreal and Toronto," points out Myers. "So when they showed up at Massey Hall, all they could do was stand around and play."


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