Starting from a place of rhythm meant Gabriel would want a producer sympathetic to that side of the music, but preferably not one so famous and entrenched in any one particular sound that he’d feel pushed in one creative direction or another. I think the rhythm track is always the spine of a piece of music… 3 This time I wanted to try the reverse of that and work from the rhythm. Peter: There was a radical re-think of the process of writing involved.Traditionally I’ve begun with chords and melodies and sustained my early interest in an idea through movement in those areas. 2įrom that tour Peter set out to write his third solo album, but after a bit of mutual dissatisfaction with the way the previous album came out under producer Robert Fripp, he felt it was time for a significant change. I think he had a good time just drumming and not having to sing at all. It was interesting to see what he came up with for my songs. With Peter being a drummer himself, he’s pretty picky.Contrary to what people might like to think, there was never any bad blood between us. If I may be so bold, I’m the best drummer he knows. Phil: Considering all the historic interest in supposed tension between Gabriel-era Genesis and Collins-era Genesis, it’s not often noticed that I play with Peter a lot at this time. Now two albums into his solo career, Pete had just finished a tour, where he was joined at the end by an old friend smackin’ the ol’ snares. So I thought it’d be nice, for my own edification as well as anyone else who might be interested, to look at the history of this “gated drum sound” and figure out: what the heck are we really talking about?ĭespite the intimate association the term now has with Phil Collins and the 1980s, our story actually starts with Peter Gabriel in 1979. But if you’re like me, you’ve heard all these things and filed them away in your mental trivia database without actually understanding what any of it truly means. We might also know on a factoid level that this Peter Gabriel song has some connection to this phenomenon, or technique, or whatever it is. We all vaguely understand what it means in terms of sound, or think we do anyway, and we all know it’s strongly associated with Phil Collins and his producer of the 80s, Hugh Padgham. But the collaborative effort bit? Well, that’s still up for debate now, isn’t it?īy now everyone has heard the term “gated drum sound” or something along those lines. This post breaks from that mold a bit, in that “Intruder” was written by Peter Gabriel on his own, years after he’d already left Genesis. This series of Genesis side stories has been focused on songs that were originally intended for Genesis in some way, shape, or form, and that were written by at least two current members of the band at the time, representing true collaborative effort. If you're looking for an accessible way to learn about Genesis and all of the related projects, be sure to check out the Genesis Archive! If you're a fan of Tony Banks' organ, and want some more organ music, you should check out /r/hammondorgan! Looking for other subreddits dedicated to a single band? Check out: Need a place to talk about Genesis? Check out this Genesis Discord server! Please do not sell things here, Genesis related or otherwise. Studio versions of songs are allowed, but we discourage them and instead encourage demos or live performances of songs. You'll have to look elsewhere if you want to discuss the Sega Genesis or the book in the Bible!īecause the subreddit is dedicated to the band, posts should only be about the band and the solo works of its members. Welcome to the subreddit dedicated to talking about the band, Genesis, and its associated works.
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