|CD Cover||CD Back||CD Tray|
|CD Inside Cover||CD 1 Full Face Label||CD 2 Full Face Label|
|Booklet Pages 4 and 5||Booklet Pages 3 and 6||CD 1 Label||CD 2 Label|
Ripples On The Tyne
April 30th, 1980
|Tony Banks||Keyboards & Backing Vocals|
|Phil Collins||Lead Vocals, Bass Pedals, Drums & Percussion|
|Mike Rutherford||Lead Guitars, Bass Guitars & Backing Vocals|
|With Special Guests|
|Daryl Stuermer||Lead Guitars & Bass Guitars|
|Chester Thompson||Drums & Percussion|
Like so many other bands that emerged on the progressive rock scene in the early seventies, Genesis earned a name for them selves by performing live all over Great Britain. Throughout those formative years, the band seemed to play live almost constantly and, with the help of charismatic front man Peter Gabriel and the strength of their performances, they developed a solid and loyal fan base in Britain. A career that began in the humblest of surroundings would, towards the end of Gabriel's tenure as lead singer, progress to theatres and larger concert halls, even a few stadiums. As the group's following had grown, so had the size of the venues where they performed. When Phil Collins assumed the role of the band's vocalist in 1976, Genesis moved gradually to still larger venues all over the world. Their unforgettable performance at Knebworth on June 24th 1978 would be their only appearance on British soil that year, and their last until the spring of 1980. The success of 'Follow You Follow Me', their first big hit single in the US, led directly to Genesis spending much more time touring North America than they originally intended. Keen to consolidate and build upon the stronghold they had worked so hard to establish there over the preceding three years, they embarked on two separate American tours to promote their 1978 album, '_And Then There Were Three_'. Understandably, British fans began to feel somewhat neglected in favour of the huge North American market. When questioned about this in 1978, Phil Collins responded, "We haven't forgotten our British fans, don't worry. We plan to do a full tour of England next year." As we all know, this was not to be. When Genesis took an unplanned sabbatical year in 1979 to allow Phil time to sort out some personal problems, British fans were once again faced with the disappointment of no live shows in the UK. The long wait would be more than rewarded, however, with the announcement of the band's tour to promote their 1980 album, 'Duke'. Rather than a handful of stadium dates, Genesis elected instead to undertake a comprehensive 40-date tour of British theatres. Not surprisingly, the demand for tickets was overwhelming. In 1980 Genesis were already a globally successful live act, requiring truckloads of sophisticated sound and lighting equipment and a sizeable road crew, so the opportunity to see them perform in such intimate surroundings came as an unexpected and exciting prospect, and one not to be missed. Everyone who managed to attend one or more of these shows would never forget them. The concert we offer you now was recorded at Newcastle's City Hall on April 30th 1980, the second of a two-night stay in that city. These two dates must have been especially important to the taper as they were his first experience seeing Genesis live. He has been kind enough to lend us his original master tapes, thus allowing us the chance to remaster the recording for optimum sound quality and to offer you this exclusive PRRP release. We leave you with his personal recollections of the Newcastle shows...
The Basket Tapes
I'll always remember the first time I saw Genesis in concert. For reasons I can no longer remember I'd missed the 'Trick Of The Tail' and 'Wind & Wuthering' tours and couldn't get a ticket for their show at Knebworth in 1978. So when British dates were announced in support of the 'Duke' album I was determined to be there.
In those far off days, tickets went on sale at the box office and, with no internet back then, the only way to guarantee a ticket was to queue. As a result of Genesis' amazing popularity at the time this meant queue OVERNIGHT!! Dates were set for Newcastle City Hall for April 29th and 30th and tickets went on sale in February.
As you might imagine, a Friday night in February in Newcastle upon Tyne, in the far North of England, can more often than not be very, very cold and the night before the tickets went on sale was no exception. However, armed with sleeping bags and staggered visits to the pub, my mates and I survived amidst a sea of like-minded Genesis freaks listening to every song they had ever recorded on numerous tinny cassette players. By 11.00am the following morning, and with no sleep behind me, I walked away, clutching tickets for both nights and before I knew it, April arrived.
The first night was tremendous and, despite it being over 25 years ago, I can vividly remember the awesome power of the music in a hall with great acoustics, the spectacular light show (never forgot those airport landing lights during 'Afterglow') and Phil's amusing storytelling and rapport with the crowd. It seemed better in those far off days when you never knew what song was coming next. No advance notice of set lists meant that the next track was always a surprise. I think we got a great set on those two nights, just the right balance of the old and the new.
Having had such a great time at the first show, we thought it would be fun to see if we could record the second night for posterity. We coaxed Janice into smuggling in a cassette recorder in her basket (no little handbag for that girl!) and the result is what you are listening to, and hopefully enjoying, now. Janice herself is immortalised in the recording at the very beginning. As the band launches into 'Deep In The Motherlode', you may just be able to pick out a faint voice saying, "It sounds just like the record" and "I never thought it would sound this good".
So, with thanks to mates of old, Anthony & Steve P, Phil D, Peter F, Rob H and Michael K, and to Ian M who provided the photographs, and of course Janice herself, sit back and enjoy Genesis at Newcastle City Hall as they created 'Ripples on the Tyne'. I certainly did.
We began this project with the master cassette tapes used to record the show. These tapes came straight from the taper. The show was complete except for a tape change and tape flips. The taper also had extra Genesis material on the tapes to fill in the blank sections but this non-show material was easily identified and removed. The tapes were initially digitized in 32-bit mode, sampling at 44.1 kHz. A few regions of tape damage were identified and could not be repaired. Fortunately, these are brief and do not significantly interfere with the enjoyment of the show. All remastering was performed in the 32-bit format before finally converting to 16-bit, standard CD format.
The first analysis was to speed check the recording. Using standard commercial live and studio recordings a consistent error was found and then corrected. Once speed corrected the next step was to adjust the dynamics of the show. The auto-record-level feature of the recorder was probably active so many sections needed to be adjusted to compensate for the inappropriate volume increases and decreases imposed by this circuitry. Of course, as usual, clicks, pops and other recorder induced noise were repaired as much as possible. Tonality was off due to microphone characteristics and venue acoustics so adjustments had to be made. Balance was also adjusted. For the missing tape-flip sections we decided to use the commonly circulated alternative source of this show. This second source is inferior in quality but was considered a better match and philosophically a better choice for patch material, rather than comparable sections from a different show. We expect that careful listeners will be able to identify these patched sections but knowing that all presented material in this remaster comes from the night in question should be understood.
The show was tracked using standard live and commercial references and then split into a two CD format. We were able to verify that this source recording is distinctly different from the commonly circulated source because the tape flips occur at different times within the show and here, the complete show is present, unlike the other source. We think the quality of this show is outstanding for 1980 with audio signal up to 14,000Hz. There are not many 1980 audience recordings of Genesis with this degree of clarity and audio fidelity. We in the Genesis community can be thankful that this taper's recording has emerged almost 30 years after the event. We hope that you agree.
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