CD Cover	CD Back	CD Tray
Booklet Pages 2 & 7	Booklet Pages 3 & 6	Booklet Pages 4 & 5

CD 1 Full Face Label	CD 2 Full Face Label
CD 1 Rimmed Label	CD 2 Rimmed Label

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Download The Liner Notes Here

Liner Notes: Take Two...!

A few years ago, when we released PRRP 020 under the title of 'Viva Italia!', we were very proud to be able to bring you remasters of two first rate audience recordings of Genesis made during one of the band's most memorable visits to Italy, in the winter of 1973. The first of these two shows was performed at the Palazzo Delle Sport, Reggio Emilia, on January 20^th of that year. At the time, this concert offered what was considered by many to be the best audience-recorded show of the ground-breaking 'Foxtrot' tour.

Recently, however, another recording of the same concert has come to light, from a different source. The overall quality of this new discovery was so stunning that it prompted PRRP to do something we have never done before, namely to give the remaster treatment to a concert which we have already made available. We did not choose to do this lightly, however. Although the quality of this recording was far superior to its predecessor, there were still quite a few flaws in evidence, but since we all love this show, we felt it warranted a remaster.

In the liner notes for PRRP 020, we placed a lot of emphasis on the privileged relationship between Genesis and their Italian audiences, a very special bond that was born on the band's earliest visit to this country and which still prevails today, nearly 40 years later. This bond also extends to each of the band's individual members. Peter Gabriel, Steve Hackett and Phil Collins have performed numerous solo shows in Italy over the years, and have always received a distinctly warm welcome. In more recent years, Chester Thompson and Daryl Stuermer have also discovered what it means to be part of Genesis while playing to an ecstatic Italian audience.

There are many reasons to justify the fans' particular fondness for this Reggio Emilia performance. The first, and perhaps the most evident, is the great quality of the recording itself. There are very few good quality recordings of a 'Foxtrot' show in circulation, and since the band's official output from the era is restricted to what can be found on the 'Genesis Live' album, any extra material is always welcome. Such is the case here as this recording allows us to hear Genesis playing one of their most haunting old classics at the peak of its form, 'The Fountain Of Salmacis'. This excellent concert also includes the classic 'The Return Of The Giant Hogweed', 'Get 'Em Out By Friday' and, of course, the seminal 'Supper's Ready'.

The second reason, and this will surely grab the attention of all fans who specialise in Genesis live recordings, is the fact that this show suffered from very few of the usual technical problems which plagued Genesis in the early years. On this occasion, all the band's instruments are on their best behavior. We do lose Steve's solo guitar for a moment during 'The Musical Box' but it is soon restored. Tony experiences some difficulties tuning the mellotron before 'Hogweed' but the notoriously capricious beast is soon fixed and survives the song admirably.

The third and final reason for the popularity of this recording is that it is a hell of a good show! The enthusiasm of the Italian audiences always seemed to bring out the best in Genesis and this Reggio Emilia concert stands as undeniable proof of that fact.

Satin Peter

Notes From the Re-Master

This is a completely new and different source for this show. Overall, the quality is excellent. The show is complete and no patches were necessary. The whole show was tracked as a single event so with FLAC formatting, the whole show can be appreciated without interruption.

The first correction was the speed. After analysis, a consistent speed error was identified and speed correction was applied. Tonality was a bit off so treble and bass were re-balanced. The most obvious problem with the recording was the auto-record dynamics. All the quiet sections were too loud and all the loud sections were too soft. Significant time was spend correcting these problems, using standard, commercial recordings as a reference. Many bumps, clicks and pops were found and repaired as needed. A rolling hiss was laid on top of the audio which interfered with appreciation of the softer moments of the show and so dynamic noise reduction was used to correct this problem. Overall, an impressive recording from a 1973 audience tape recorder.

PRRP Staff

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