Supper's Ready - the full menu

[GuitarGeek]

There's a version I haven't seen mentioned yet. I have a recording of the 4/13/76 radio simulcast of the Trick of the Tail tour from the Syria Mosque Hall in Pittsburgh. I originally recorded it on 8 track way back on Christmas day of 1976 when it was rebroadcast on KOME (then the big rock station in San Jose).

I have that show on CD around here someplace too. As I recall, the verseion had all the music first, then as bonus tracks on disc two, you get the DJ comments that occurred in a few places. As I recall, he says something "The show is aobut 2 hours a long, in case you need to know that, for some reason". It was almost like he was saying "Well, I can't actually suggest you record the show, but if you were going to, and I know some of you will, anyway, you'll need 2 C-60 tapes".

You remind me, though, that Bill had some little bits of percussion here and there in the Pittsburgh (and also Cleveland) versions. He's playing glockenspiel during Lover's Leap, and I recall one or the other version (or maybe both) he plays along a little bit during Tony's electric piano solo. I always dug that, but I wonder if that wasn't one of the things that annoyed the other for (i.e. Bill taking too many liberties).

[moecurlythanu]

As I recall, he says something "The show is aobut 2 hours a long, in case you need to know that, for some reason". It was almost like he was saying "Well, I can't actually suggest you record the show, but if you were going to, and I know some of you will, anyway, you'll need 2 C-60 tapes".

For the Cleveland show, which I have on vinyl, Phil says something like "Hello to all of you out there taping it. We know it goes on, we know it goes on."

[Mythos]

I also saw the Trick of the Tail tour in LA (in 1976) at the Starlight Amphetheare (I butchered that word..lol), anyway, I was amazed at how well Phil sang the Peter parts..

But my fav, is still the original...

[Trane]

Wow, I'm astounded by people able to class the version they heard at a concert some 40 years ago as the best they heard or is. Yeah, I caught the Hackett line-up way back when (bfore Seconds Out obviously), but can't really recall it much of it, certainly not being able to say that it was betyter than the Foxtrot version (which I'd heard a couple of times at a buddy's house). So for all practical purposes, the one version I witnessed live is the one that Seconds Out gave us.

Of course, the versions that we got afterwards in terms of archives release (whether boxsets, bootlegs or vidéo/film) can come in and change the ranking of versions, but at least until the late 90's, the only choices to most of us was Foxtrot or Seconds Out. And what really gives the edge to the Seconds Out version is Collins' take on the Narcissus/Willow Farm, which is much vibrant-and-mad-sounding to my ears

As for the closing Egg/Jerusalem part, I was never all that fond of it (how can anything survive ot follow the Apocalypse ), but some version (namely Foxtrot) version seem to drag out indefinitely (everything being relative of course, I still am in awe when starting Supper with the Egg desert. - yes, I've done that a few times, just like I've played Apocalypse alone as well.

[Smörgåsbord]

I vote for the French TV version when it comes to video. I like the trippy graphics and Gabriel's outlandish haircut and facepaint at that time.

[Rye-Ergot]

I vote for the French TV version when it comes to video. I like the trippy graphics and Gabriel's outlandish haircut and facepaint at that time.

Completely agree.... and the raggedy blown out vocals at the end add a rough intensity that makes you feel like you are there.
A lot of people comment negatively about PG’s voice being shot but it doesn’t bother me at all. It just makes it seem like he’s living out the song in front of our eyes, imo.

[SunRunner2]

For the Cleveland show, which I have on vinyl, Phil says something like "Hello to all of you out there taping it. We know it goes on, we know it goes on."

And, that shout by Phil was justified, when you think of all the bootleg concert versions of theirs that were recorded on tape or on the soundboard. And, they sold a lot of those illicit versions too, such as the 1975 "Lamb" concert bootlegs "Awed Man Out" and "Swelled & Spent".

Can you imagine seeing the UK "Lamb" tour concert with PG in full costume gear and with this full tracklist?

"Swelled & Spent" Tracklist
A1 The Lamb Lies Down On Broadway 5:02
A2 Fly On A Windshield 2:56
A3 Broadway Melody Of 1974 2:03
A4 Cuckoo Cocoon 2:21
A5 In The Cage 8:16
A6 The Grand Parade Of Lifeless Packaging 2:51
B1 Back In NYC 6:02
B2 Hairless Heart 2:40
B3 Counting Out Time 4:02
B4 The Carpet Crawlers 5:20
B5 The Chamber Of 32 Doors 5:50
C1 Intro 6:06
C2 Lilywhite Lilith 2:55
C3 The Waiting Room 3:32
C4 Anyway 3:30
C5 The Supernatural Anesthetist 2:25
C6 The Lamia 7:03
D1 The Colony Of Slipperman: The Arrival / A Visit To The Doktor / The Raven 7:14
D2 The Ravine 0:45
D3 The Light Dies Down On Broadway 3:47
D4 Riding The Scree 4:04
D5 In The Rapids 2:30
D6 It 5:10

[WytchCrypt]

I have that show on CD around here someplace too. As I recall, the verseion had all the music first, then as bonus tracks on disc two, you get the DJ comments that occurred in a few places. As I recall, he says something "The show is aobut 2 hours a long, in case you need to know that, for some reason". It was almost like he was saying "Well, I can't actually suggest you record the show, but if you were going to, and I know some of you will, anyway, you'll need 2 C-60 tapes".

You remind me, though, that Bill had some little bits of percussion here and there in the Pittsburgh (and also Cleveland) versions. He's playing glockenspiel during Lover's Leap, and I recall one or the other version (or maybe both) he plays along a little bit during Tony's electric piano solo. I always dug that, but I wonder if that wasn't one of the things that annoyed the other for (i.e. Bill taking too many liberties).

I don't remember my local DJ's comments while I was recording that night, but I do remember he broke the show in half as well and played John Lennon's "Happy Xmas (War is Over)" between them - it was 12/25/76 after all. I've always considered the broadcast of this show on the same day I got a new 8 track recorder (and a few blank tapes) as one of the best Christmas presents I ever got

On the Pittsburgh show you can hear Bill adding all kinds of odd ratchets/temple blocks/percussion all over the place. Some of it, especially in the quiet parts doesn't really fit the song which is likely what drove Tony mad. It definitely sounds like Bill was bringing his King Crimson percussion approach to Genesis and it didn't always work. On the other hand, Bill is also improvising and creating polyrhythms over some complex parts as only Bill could do and it's amazing. There's a section on Dance on a Volcano where he consistently puts the snare on the off-beat and it completely changes the feel...just Bruford being Bruford

[syncopatico]

The most *memorable* thing about the version of Supper's Ready from the Cleveland, Ohio, April 15, 1976 show is that the wrong tape is played: something other than the "We will rock you, rock you little snake..." bit is heard at that section instead.

[moecurlythanu]

The most *memorable* thing about the version of Supper's Ready from the Cleveland, Ohio, April 15, 1976 show is that the wrong tape is played: something other than the "We will rock you, rock you little snake..." bit is heard at that section instead.

I hope I'm not mixing up my stories, but I don't think any tape was played. I think Phil had a transistor radio and surfed the dial briefly during that section.

I thought it was a great show. Unfortunately about 2 years before my concert-going career began, and before I was really aware of the band's music.

[syncopatico]

I hope I'm not mixing up my stories, but I don't think any tape was played. I think Phil had a transistor radio and surfed the dial briefly during that section.

I thought it was a great show. Unfortunately about 2 years before my concert-going career began, and before I was really aware of the band's music.

That makes more sense! It definitely sounds like some song played from the radio: anybody know the song? (now it's time to listen closely to that bit! )

[GuitarGeek]

I hope I'm not mixing up my stories, but I don't think any tape was played. I think Phil had a transistor radio and surfed the dial briefly during that section.

I thought it was a great show. Unfortunately about 2 years before my concert-going career began, and before I was really aware of the band's music.

Interesting. Does that just happen on the Cleveland show or does it happen on other shows from that tour. It does sound like an accident. I always figured it happened during the broadcast, someone getting something ready to play as soon as the show was over, and accidentally left the mixer channel in "broadcast" rather than "audition".

[Halmyre]

I don't remember my local DJ's comments while I was recording that night, but I do remember he broke the show in half as well and played John Lennon's "Happy Xmas (War is Over)" between them - it was 12/25/76 after all. I've always considered the broadcast of this show on the same day I got a new 8 track recorder (and a few blank tapes) as one of the best Christmas presents I ever got

On the Pittsburgh show you can hear Bill adding all kinds of odd ratchets/temple blocks/percussion all over the place. Some of it, especially in the quiet parts doesn't really fit the song which is likely what drove Tony mad. It definitely sounds like Bill was bringing his King Crimson percussion approach to Genesis and it didn't always work. On the other hand, Bill is also improvising and creating polyrhythms over some complex parts as only Bill could do and it's amazing. There's a section on Dance on a Volcano where he consistently puts the snare on the off-beat and it completely changes the feel...just Bruford being Bruford

So much for "admirable restraint"...

[the winter tree]

There are aspects of both versions I like more than the other. I think Apocalypse in 9/8 and the finale are much stronger on Seconds Out. I like the first sections better on Foxtrot.

[WytchCrypt]

So much for "admirable restraint"...

Well played. Without Fripp's stern eye watching every move BB made he probably figured it was time to let it loose for a change

[GuitarGeek]

So much for "admirable restraint"...

But I like the stuff he did on Supper's Ready and Entangled. I thought he enhanced those songs really well.

[GuitarGeek]

There are aspects of both versions I like more than the other. I think Apocalypse in 9/8 and the finale are much stronger on Seconds Out. I like the first sections better on Foxtrot.

That is a worthy point. Which do you prefer during Lover's Leap: the cello (played by Rutherford on the studio version) or bass pedals (as on the live versions)?

[yesman1955]

^^^^^^^^ Bass pedals . . Always! 🔊

[JJ88]

On the Pittsburgh show you can hear Bill adding all kinds of odd ratchets/temple blocks/percussion all over the place. Some of it, especially in the quiet parts doesn't really fit the song which is likely what drove Tony mad. It definitely sounds like Bill was bringing his King Crimson percussion approach to Genesis and it didn't always work. On the other hand, Bill is also improvising and creating polyrhythms over some complex parts as only Bill could do and it's amazing. There's a section on Dance on a Volcano where he consistently puts the snare on the off-beat and it completely changes the feel...just Bruford being Bruford

It's interesting, on paper I thought this would be the ultimate Genesis tour from a musical perspective. Certainly 'The Cinema Show' on Seconds Out is truly spectacular. But when I heard more from it, I didn't think it was a very good fit. You can audibly hear Bruford getting 'fidgety' on some songs as Genesis are not an improvisational band (not a criticism as they are my favourite of the progressive groups). You have to play things a certain way. Chester Thompson grasped that.

But it was only really intended as a quick fix solution and the parting of the ways was perfectly amiable.

[the winter tree]

I like the sound of both the cello and the bass pedals on that part, though if pressed I would choose the cello because it sounds more intimate . The bass pedals on the latter part of the SO version are powerful and I love them. They had perfected the bass pedals sound by 1977. Didn't Rutherford start out using a different brand than Moog in the very early days? They sound more like organ bass pedals on the early PG albums.

[GuitarGeek]

I like the sound of both the cello and the bass pedals on that part, though if pressed I would choose the cello because it sounds more intimate . The bass pedals on the latter part of the SO version are powerful and I love them. They had perfected the bass pedals sound by 1977. Didn't Rutherford start out using a different brand than Moog in the very early days? They sound more like organ bass pedals on the early PG albums.

Yeah, the Moog Taurus pedals didn't come out until 75 or 76, I think. Before that, Rutherford used a set of bass pedals that were probably based on what you had on a combo organ like a Farfisa or whatever. I forget what make or model he used, though. I know Chris Squire (and apparently Jon Anderson also) used something similar in the early 70's, too.

[WytchCrypt]

Yeah, the Moog Taurus pedals didn't come out until 75 or 76, I think. Before that, Rutherford used a set of bass pedals that were probably based on what you had on a combo organ like a Farfisa or whatever. I forget what make or model he used, though. I know Chris Squire (and apparently Jon Anderson also) used something similar in the early 70's, too.

I believe I read they were made by an Italian organ company...possibly Crumar? I thought they might appear on the 1972 Belgian TV appearance during the Fountain of Salmacis but didn't see any bass pedals anywhere on stage. What I did find was Jon Anderson playing them on a table during the "Live at Beat-Club 1971" vid. Here's a shot of Jon playing what appears to be a single octave bass pedal around the 1:11 mark during Yours is No Disgrace (https://www.youtube.com/watch?v=93y9wfB3EM8)

Yes Jon Bass Pedals.jpg

[Trane]

in a the Spectral Mornings film (Germany 78) you see Steve's brother (I think it's him) actually pounding with his fist the bass pedan (the white-walled Taurus I think), something surp^risinly dofferent than Jon's ticlings

BTW,, only Squire could wear those ugly double-collared furry boots that even The Runaways would ran away from.

[Top Cat]

in a the Spectral Mornings film (Germany 78) you see Steve's brother (I think it's him) actually pounding with his fist the bass pedan (the white-walled Taurus I think), something surp^risinly dofferent than Jon's ticlings

BTW,, only Squire could wear those ugly double-collared furry boots that even The Runaways would ran away from.

Yes that is John Hackett playing the bass pedal with a closed hand. Great concert.
Interestingly, Nick Beggs sat on the stage and played bass pedal with his hand in a similar fashion as John Hackett did in the Live in Birmingham DVD.
Fast forward to 6:02 to watch Nick Beggs.

[WytchCrypt]

I always figured John would sit on the ground and use his hands on the "Clocks The Angel of Mons" Taurus part...either that or sit down and play with both feet. I can't imagine hopping around on one foot trying to pull that off live

I actually bought a new set of Moog Taurus bass pedals in '79 (think they cost me around $900) and played them in a prog band I was in and later used them for recording - eventually trading them for a Hammond M-2 in '81. What many people don't know about them is they had 3 presets but also a "variable" setting where you could use the control panel in real time. The controls were pretty limited (almost like a Mini-mini-mini-Moog) but it was still a 2 oscillator synth with those magic Moog filters. I'd say about half the time I used them I was sitting down rather than standing. This is the variable setting controls...

ccs-14-0-38022400-1460849454.jpg