A Selection of Shows, Genesis & Solo – Book Review

The front cover

According to the blurb, this book claims it will cover Genesis’s shows post-1975 from the Trick of the Tail tour, as well as the solo careers of the various official members. It specifically states it will “document the hundreds of rare recordings that document Genesis in its natural environment.” This implies that it will pick up the story from where Paul Russell left off with his 2004 book Play Me My Song.

The book itself fails to deliver exactly what it promises, and in truth is an unfortunate misstep. Priced at £24.99, a level normally the reserve of first edition hardback books, this paperback feels flimsy and includes just shy of 260 A4 size pages.

The coloured margins make it easy to jump to various sections; however, the print starts to wear off rather quickly leaving noticeable white marks. The book has a smattering of images, some of which have been used without the owner’s permission. Two examples are the Brand X tickets on page 199 and the redacted Dark Town press kit page on page 175. A few pages have full-sized images, but these vary in quality: some are noticeably cropped, zoomed, or pixelated. Nevertheless, some are much clearer. The included content makes for useful illustrations, and, in any case, licensing images can be tricky.

The front cover

The front cover

Design choices and proofreading are questionable at certain points. There are frequent kerning errors and typos where, given the delays to publication, you would expect them to have been corrected. Various pages in the book contain misguided or poorly researched word choices. For example, Curtis Mayfield is mentioned as being “Motown sounding” – earlier in the book, Motown is also misspelt as “Mogtown”, an unfortunate typo on page 213. Curtis Mayfield was not a Motown artist; his sound is more akin to Chicago Soul. Also, the layout and margins are headache inducing. I am still trying to peek through the valley where half of the words disappear into the spine. Squinting and pressing the book to my face was not an enjoyable experience and caused scoffs of amusement around the house. The text is squeezed to the edge, which is a reasonable criticism because it makes it a chore to read. When you consider the lengths the publisher and author went to on the author’s earlier title, Sketches of Hackett, it feels as though quality control comprises were made for the sake of ambition. Readers expect typos and a few grammatical issues here and there, but not when a book has been delayed so long and not to this extent. It is unprofessional. Nevertheless, the ambition is there, and that cannot be faulted.

selection back

The back cover

Even ignoring the issues with printing, proofreading, and the lack of an electronic version (Kindle, anyone?), there is a distinct absence of journalistic integrity or even a real point to the book. It fails to serve as anything more than an overstated opinion piece (the irony of this review is not lost on us) about bootlegs, which are nonetheless accessible and swapped by many in the fan community. This is the community that would be interested in picking up such a book about Genesis. The question therefore suggests itself: why would they want a book telling them exactly what they already know, or an unqualified opinion with which they might disagree? The attraction of Paul Russell’s book was the fact that he obtained access to the band’s live review tape archive, thus the readers of that book believed – in hindsight, wrongly – that Genesis were testing the waters with Paul’s book to see if there was a market for the live show review tapes.

In addition, factual errors abound. Has anyone ever heard the horns (brass section) on Man On The Corner from the 1981 album Abacab? Well, apparently the author has, which he goes on to talk about on page 51. This is yet another stunning error from the person some people wrongly crown as the Genesis expert. Regarding the overly marketed forewords, did Phil Collins have nothing more to write about the book than a few words no longer than a tweet?

There’s no new content or information which provides insight or depth to the history of the band. If anything, there is a remarkable lack of detail. None of the changes of instruments (some of which would make a huge difference to the sound) is mentioned. The musical terminology is hokey and wrong, with glissades being used instead of the term glissando – unless an accurate metaphor of Tony Banks’ playing during Home By the Sea (on page 91) was akin to descending a snowy slope. Due to the nature of reviewing, phrases become clichéd and unimaginative. Worse than that, they tell the reader little to nothing of value. Occasionally, onstage comments are revealed from the shows and a few moments of interest highlighted, but even these are lacking substance. Steve Hackett’s guitar solos are often “ripping the hairs from the back of your neck…” and Chester Thompson’s “drumming threatens to destroy the drum kit…” – along with any member of the group (barring Tony) who is about to “raise”, “lift”, or “remove the roof off the venue”. If more music theory had been employed, it would have helped to describe the recordings to the degree that the author and promotional material appeared to promise.

In fairness, there are attempts at being technical and to distinguish the performance against the quality of a recording, even if some of the comments are arguably incorrect. For example, how can Mike apparently play bass in Edinburgh 1992 on No Son of Mine, when he clearly plays guitar in every video from 1992? In addition, does Mike’s bass really “fill the room”? We had a listen and it doesn’t – using studio quality monitors at least. Which highlights another point: what audio equipment (speakers or headphones) were used for the reviewing? How many subs were used? No information is included about audio equipment or the listening environment.

There are other comments that are confusing. Phil’s voice is supposedly “ragged” in 1992, despite the pre-FM show actually sounding fairly decent, and Phil’s vocal (although lacking mids) sounding great. No mention of key changes throughout the book, such as the whole-tone-lower version of Turn It On Again from 1998 as one example.

genesis ticket edinburgh PH oct 29th 1992

Genesis, Edinburgh Playhouse Theatre 29th October 1992

The Phil Collins Both Sides tour is poorly represented with only the European leg featured via a soundboard from the autumn 1994 Manchester performance. However, a very good audience recording from the Marcus Amphitheatre in Milwaukee on 16th July 1994 does exist, and it has a better set list featuring an entirely different song to underpin the band intros – a jazz version of Invisible Touch. The UK Leg, however, utilised Bob Dylan’s Knocking on Heaven’s Door, which Phil first played whilst a guest of Eric Clapton’s in January 1990 at the Royal Albert Hall, and again in February 1991. Once more you’re left wondering what purpose the book serves, especially when you consider the lazy effort that was put into researching the source material. Phil’s most successful tour, in 1990 in support of But Seriously, is reduced to a single show. Astounding. The word “selection” really is true to its meaning.

These concerts are available on collection sites for anyone to download and listen to for free.

As part of a historical musical foundation, the book really offers very little meaningful insight. Furthermore, it doesn’t work as a biography because it has no revealing scoops and no new interviews with any of the band members or touring members. The appeal of the book comes down to bootlegs being reviewed by a fan who possesses little musical theory or comprehension of live sound production. It is an ego push and nothing more. To truly scrutinise the uselessness and pointless effort of this collection of bootleg reviews would need more thought and criticism than the book itself offers.

Sounds 9th Feb 1980 Announcement of Drury Lane

Sounds 9th February 1980, Phil Collins dresses as a tout and Genesis add one to sell – out tour

The “What They Said” section starts off well enough, but if you’re going to use quotes from outside-sourced interviews, why then stray into using sound bites about song composition and other studio stuff? It’s a book about live shows, so one would expect the sound bites to talk about touring and/or other live performance-related issues, such as rehearsals, as this would have been more suitable. To make this section even more infuriating, it fails to list the sources of the interviews accurately or in full. For example, the Record Mirror was a weekly publication, so from which issue in 1980 does one of the quotes come? The book does not say; it could be from any issue in 1980 (if the year is itself correct).

On a positive note, Alan Perry has contributed a swathe of excellent photographic material that’s used throughout, along with other photographers who are poorly logged in the acknowledgements and bibliography.

In conclusion, a book of this standing should be thoroughly researched, and where warranted, musical theory applied. The content should reflect the pricing of the book and give insight into a subject that was unavailable previously. The two most galling areas are the distinct lack of access the author had to the band’s archive and the solo members’ archives of live/rehearsal material, allied with no new interviews featuring any member of Genesis. The key conclusion is that this paperback is at least £10.00 more expensive than its actual value. It is a tome of poor research and fact checking; a misguided attempt. It is a sad reflection on the author’s earlier work, which is rather more proactive in terms of quality and justified in the sense of a stamp of approval. This title feels as though it is an unfocused cash-in on the group. Here are some suggestions which could have improved the book.

Shows not reviewed that could have been considered for inclusion:

Genesis 22nd March 1980 – Aylesbury The Maxwell Hall (Genesis return to the venue that put them on the map)

Genesis 23rd October 1992 – Southampton Mayflower theatre (only performance of Carpet Crawlers throughout the whole tour)

Ray Wilson 1st June 2007 – Milton Keynes The Stables (Electrifying performance playing to a packed venue)

…and many more.

If you want a fan’s-eye view of a few bootlegs and some very nice, if unaccredited, photographs, this book will be up your street. I must state for the record that we purchased our copy from the author’s online shop, which is a safe and secure online experience – their professionalism extends into lightning-fast shipping at least.

To buy the book it is available via amazon: http://www.amazon.co.uk/Selection-Shows-Genesis-Guide-1976-2014/dp/1908724196/ref=sr_1_1?ie=UTF8&qid=1425909330&sr=8-1&keywords=genesis+selection

Below these are a selection of tickets that the author lacked when putting the visual finishing touches to his book:

Note: Steve Hackett played the Wulfrun Hall on the 27th May 1993 and not the 28th when he was in Leicester performing that evening.

Steve hackett Wulfrun hall 27th May 1993 ticketm and m Shepherds Bush 18th July 1995 Lamiagenesis ticket edinburgh PH oct 29th 1992

PG June 30th 2004 (0)Leamington Spa Front RW editSteve hackett liverpool Empire 26th April 1983 Ticket

Rainbow 3rd Jan 1977Deeside Leisure Centre 22nd September 1982 ticketpc ticket manchester 29th nov 1994

SH 23rd OCT 1979 GlasgowMEN Manchester 28th June 2004Gen tix 13th April 1976 Syria Mosque Pittsburgh C LEET

genesis ticket cologne oct 17th 1981Genesis wembley 4th July 1987PG 2nd Sept 1988 Wembley 1988 R Wilson

Sub note: This review is harsh, but I will stand by my words and I hope the author is able to appreciate some of the suggestions and thoughts. This wasn’t put together in 10 minutes; like all my reviews, it was thoroughly thought through. More content coming soon.


– Quick update to some of the sentence structures.

– Revision to sentence structure and grammar


22 Comments on "A Selection of Shows, Genesis & Solo – Book Review"

  1. Stefan Livesey | March 20, 2015 at 1:04 pm |

    Thanks for the review, Mike. I had deep reservations about this book and you’ve confirmed them for me. Alan is no journalist and his opinions have always lacked any real musical insight. Quite why he is considered an expert on the band is beyond me. I’ll stick with Paul Russell’s book, which is comprehensive and a joy to read; as for the years from 1975 onwards, I live in hope that someone will do a better job than the one done by Mr Hewitt.

    • It is a shame, as the book was promising and as you say Paul Russell’s in comparison is comprehensive and engaging. Have a look and see what others have said though, as there are positives to the book.

  2. wayne hughes | April 6, 2015 at 12:21 pm |

    The review of the book in the above thread is a joke it us cover in bile and jealous bullcrap

    TheSauid reviewer has a hate for some unbelievable reason on the aurthor and states the. Price by Mr Collins is nothing more than a tweet well IM sorry the book is called

    A COLLECTION OF SHOWS not every show there has ever been and if the print or pictures are to close to the spine that is not the authors fault it us with the publisher

    I have a copy of the book and enjoyed it and the reviews on this are full of bile Venom and shite a hate campaign by the person who put on the review against the author of this book

    Do you think that GENESIS MEMBERS PAST AND UPTIL THE FINAL TOUR ALL HAVE GOT COPYS would let it go out no

    The book is called Genesis A SELECTION OF SHOWS and solo 1976 to 2014

    Get a grip if u hate someone so much for the gods only know why and minions jump on the bandwagon to follow have the balls to face the man not hide like keyboard warriors

    • Hi Wayne,

      Apologies if you have been offended or disagree with my review. I’m not sure however why I am “jealous”? I appreciate anyone who is critical or wants to offer other opinions about the book as I suspect some may find it more useful or akin to their tastes. I do accept that my expectation of a lot more shows may be unwarranted due to the title, however that is a misinterpretation I believe was fair to be critical about. It’s great that you enjoyed the book, and I have read previous work by the author that stood up much better, which I mentioned in the review itself.

      Also I haven’t any “minions”, but I cannot prevent people sharing the link or discussing it, they are free to do as they please. There’s no personal attacks in the review, and I definitely would appreciate the same decorum in return – especially your comment about hating the author (I’ve never met him).

      Apologies again, thanks for the comment Wayne.

      • The review of the book on this website is an acceptable expression of the truth, the truth that cannot be suppressed by threats of smears, the revealing of rumours or black mail.

        We stand behind every truthful comment and maintain a high standard of professionalism throughout the website.

        If the book A Selection of Shows showcases the best of the abilities of the author and his publisher, then it is also potentially their epitaph due to its low quality standards and outrageous price tag.

        Wayne you have a right to an opinion, and it’s good that you felt the need to express your opinion on this occasion. We will endeavour to publish each comment by a matter of transparency and we will only refuse a comment if it contains material that would not be accepted by a family viewing audience. Every comment however has to be approved on the site to avoid some spam and things getting through.

        As for your strange comments about facing the author, we tried to approach him out of legitimate professionalism in London on the 2nd October 2014 between 4:30pm and 5:30pm he chose to cross the street to avoid us and he did not present himself at any other occasion throughout the evening of the 2nd of October 2014 whilst we were in the same cinema witnessing the premiere of A Sum Of The Parts. Therefore I find it baffling that you have some unfounded allegation that we are avoiding the the author. It would appear that he is indeed the one avoiding us whilst hiding behind a crowd of people who are to our knowledge acting on his behalf with the current onslaught of keyboard typology.

        We are humbled by the fact that you (Wayne) really enjoy the book, but for those of us with a slightly higher expectation level of a product of this nature and hype, we think it is indeed very telling that your satisfied with this item, perhaps a character trait?

        For us this book does not live up to its hype or price tag and for that reason the public have a right to know of its shortcomings. Out of professional courtesy the shortcomings and errors have not been fully listed but if the review is up for review then I might just instruct the reviewer to find and list every error of which current total over one hundred. If you believe the hype that this publication was given to promote it then you might expect in accordance with the price tag that the errors should be counted in the tens or units and not the hundreds.

        Sorry if this reply does not give you the affirmation you clearly seek, we hope it finds you well and that you spend sufficient time digesting its contents.

        • wayne hughes | April 8, 2015 at 5:25 pm |

          Belive me my standards. Are very very high. As I was deputy editor of the company magazine the official. Fish fanzine till the website took over

          I have a couple of books by Alan Hewitt and find them. Both informative and helpful to a genesis. Fan and a fan of there solo works

          I also have. A good few other books by muso’s as. I have a very. Good and varied taste in music

          What ever comes from the publisher in book format is not the fault of the person writing the book

          But I do find it good and I’m sorry you dislike it for what ever reasons u. Have
          I hope to see you around the Hackett tour as I will be either at Liverpool or Llandudno as I emigrated from Liverpool 5yrs ago and hopefully.
          If i am in Alan’s company you are more than welcome to say hello to me

          But to me this wasn’t a review it was a slaughter I’m sorry for what ever reasons Alan

          • Stefan Livesey | April 8, 2015 at 6:36 pm |

            You can’t blame the publisher for Alan’s poor grammar or his inability to describe the shows without resorting to tired and lazy cliches – those flaws lie solely with the author. I’m not saying Alan is the only bad author out there to have succeeded in getting his works published – he isn’t – but to adopt the attitude that others get away with it so why can’t I is not the yardstick by which he should measure his abilities.

          • Wayne,

            Thank you for your reply and information on your background with regard to experience with reference to your efforts at the Fish fanzine.

            I have every book that has Alan’s name on it regardless of who really did the work or who was credited inside the book or not credited as it would be.

            I have a fairly good insight into Mr Alan Hewitt’s modus operandi so I feel that I can comment on him when people decide to throw or sling whatever they would like to in my direction.

            The review is professional and honest I am in no need to be gracious to the author or curry favour with him as I know of him from old and I know how fanciful his stories and bragging is with regard to his “connections” to the band.

            His promises amount to nothing, he cannot open any doors to Genesis or its members he simply carps on about something that he cannot deliver. It is wrong and improper that Genesis or their management are not aware of how much a Walter Mitty style character Alan really is.

            Now whilst Walter Mitty was a fictional character the promises Alan makes to naive and gullible fans are potentially damaging to Genesis or its members when they learn that Alan cannot deliver such promises, one has to only hope he has never taken money from someone and then not delivered the promised access to the band.

            You make some assumptions that I nor the webmaster have any other taste or interest in music aside from Genesis, this ignorance on your part is a shame in light of the fact on this very website examples of my diverse interest in music are present for anyone wishing to read them.

            I did not realise that it was a requirement of a Genesis fan or reviewer to list their other interests?

            I find it odd that you are defending the quality issues with the book or at least the author’s lack of control of such issues and blaming his publisher. Anyone putting their name on the cover of a book would want full control over quality that is a given. Otherwise their reputation might end up in tatters over a quality control issue, may I refer you to the “kerning” errors throughout the book.

            I am not sure why you have extended an invite to me if I attend either the Liverpool or Llandudno gigs, I am not a spring chicken any more and a two and a half hour drive to a Steve Hackett gig is simply not on my wish list any more I prefer them closer to home, Much as the artist merits an audience for his work and showmanship.

            I am not sure why I would need to say “Hello” to you if you were around Mr Alan Hewitt, Are you his chaperone?

            I must add though I have seen your conduct on a facebook group for Alan’s books and on your own facebook page Wayne, frankly I find a conflict there between your supposed love/support for people with an Autism Spectrum Disorder and your dislike for me a person with an ASD.

            I think we will disagree here but, the review is a review it is not a slaughter fest or horror story. It is not personal either for those fantasists who keep commenting on that angle we are professional enough to leave such elements out of our reviews.

            The book is a shambolic waste of paper that like Alan’s promises deliver nothing of note in the footnote of history.

            This is how a book on the subject of a live band should have been conceptualised and seen through to completion.


            In light of that information I will inform you Wayne that other people in the Genesis fan community have contacted me with regard to the review and the book Alan has put his name to, their comments are not praising the book or the author these individuals are not jealous they just have experience of working alongside or within the peer group Alan believes he is an equal in and they have seen his many sides and heard his promises and past glories.

            Take heed from my reply before you consider stringing together your reply I am not a fool I know of the author well enough and I cannot be fooled by his untruths and fantasy, before you back an individual to the hilt or the nth degree make sure you know them well enough and that its worth sticking your neck out for.


            The Editor

            • Stefan Livesey | April 9, 2015 at 9:40 am |

              And that, hopefully, is the end of that.

              Once again, thank you for the insightful review of the book. As for me, I’ve been steadily putting together my own version of the band’s bootleg history from 1975-1992 (my favourite era of Genesis) for quite some time now, based on my collection. It’s just a whimsy and not intended for publication but it serves me well.

              • Stefan,

                Hey at least your not charging folk £24.99 for your efforts and launching a crusade against anyone who does not praise it or the author in an unjustifiable manner.

                The 1975 to 1992 is the most successful period for the group and in some regards the most progressive both in terms of writing and musical styles if you then factor in live show production as well then again the use of the word progressive is meaningful.


                The Editor

                • Stefan Livesey | April 9, 2015 at 12:34 pm |

                  Thanks, Mark. Although I used to be a journalist back in the nineties and consider myself pretty able with the written word, I wouldn’t have the cheek to charge £24.99 for anything I’d written. Such reviews are only opinions after all and, in the bigger scheme of things, pretty worthless when you think about it.

                  And I very much agree with your definition of progressive when it comes to the music of Genesis. I think the band progressed much more successfully than some of their peers who continued to plough the same furrow as they did in the seventies. And, as you say, the live production of Genesis shows left many other bands standing. The Vari-Lite was Genesis’s brainchild and transformed the look of live concerts from the eighties onwards.

    • Stefan Livesey | April 8, 2015 at 9:25 am |

      I’ve never met Alan Hewitt (although he does hail from the same part of the world as me) but it matters not; he’s putting out his work for people to buy, the expectation being that he knows what he’s talking about and can deliver the goods. The trouble is, he does not know what he’s talking about (it takes a lot more than shallow cliches to give folk an idea of what a concert performance was like) and clearly he cannot deliver the goods.

      Anyone wanting real journalistic insight coupled with a fan’s passion should check out I Know What I Like by Armando Gallo.

  3. Ken F Chalmers | April 8, 2015 at 1:18 pm |

    One really has to wonder about the mindset , or lack of it of the reviewer when he goes all out to rubbish sales of said book by trolling worldwide Amazon sites …. Envy is a cruel mistress my friend , and one that never serves you well …

    Best regards


    • Thanks for the comment Ken. I’m baffled as to the attention this review is getting. Personally, I have not posted it elsewhere. I find it disturbing that I, a young man who likes to review and try to improve upon his English and nothing more has caused such contention. At no point am I attempting to “troll”, I find that accusation dismissive.

      As I said before in the comments, there are multiple reviews I am sure on the book. If they are more inline with your view of it, then that is great!

      With all reviews I do, I try to tell the person(s) who made the ‘thing’ something that would help them improve the ‘thing’ for others or possibly consider when doing future revisions or ventures.

      Also, I have little to envy. Thanks again for your comment Ken.

      • Ken F Chalmers | April 8, 2015 at 2:49 pm |


        Your editor has taken every opportunity to post it on Amazon UK , USA , Germany etc with the express desire to damage sales ….

        Perhaps he should get a life instead of being so determined to spoil the lives of others …. It’s not professional , and I’m sure I’m not the only person to think it’s not …

        Best regards

        K F C

        • Ken,

          You fail to explain why you are committing so much energy into your replies and the championing of this book. You also have not explained why your initials come up so often on the Books by Alan Hewitt group at least three individuals there talk about you using the cryptic phrase K F C.

          Could you therefore take the time to explain your motivation or agenda with regard to this publication, its author or the publisher before any further correspondence is entered into.


          The Editor.

    • Stefan Livesey | April 8, 2015 at 2:46 pm |

      I’ve no idea what Mike has to be envious of. On the evidence at hand, Mike has both the musical insight and journalistic talent to colour the Alan Hewitts of this world an embarrassing shade of green.

      Presumably, you’ve read the book, Ken. So, what did you think?

      • Ken F Chalmers | April 8, 2015 at 2:53 pm |

        I happen to think it’s a great insight on the band’s outings from 76 to 07 ….. If Mike / Mark is such a great journalist perhaps he / they should write a book of their own as I’m sure it would be a landmark publication … There again there are those that talk the talk , and those that walk the walk ….

        One has to wonder what relation you are to the webmaster/editor of this site , or are you all one , and the same ?

        • How can one person’s criticism and review stand up more than any other? Especially when solely the content is being discussed. What makes a positive review any more valid than a negative one? I find it hypocritical that you are able to hold the opinion of a positive review unimpeded by your own qualifications and boundaries on writing a review. Did you produce a book that warrants your positive opinion any stronger than a not so positive one? Probably not, so how is that fair? If every person at Rolling Stone needed a degree in music then nobody would read what they had to say. I’m not qualified or unqualified to hold an opinion, as are you. I respect that you were happy with the purchase. I was not. I find others should be informed from all sides and thus encourage people to seek other reviews and discussion before investing not only money, but more importantly, time into something. A review to me is only a tool to keep active, to keep writing, and as I said before, to try and tell the creator something that is meaningful and useful. I never bash something for fun. It isn’t fun. In fact I never ‘bash’ anything, I make criticism. Again, everyone is equally respected for their opinion positive, or negative. Most reviews I post are positive and analytical rather than dismissive. If I write a negative review it is because I am passionate.

          Also I can promise you, more than 1 person is involved in this site. The beauty of privacy is I do not have to reveal anything that proves that, and I hope that right is respected. Thank you for your comments Ken.

          • Ken F Chalmers | April 8, 2015 at 3:05 pm |

            Hardly just criticism of a book here Mike …… Best Ken

            Initial post: 6 Apr 2015 08:10:26 BDT
            Genesisfan2007 says:
            Geoff, how do you know the full band and management had a chance to read the whole book from cover to cover?

            The forewords are often the inducement of a publisher looking to motivate sales and not the work of an author, that said for example why is there not more to the Leiden, Netherlands story?

            An embargo as you put it isnt the only legal challenge for a book, some Judges can rule for a pulping as well but because that carries a financial loss to the publisher they are reluctant unless
            there is strong legal grounds.

            For the wealth of stretched, distorted beyond their actual size and non high definition images which are not covered properly in the photo credits at the rear of the book you believe people should pay more?

            “I am sure other people could produce books about the same subject but they have not done so yet and seem to be derogatory without
            acheivement of there own in print, at least now I am prepared for the savagings I will get when my work of fiction hits the Kindle !”

            Here goes see now if I didnt think you were friends with the author I might have let this crude attempt to slide but the above is a strong hint you know either him or the publisher.

            On the 7th September 2004 I along with the author were in attendance at the last Mike and The Mechanics gig with Paul Carrack in Shepherds Bush, London. He was itching for a lift home to Liverpool because
            his ally and friend had not shown up. In fact he made strong hints from the middle section of the show and like a mug I offered him a lift back to Liverpool because I felt sorry for him.

            We got onto the central line tube and headed out towards Epping tube station and on the way he pulled out the Paul Russell book, play me my song! In which Paul a musician reviews a lot of the Genesis gigs from the late 1960’s and all through the Lamb tour of 1975. There is also an interview at the back with Tony Banks, Mike Rutherford and Anthony Phillips. AH (the author of the work you have reviewed) encourages me to write the next chapter in this book from 1976 to 1998 (no Genesis 2006/7 reunion yet) and then he proclaims he can get me access to the band and access to the tape archive at Fisher Lane farm. AH likes the idea of helping someone but the idea falls and then fast forward to 2006 AH and I decide its time to rework his first book Opening The Musical Box and he repeats his offer to help with the Archive book in exchange for help with his new opus Genesis Revisited. What happened next is folklore and an urban myth with me having to get a Solicitor involved when AH turned out to be less than a gentlemen regarding his business dealings and more of an untrustworthy snake in the grass. Legal paperwork drawn up pretty much states that the author was not allowed to speak of any agreement which he broke 2 weeks later at a Genesis convention in Glasgow where he spoke of it whilst under the influence of a lot of Alcohol and then decided to slander me. The author and his new publisher attempted this work illegally about 4.5 years ago and I was successful in delaying it in that time you would have thought that the publisher and author would have studied music theory and spent their time wisely putting together something that is worth the cover price.

            Geoff for your information the book cost less than £3.00 to print each copy, book printing costs are rather cheap these days the author would have been on a standard deal and the publisher would have spent some money perhaps licensing images but not as much as you would believe here. The profit margin on this book is quite high especially as the publisher is charging hardback (cased) book money for a paperback (softback) book.

            Oh the next time you want to back an author who has his associates behave in a uncouth and criminal manner over an honest review do think to inform us all, the personal attacks, attempts to smear my character, attacking my step son and bringing up rumours about my personal life including my sexual life I found pretty unreasonable when the truth was uncovered regarding this book. My step son did not reveal all of the errors that run into hundreds by the way out of professional courtesy. Our proof reader went on to say its disgusting that people are not more aware of how the book takes the beautiful language that is English and abuses it for such a cheap gain.

            • I haven’t wrote that and am unaware of that. I also can’t see how it isn’t criticism. I’m not commenting any further in regards to this review. I want to write about other things and find the sudden attention here rather bemusing.

              Thanks again Ken

        • Stefan Livesey | April 8, 2015 at 3:23 pm |

          The implication that I am somehow related to Mike simply because I recognise shoddiness when I see it (and I’m one of the fans who remembers Alan Hewitt from way back in the days of the official Genesis forum, so Alan has something of a reputation amongst Genesis fans) is pretty desperate.

          You’re giving a very poor account of yourself here, Ken.

Comments are closed.