Mr.Banks would be extremely proud of your rendition of his magnum opus Supper's Ready, you are brilliant, perfect in every way, thank you for sharing.👍😎
This is why TH-cam is great. I get to watch an absolute class act of a musician preform one of my favorite songs in all its glory. Thank you for sharing. Wish I could see y’all on this tour, but I’m down in Atlanta unfortunately. Peace!
Hi Matt! What an excellent work on Supper´s ready showing Tony Banks fantastic keyboard work. You did an amazing job on that tune!!! 🥰 this medal is for you !! 🤗
I love seeing all the equipment plugged in together and working so well! Really looking forward to if we ever get to see any videos of it running live with the full band.
Thanks for doing this Matt...I'm listening to this while doing work and it's inspiring...Can't wait to learn this stuff and play it someday when I have a chance.
Exraordinary performance Matt, such an eye opener to gain an understanding of what the brilliant Mr Banks was doing as a youngster, perhaps you can look at the keys occasionally on the next one to make us amateurs feel better. Bravo sir!
Absolutely superb piece of work - start to finish in perfect time and a pleasure listen to - I will defo be playing along - it's way better than any midi track. Well done !
Fantastic Job Matt, I play Genesis on drums since 1982 with more band in Italy and many keyboardists but if you want to came in italy for a concerts...please tell me...
I was always so used to Seconds Out, both the Fuzz Guitar 1 in the In Concert film, and Peter’s amateurish flute playing on Foxtrot are always jarring to me.
Yes, the RMI has a separate wired pedal assembly with swell (volume) and sustain. Tony Banks had volume pedals for every keyboard except maybe the CP-70 piano.
Maybe. My band is doing the 1977 tour probably a year from now. We haven’t decided if we’re doing just the US tour set list, or also doing the Rainbow and Earls Court variations. If it’s the latter, I’m sure I’ll do one for Mouse!
I won’t have an occasion to learn Mad Man Moon to play it live with my band (there would need to be several other people to play the organ, Mellotron, timpani, marimba, and multiple 2600’s while I play piano). But…my friend just put a grand piano in his studio, so I’ve toyed with publishing full studio keyboard scores for the studio only songs like Trick of the Tail, MMM, and Blood on the Rooftops. But that’s a LONG way off.
@@mattthomasoverdrive4514that would be very cool tho. Perhaps a layered video of overdubs to show how it was accomplished at some point? No rush! Thanks for your work
a mi parecer, los clasicos de la era Peter mejoraron notablemente a la hora de ser interpretados en vivo junto a Phil Collins al Frente. comienzan una transicion escenica en donde pasan de los teatros y auditorios, a las arenas y estadios y los comienzan a reversionar con un caracter mas épico y mucho mas dramatico. apocalipsis en 9/8 en secods out es el claro ejemplo y si avanzamos a la version del "old medley" en la gira invisible touch, en donde genesis ya es considerada una mega banda y cuyos escenarios eras verdaderas super producciones, al momento de tocar apocalipsis elevaban el concierto al punto mas algido y glorioso .
My band’s mission has always been to cover the Phil Collins era of tours where they at least played some small theaters (1976-1982). However, we are hoping we do this long enough to do the 1986 medley of In The Cage/In That Quiet Earth/Apocalypse in 9/8 medley.
Awesome work as always Matt! I always find bits in these isolated videos that I never hear in the full mix that are so cool. Also, I forget if I've asked this already, and it's not related to Suppers Ready, but for Cinema Show on this tour, how are you handling the bass for when Mike transitions from acoustic to double neck? In your performance video from years ago, you used the bass pedals on your B3 and said that that's what Tony did, but in your rig rundown you didn't have any pedals for your Crumar.
Ah, good memory! Since I don’t use the lower manual in the set until White Mountain, I have the Crumar’s user preset drawbars all at zero, and there is a feature to play the bass pedal drawbars on the lower manual, so I play the “pedals” with my left hand in the Cinema Show transition.
@@mattthomasoverdrive4514 Ah, very cool! I have an L series Hammond in my setup but if I ever needed an organ for gigging, I'd definitely get the Crumar, it sounds great!
Nice! Figuring out Ikhnaton remains challenging but I think you are the first to actually nail the organ part there. However: Tony does not engage the spring reverb at the end there, he always has Rev1 on. He just switches to Rev2, similar as what he does on Salmacis. He does that both on the L and T series. For Willow Farm: play the mellotron part with more swing (I mean literal swing as in jazz). Tony sounds very "funky" on Seconds out, probably due to Chester. The little interlude before the "all change" part, im not sure if the mellotron is correct. You are one of the few to actually spot that Tony plays stabs on the mellotron there. But to me it sounds like he just alternates between E and A major on SO. The stabs are also really short to the point that they sometimes are not even fully audible because the attack envelope of that brass sound is not fully completed before Tony lets go of the key. As you are aware, the sounds you are using are not fully spot on for Seconds Out. You use a Leslie which Tony of course ditched in 77. The tron brass on SO is dry for the first half of Supper. He engages the space echo for the mellotron after the interlude between WF and Apocalypse (the few bars where Steve plays that "musical box" part). So the strings and then later the tron brass are with echo, but first half of the song is without (listen to Earls Court or Zurich to hear that). And from what I remember, the organ part is an octave higher where the tron is doing chords too in Eggs (with indeed the pinky doing the rhythm that Mike plays on the electric 12 string-he btw used a stand alone Shergold 12 string for Supper, not the double neck) Interesting to see some of the fingering choices you make in the A9/8 solo too. I use more thumb than you (but that's just preference). Only remark I will make on your playing style: hold some of your chords longer and make smoother transitions between the chords (by holding the common chord tones). You have a tendency to add a 64th note rest between chord changes.
Good tip on the reverb: since my Crumar has a dry/wet knob, I just leave it off (for FOH mixing purposes) and quickly dial it up for the “II” setting. I doubt we’ll ever see those non-B3 spinet organ tabs replicated on any modern digital clone. I think we’re in agreement on the effects: I do state in the on-screen titles that I’m using the 1976 effects and how to get the 1977 effects. I also do leave the Mellotron and RMI without delay throughout Willow Farm, turning it back on during the interlude, and once again the titles reflect that. 🤷 Those brass stabs are definitely harmonic minor 2nds. Once I’d finally picked those out on some bootleg, I looked at a bunch of recordings over the years and they’re all there. When my band first did this 10 years ago I totally missed that! I am definitely playing the left hand chords during the solo too detaché, but that is the result of my playing it safe in the right hand so the harmonic percussion triggers every time - something I don’t believe one has to worry about on the T models. But there are other places he lifts the chords noticeably while holding the common tones, like the post-Willow Farm interlude and the Lover’s Leap reprise at the start of Eggs. I think of that as the Watcher technique (also done in this set during the whistling section of White Mountain). Regarding fingering - every man for himself!
I had my Supper’s Ready Seconds Out stems out and gave them a listen, the Eggs Brass/Organ voices I have are correct, which also line up with the 1976 tour. The octave higher you reference, I wonder if that’s in the 1973/74 arrangements? Also, you say Rutherford played the standalone Shergold 12 - did he just switch to a bass guitar for Willow Farm?
@@mattthomasoverdrive4514 The octave up: When I play it, the sound is different. In order to get the Theater Brass to sound good (which has a bit more "bass" registers than "Full drawbars" on the L-series), it's an octave up. And yes, during part 4 he swaps the acoustic for the bass, and then when Steve plays that part 6 intro, Mike switches to 12 string. He does that switching also on the Encore tour. I think he uses the Alembic there in Willow Farm and then switches to one of his stratocasters for the remainder. And same in 86, he used a 6 string Steinberger for all the 12 string stuff (Quiet Earth, Apocalypse, Los Endos). And somewhere during the Abacab tour he swapped that 12 string Shergold half to a 6 string with 3 single coil pickups (you can see it in the 3SL video). Mike basically got rid of 12 strings electrics on stage around Abacab. But he continued to at least play them (he has a 12 string SG-like model too which you can see him play on the making of the Mama album video). Real Rickenbacker 12 string was re-introduced on WCD
@santibanks I guess Tony’s practical “close enough” attitude towards sounds began when he switched from a Hammond L to T 🤣. Learning the drawbar settings for the T presets really was the missing ingredient for me in learning the organ parts. Rutherford really switched it up from tout to tour, didn’t he? I always found it strange that he played the Shergold double neck bass even when he didn’t need the 12 string on the Duke tour.
@@mattthomasoverdrive4514 The drawbar settings do differ and also the lack of Leslie after 76 makes all the difference in the sound as the Leslie filters out a lot of the frequencies. The L also has a particular way of distorting due to the valve amp. The solo sound for Apocalypse is really barking on the L but it kind of lacks that bark when he switched to the T (The Musical Box therefor prefers to play Selling with the L as they prefer the sound). But yes, Tony also became more "lazy" with the T and stuck mostly with the Theatre Brass and Ensemble for W&W, ATTW3, Duke, and also A Curious Feeling. I guess because he could get other sounds from other instruments now and kind of exhausted the Hammond. He's not an actual organ player (like Jimmy Smith, Joey de Francesco, Larry Goldings, etc) so he kind of leaves that organ for what it is. Regarding Mike, he is such an odd guy from that perspective. His rigs are just weird. He never seems to have played anything that was fashionable or mainstream with the exception of the Hiwatt and Acoustic amplifiers. Most players would have a Marshall stack, a Boogie Mark N, Fender Twin, or something of that caliber. Not Mike… he plays Peavey or any of those other solid state amps which are loud as hell but not so great (Roland JC is an exception). Mike sounded at his best on WCD, the guitar tones he got out of that strat and Groove Tubes rig were really good. But yes, i wondered about that Shergold for the Duke tour. I think he uses it in One for the vine there but can't remember he has 12-string parts in that (and didn't he also for Duchess?). He also had that 8 string bass on W&W which he uses on OFTV. But I don't think he used it live for OFTV (but he did for IKWIL… beats me…)
Mr.Banks would be extremely proud of your rendition of his magnum opus Supper's Ready, you are brilliant, perfect in every way, thank you for sharing.👍😎
Masterclass!!! Finally, all of the little pieces of the puzzle have been revealed. So very grateful.
This is why TH-cam is great. I get to watch an absolute class act of a musician preform one of my favorite songs in all its glory. Thank you for sharing. Wish I could see y’all on this tour, but I’m down in Atlanta unfortunately. Peace!
Bravo! Excellent work, amazingly
faithful to the original, in both performance and sound.. you did a fabulous job Matt!
Wow, now that's an achievement of a recording! Phenomenal job, love the attention to detail on the notes. You're a legend!
No detail left overlooked! You know it's a fantastic tune when you can't help but sing along to the isolated parts :) Great work!
Bravo Master Merci so good and the sound wowwww.
He was 22 when he wrote this. I can barely fathom that.
Hi Matt! What an excellent work on Supper´s ready showing Tony Banks fantastic keyboard work. You did an amazing job on that tune!!! 🥰 this medal is for you !! 🤗
Fabulous. It was a joy to see you play through this. Clearly I'm not the only one to have had a mis-spent youth!
Mis-spent youth?!? If only I could get my students to play half as much as I did back then!
Nicely done. Love the keyboard rig.
14:46 makes me think of Squonk, LOL
Right?
Wow, I'm out of words, this is an impressive rendering of Tony's sections with immaculate precision and sound perfection!! Thanks in deed.
This is more than amazing and there is so much to learn from. Thank you for this!
Whao man, amazing work and dedication.. you deserve an award 🎉
I must have listened to the original track hundreds of times but the section around the 7.30 mark, I'd never heard. Thanks.
Excellent!! To have all the parts to that masterpiece within arms reach. Had to sing along. I really hope to see you live in my lifetime. Bravo.
I love seeing all the equipment plugged in together and working so well! Really looking forward to if we ever get to see any videos of it running live with the full band.
We’re shooting a video for a show in January, hopefully some of it is usable. Our Duke Suite concert film is coming soon.
Just outstanding.
Awesome brilliant excellence as always Matt!! Thank you so much for this!! You are the key that unlocks the door!!
absolutely brilliant !!!! Very nice job.
Thanks for doing this Matt...I'm listening to this while doing work and it's inspiring...Can't wait to learn this stuff and play it someday when I have a chance.
Brilliant!
Brillant, what a talent ! 👏👏👏👏👏👏👏
Well done! I am impressed by your performance. You must have put countless hours into making this video. Hat! And thank you!
Exraordinary performance Matt, such an eye opener to gain an understanding of what the brilliant Mr Banks was doing as a youngster, perhaps you can look at the keys occasionally on the next one to make us amateurs feel better. Bravo sir!
Absolutely superb piece of work - start to finish in perfect time and a pleasure listen to - I will defo be playing along - it's way better than any midi track. Well done !
Stunning!
Hackett & Banks наверняка похвалят, скажут: "какой талантливый мальчик!"😊
Bravo... Me la sono cantata tutta... per una volta non l'ho fatto io il tastierista😂❤
Je suis sur le Q! Awesome work and Fabulous ! cheers from Quebec City!
Fantastic!
Fantastic Job Matt, I play Genesis on drums since 1982 with more band in Italy and many keyboardists but if you want to came in italy for a concerts...please tell me...
Brilliant, get to hear isolated parts.
Wonderful!
Superb 👌
19:35 Head Bangin' to Genesis.
In cannot be avoided there!
So good 🙂
Well done.
wow 🎹💖
Awesome
Thanks for sharing! But I have to disagree at 14:46, that's the Pro Soloist's best preset imo, and sounds great anywhere!
I was always so used to Seconds Out, both the Fuzz Guitar 1 in the In Concert film, and Peter’s amateurish flute playing on Foxtrot are always jarring to me.
@@mattthomasoverdrive4514 Is the Fuzz Guitar patch there more jarring? Sure. But it's still cool AF sounding because that patch is just bliss to me.
perfect
I have a question, in the minute 2:55 are you using a volume pedal with the RMI?
Amazing cover, very accurate, nice playing. Perfect!
Yes, the RMI has a separate wired pedal assembly with swell (volume) and sustain. Tony Banks had volume pedals for every keyboard except maybe the CP-70 piano.
sos buenisimo matt
Great job! Send us the transcriptions!
I’m working on my book(s)!
Hell yeah
This is so freaking good I love it! Do you think you can make a cover of All in a Mouse‘s Night from the Wind and Wuthering tour?
Maybe. My band is doing the 1977 tour probably a year from now. We haven’t decided if we’re doing just the US tour set list, or also doing the Rainbow and Earls Court variations. If it’s the latter, I’m sure I’ll do one for Mouse!
Perfekt & ABO .😇😉
Fantastic. Should be a nice thing to hear also other parts, even lower in volume...
I’m avoiding getting the video blocked by keeping out the Genesis recording.
Your channel is a treasure trove for people like me! Will you do a video for Mad Man Moon in the future?
I won’t have an occasion to learn Mad Man Moon to play it live with my band (there would need to be several other people to play the organ, Mellotron, timpani, marimba, and multiple 2600’s while I play piano). But…my friend just put a grand piano in his studio, so I’ve toyed with publishing full studio keyboard scores for the studio only songs like Trick of the Tail, MMM, and Blood on the Rooftops. But that’s a LONG way off.
@@mattthomasoverdrive4514that would be very cool tho. Perhaps a layered video of overdubs to show how it was accomplished at some point? No rush! Thanks for your work
Hey Matt, are there any effects on the MKII Brass??
Everything is going through a Leslie rotary simulator. After Willow Farm the Echoplex is turned on.
a mi parecer, los clasicos de la era Peter mejoraron notablemente a la hora de ser interpretados en vivo junto a Phil Collins al Frente. comienzan una transicion escenica en donde pasan de los teatros y auditorios, a las arenas y estadios y los comienzan a reversionar con un caracter mas épico y mucho mas dramatico. apocalipsis en 9/8 en secods out es el claro ejemplo y si avanzamos a la version del
"old medley" en la gira invisible touch, en donde genesis ya es considerada una mega banda y cuyos escenarios eras verdaderas super producciones, al momento de tocar apocalipsis elevaban el concierto al punto mas algido y glorioso .
My band’s mission has always been to cover the Phil Collins era of tours where they at least played some small theaters (1976-1982). However, we are hoping we do this long enough to do the 1986 medley of In The Cage/In That Quiet Earth/Apocalypse in 9/8 medley.
Awesome work as always Matt! I always find bits in these isolated videos that I never hear in the full mix that are so cool.
Also, I forget if I've asked this already, and it's not related to Suppers Ready, but for Cinema Show on this tour, how are you handling the bass for when Mike transitions from acoustic to double neck? In your performance video from years ago, you used the bass pedals on your B3 and said that that's what Tony did, but in your rig rundown you didn't have any pedals for your Crumar.
Ah, good memory! Since I don’t use the lower manual in the set until White Mountain, I have the Crumar’s user preset drawbars all at zero, and there is a feature to play the bass pedal drawbars on the lower manual, so I play the “pedals” with my left hand in the Cinema Show transition.
@@mattthomasoverdrive4514 Ah, very cool! I have an L series Hammond in my setup but if I ever needed an organ for gigging, I'd definitely get the Crumar, it sounds great!
Nice! Figuring out Ikhnaton remains challenging but I think you are the first to actually nail the organ part there. However: Tony does not engage the spring reverb at the end there, he always has Rev1 on. He just switches to Rev2, similar as what he does on Salmacis. He does that both on the L and T series.
For Willow Farm: play the mellotron part with more swing (I mean literal swing as in jazz). Tony sounds very "funky" on Seconds out, probably due to Chester. The little interlude before the "all change" part, im not sure if the mellotron is correct. You are one of the few to actually spot that Tony plays stabs on the mellotron there. But to me it sounds like he just alternates between E and A major on SO. The stabs are also really short to the point that they sometimes are not even fully audible because the attack envelope of that brass sound is not fully completed before Tony lets go of the key.
As you are aware, the sounds you are using are not fully spot on for Seconds Out. You use a Leslie which Tony of course ditched in 77. The tron brass on SO is dry for the first half of Supper. He engages the space echo for the mellotron after the interlude between WF and Apocalypse (the few bars where Steve plays that "musical box" part). So the strings and then later the tron brass are with echo, but first half of the song is without (listen to Earls Court or Zurich to hear that). And from what I remember, the organ part is an octave higher where the tron is doing chords too in Eggs (with indeed the pinky doing the rhythm that Mike plays on the electric 12 string-he btw used a stand alone Shergold 12 string for Supper, not the double neck)
Interesting to see some of the fingering choices you make in the A9/8 solo too. I use more thumb than you (but that's just preference). Only remark I will make on your playing style: hold some of your chords longer and make smoother transitions between the chords (by holding the common chord tones). You have a tendency to add a 64th note rest between chord changes.
Good tip on the reverb: since my Crumar has a dry/wet knob, I just leave it off (for FOH mixing purposes) and quickly dial it up for the “II” setting. I doubt we’ll ever see those non-B3 spinet organ tabs replicated on any modern digital clone.
I think we’re in agreement on the effects: I do state in the on-screen titles that I’m using the 1976 effects and how to get the 1977 effects. I also do leave the Mellotron and RMI without delay throughout Willow Farm, turning it back on during the interlude, and once again the titles reflect that. 🤷
Those brass stabs are definitely harmonic minor 2nds. Once I’d finally picked those out on some bootleg, I looked at a bunch of recordings over the years and they’re all there. When my band first did this 10 years ago I totally missed that!
I am definitely playing the left hand chords during the solo too detaché, but that is the result of my playing it safe in the right hand so the harmonic percussion triggers every time - something I don’t believe one has to worry about on the T models. But there are other places he lifts the chords noticeably while holding the common tones, like the post-Willow Farm interlude and the Lover’s Leap reprise at the start of Eggs. I think of that as the Watcher technique (also done in this set during the whistling section of White Mountain).
Regarding fingering - every man for himself!
I had my Supper’s Ready Seconds Out stems out and gave them a listen, the Eggs Brass/Organ voices I have are correct, which also line up with the 1976 tour. The octave higher you reference, I wonder if that’s in the 1973/74 arrangements?
Also, you say Rutherford played the standalone Shergold 12 - did he just switch to a bass guitar for Willow Farm?
@@mattthomasoverdrive4514 The octave up: When I play it, the sound is different. In order to get the Theater Brass to sound good (which has a bit more "bass" registers than "Full drawbars" on the L-series), it's an octave up.
And yes, during part 4 he swaps the acoustic for the bass, and then when Steve plays that part 6 intro, Mike switches to 12 string.
He does that switching also on the Encore tour. I think he uses the Alembic there in Willow Farm and then switches to one of his stratocasters for the remainder. And same in 86, he used a 6 string Steinberger for all the 12 string stuff (Quiet Earth, Apocalypse, Los Endos). And somewhere during the Abacab tour he swapped that 12 string Shergold half to a 6 string with 3 single coil pickups (you can see it in the 3SL video). Mike basically got rid of 12 strings electrics on stage around Abacab. But he continued to at least play them (he has a 12 string SG-like model too which you can see him play on the making of the Mama album video). Real Rickenbacker 12 string was re-introduced on WCD
@santibanks I guess Tony’s practical “close enough” attitude towards sounds began when he switched from a Hammond L to T 🤣. Learning the drawbar settings for the T presets really was the missing ingredient for me in learning the organ parts.
Rutherford really switched it up from tout to tour, didn’t he? I always found it strange that he played the Shergold double neck bass even when he didn’t need the 12 string on the Duke tour.
@@mattthomasoverdrive4514 The drawbar settings do differ and also the lack of Leslie after 76 makes all the difference in the sound as the Leslie filters out a lot of the frequencies. The L also has a particular way of distorting due to the valve amp. The solo sound for Apocalypse is really barking on the L but it kind of lacks that bark when he switched to the T (The Musical Box therefor prefers to play Selling with the L as they prefer the sound). But yes, Tony also became more "lazy" with the T and stuck mostly with the Theatre Brass and Ensemble for W&W, ATTW3, Duke, and also A Curious Feeling. I guess because he could get other sounds from other instruments now and kind of exhausted the Hammond. He's not an actual organ player (like Jimmy Smith, Joey de Francesco, Larry Goldings, etc) so he kind of leaves that organ for what it is.
Regarding Mike, he is such an odd guy from that perspective. His rigs are just weird. He never seems to have played anything that was fashionable or mainstream with the exception of the Hiwatt and Acoustic amplifiers. Most players would have a Marshall stack, a Boogie Mark N, Fender Twin, or something of that caliber. Not Mike… he plays Peavey or any of those other solid state amps which are loud as hell but not so great (Roland JC is an exception). Mike sounded at his best on WCD, the guitar tones he got out of that strat and Groove Tubes rig were really good. But yes, i wondered about that Shergold for the Duke tour. I think he uses it in One for the vine there but can't remember he has 12-string parts in that (and didn't he also for Duchess?). He also had that 8 string bass on W&W which he uses on OFTV. But I don't think he used it live for OFTV (but he did for IKWIL… beats me…)