"The Voyages of an Explorer"
Muirsical Conversation with Steve Hackett
Muirsical Conversation with Steve Hackett
There hasn't been a year gone by in the last half dozen or so where luminary prog musician and noted guitarist Steve Hackett didn’t have something musically significant to offer, whether through comprehensive anthology releases, vibrant, widescreen new material (such as current studio album At the Edge of Light) or his Genesis Revisited With Classic Hackett live shows.
2020 is no different, albeit the highly anticipated Genesis Revisited : Seconds Out & More! tour had to be put back to 2021 due to the current Covid-19 pandemic.
But that one step back from your gig of choice is compensated by the two steps forward for Steve Hackett fans via the release of the guitarist's long-awaited autobiography A Genesis In My Bed and a 3LP/2CD remastered edition of Genesis Revisited : Live at the Royal Albert Hall.
Originally released in 2014, Live at the Royal Albert Hall is, without question, one the best and most prestigious live performances of Steve Hackett’s career.
A Genesis In My Bed is a highly engaging, well-written and candid read that charts not just Steve Hackett’s musical journey but his life journey, from earliest childhood years through personal highs and lows and on to current activities.
Steve Hackett sat down with FabricationsHQ to talk in a little more detail about both the book and his life, with the conversation starting at the very beginning of not that life, but the book itself…
Ross Muir: As a sort of preface to A Genesis In My Bed you have a short introductory page that contains the line "The Voyages of an Explorer."
That’s very apt I feel, given that a one word description of you – in terms of both your musical adventures and the world travels that have clearly influenced that music – could be "explorer."
Steve Hackett: Yeah, I think travel was a by-product of the music. My early explorations were in music but those world travels have led me to all sorts of places and so, too, with my wife Jo, who I like to travel with.
And not just to places that are on the tour map for a working musician but also to other places, particularly more recently; in the past three years we’ve travelled to China, India and Ethiopia.
We were going to visit Borneo earlier this year to visit the caves there, and the orangutans, but lockdown means that became deferred. I think our tickets are still valid though, for whenever the world at large can start visiting itself again!
RM: I certainly hope so because I would suggest that travel, and visiting so many wonderful places across the planet, has become nearly as important to you as your music – the exploration, the influences, the inspirations…
SH: Yes, it has been that. Ethiopia, the least developed of all the countries we’ve visited, was a great example of how it’s easy to confuse people with their particular agricultural or industrial development; people are individually developed.
We made friends in Ethiopia and visited tribes there. I was hugely touched with one girl who said "thank you" at the end of our visit; it was like she was saying "thank you for coming."
And these are people who live in places the size of dolls houses! For these people things that we would throw away, like pens, water containers, plastic bottles, various other things like eye drops, are gold dust.
But people, throughout the world, are all the same, no matter what the colour of their skin is or whatever the economics of their lives are.
We saw such deprivation there, it was extraordinary, but the people had such dignity; that will stay with us forever.
So, yeah, those visits, those people, affect everything way beyond the music but also, yes, it threads in and out of the music – it affects your experiences and the things you might write about today and the things you might write about tomorrow.
RM: Indeed; it couldn’t not affect you in such ways and has become part of your life, of which you write in great detail in your autobiography.
From a writer’s perspective I have to say A Genesis In My Bed is very well written; both engaging and vivid.
You manage to add colour to the sepia toned early years of 1950s Pimlico, for example.
SH: Sepia toned, that’s a very good description of those years. You never really know, when you’re writing for the first time, how it will come out, but I remember some time ago reading an autobiography about Segovia’s early years. It only really went up to the 1920s when he was heading off to Argentina for the first time, so I would have loved to have read the sequel, but I don’t know if a sequel ever came!
But what I found striking was a line at the beginning of the book where he said "I wouldn’t dream of using a borrowed pen!" My first thought was "well, that’s obviously been translated" but within the book you did get a real sense of the man, the poetry, his commitment to music, and all the rest of it. It was compelling.
So I thought "if I ever I do write something it’s got to be first-hand; I mustn’t hand it over!"
RM: Well, it is your story so only you can express that story, and your life, fully, openly and honestly.
SH: Yes, I think so. I do a lot of interviews but whoever writes about me, it’s always going to be second hand, isn’t it? It wouldn’t be the same unless it was you, for example, writing about your life in Scotland.
It’s got to be your life and what that’s like; what are the sights, the smells, what are other people doing?
For me it was the "ducks flying up walls" and all a bit like 10 Rillington Place, if you believe that Richard Attenborough film, because that period did look a lot like that.
RM: Your mention of the classical guitarist Andres Segovia touches nicely on the part of the book where you write about music being around you from a very early age, and within your family.
It wasn’t surprising to read about music being in your life so early but it was very interesting to read that before the Beatles and the Rolling Stones came calling you were listening to, and favouring, classical composers, guitarists such as Segovia and the great voices of Mario Lanza, Sinatra and Richie Havens.
SH: Yes, and Kathleen Ferrier as well, I should add, who died very young. She was a contralto with an extraordinary voice that was, I think, described as having a melancholic tone with vibrato on every note!
It was also deeper than most women’s singing voices; it was a bit like a cross between a theremin and a cello.
When I was listening to her sing, I always thought of a maiden locked away in a tower, crying to get out! That’s exactly what it conveyed to me. It was both haunting and chilling.
RM: Wonderfully vivid descriptions that touch on something we’ve discussed before – vocality, and how it’s very important to your music.
Some of your playing, and soloing, is almost a form of vocalisation; it’s clear singers such as those just mentioned were a huge influence on you and your playing.
SH: I think they were, yes. Had I been a singer first, had I had that particular gift conferred upon me – although I believe that singing can be acquired, it can be learned – they would have been huge influences.
But instruments and voices are very important; as is that moment when you give voice to the instrument, as two very distinct sixties guitarists did.
One is Eric Clapton with the Blues Breakers, on I’m Your With Doctor, using sustain, reverb and feedback, and Jeff Beck on The Nazz are Blue, specifically the version on the Yardbirds album.
Both of them have wailing women at their fingertips!
RM: They absolutely do.
SH: Yes, so you know what I’m talking about! Marvellous, transcendent notes from those early guitar Gods!
RM: You would go on to lay down some notable solos yourself of course, including one you talk about a little in the book – the rightly acclaimed and evocative Firth of Fifth solo...
2020 is no different, albeit the highly anticipated Genesis Revisited : Seconds Out & More! tour had to be put back to 2021 due to the current Covid-19 pandemic.
But that one step back from your gig of choice is compensated by the two steps forward for Steve Hackett fans via the release of the guitarist's long-awaited autobiography A Genesis In My Bed and a 3LP/2CD remastered edition of Genesis Revisited : Live at the Royal Albert Hall.
Originally released in 2014, Live at the Royal Albert Hall is, without question, one the best and most prestigious live performances of Steve Hackett’s career.
A Genesis In My Bed is a highly engaging, well-written and candid read that charts not just Steve Hackett’s musical journey but his life journey, from earliest childhood years through personal highs and lows and on to current activities.
Steve Hackett sat down with FabricationsHQ to talk in a little more detail about both the book and his life, with the conversation starting at the very beginning of not that life, but the book itself…
Ross Muir: As a sort of preface to A Genesis In My Bed you have a short introductory page that contains the line "The Voyages of an Explorer."
That’s very apt I feel, given that a one word description of you – in terms of both your musical adventures and the world travels that have clearly influenced that music – could be "explorer."
Steve Hackett: Yeah, I think travel was a by-product of the music. My early explorations were in music but those world travels have led me to all sorts of places and so, too, with my wife Jo, who I like to travel with.
And not just to places that are on the tour map for a working musician but also to other places, particularly more recently; in the past three years we’ve travelled to China, India and Ethiopia.
We were going to visit Borneo earlier this year to visit the caves there, and the orangutans, but lockdown means that became deferred. I think our tickets are still valid though, for whenever the world at large can start visiting itself again!
RM: I certainly hope so because I would suggest that travel, and visiting so many wonderful places across the planet, has become nearly as important to you as your music – the exploration, the influences, the inspirations…
SH: Yes, it has been that. Ethiopia, the least developed of all the countries we’ve visited, was a great example of how it’s easy to confuse people with their particular agricultural or industrial development; people are individually developed.
We made friends in Ethiopia and visited tribes there. I was hugely touched with one girl who said "thank you" at the end of our visit; it was like she was saying "thank you for coming."
And these are people who live in places the size of dolls houses! For these people things that we would throw away, like pens, water containers, plastic bottles, various other things like eye drops, are gold dust.
But people, throughout the world, are all the same, no matter what the colour of their skin is or whatever the economics of their lives are.
We saw such deprivation there, it was extraordinary, but the people had such dignity; that will stay with us forever.
So, yeah, those visits, those people, affect everything way beyond the music but also, yes, it threads in and out of the music – it affects your experiences and the things you might write about today and the things you might write about tomorrow.
RM: Indeed; it couldn’t not affect you in such ways and has become part of your life, of which you write in great detail in your autobiography.
From a writer’s perspective I have to say A Genesis In My Bed is very well written; both engaging and vivid.
You manage to add colour to the sepia toned early years of 1950s Pimlico, for example.
SH: Sepia toned, that’s a very good description of those years. You never really know, when you’re writing for the first time, how it will come out, but I remember some time ago reading an autobiography about Segovia’s early years. It only really went up to the 1920s when he was heading off to Argentina for the first time, so I would have loved to have read the sequel, but I don’t know if a sequel ever came!
But what I found striking was a line at the beginning of the book where he said "I wouldn’t dream of using a borrowed pen!" My first thought was "well, that’s obviously been translated" but within the book you did get a real sense of the man, the poetry, his commitment to music, and all the rest of it. It was compelling.
So I thought "if I ever I do write something it’s got to be first-hand; I mustn’t hand it over!"
RM: Well, it is your story so only you can express that story, and your life, fully, openly and honestly.
SH: Yes, I think so. I do a lot of interviews but whoever writes about me, it’s always going to be second hand, isn’t it? It wouldn’t be the same unless it was you, for example, writing about your life in Scotland.
It’s got to be your life and what that’s like; what are the sights, the smells, what are other people doing?
For me it was the "ducks flying up walls" and all a bit like 10 Rillington Place, if you believe that Richard Attenborough film, because that period did look a lot like that.
RM: Your mention of the classical guitarist Andres Segovia touches nicely on the part of the book where you write about music being around you from a very early age, and within your family.
It wasn’t surprising to read about music being in your life so early but it was very interesting to read that before the Beatles and the Rolling Stones came calling you were listening to, and favouring, classical composers, guitarists such as Segovia and the great voices of Mario Lanza, Sinatra and Richie Havens.
SH: Yes, and Kathleen Ferrier as well, I should add, who died very young. She was a contralto with an extraordinary voice that was, I think, described as having a melancholic tone with vibrato on every note!
It was also deeper than most women’s singing voices; it was a bit like a cross between a theremin and a cello.
When I was listening to her sing, I always thought of a maiden locked away in a tower, crying to get out! That’s exactly what it conveyed to me. It was both haunting and chilling.
RM: Wonderfully vivid descriptions that touch on something we’ve discussed before – vocality, and how it’s very important to your music.
Some of your playing, and soloing, is almost a form of vocalisation; it’s clear singers such as those just mentioned were a huge influence on you and your playing.
SH: I think they were, yes. Had I been a singer first, had I had that particular gift conferred upon me – although I believe that singing can be acquired, it can be learned – they would have been huge influences.
But instruments and voices are very important; as is that moment when you give voice to the instrument, as two very distinct sixties guitarists did.
One is Eric Clapton with the Blues Breakers, on I’m Your With Doctor, using sustain, reverb and feedback, and Jeff Beck on The Nazz are Blue, specifically the version on the Yardbirds album.
Both of them have wailing women at their fingertips!
RM: They absolutely do.
SH: Yes, so you know what I’m talking about! Marvellous, transcendent notes from those early guitar Gods!
RM: You would go on to lay down some notable solos yourself of course, including one you talk about a little in the book – the rightly acclaimed and evocative Firth of Fifth solo...
RM: Before you picked up and played a guitar we learn in the book that your first instrument was a harmonica, which you adored. There was a true love affair with that instrument.
SH: There was, absolutely. I was hugely inspired by the harmonica and the work of Tommy Reilly and Larry Adler. I got to meet Larry Adler and in fact spent a couple of evenings with him, asking for harmonica tips!
I remember watching him sitting down to play Rhapsody in Blue one evening, with one hand on the piano and one hand on the harmonica, and it was stunning; so compelling.
He told me that George Gershwin told him he preferred it like that, but whether that was Larry embellishing his version we don’t know [laughs] but it was a very powerful interpretation of something that was supposed to be blues in the first place.
I asked him if he was ever interested in playing a blues harmonica, because I know you can bend the notes a bit more – although Larry had his vibrato of course – but he said he didn’t really like them because he didn’t want to play anything with missing notes. And I could understand that, from a purist point of view.
It was a bit like Segovia, when asked if he had heard about the electric guitar and he replied by saying "have you ever heard of an electric violin?" [laughs] because at that time of course nobody had, but later on we knew of that very thing!
But that raises the question of had Segovia been born in another era, he may well have fallen under the spell of the Jimi Hendrix’s of the world just like the rest of us.
Two very different worlds, but sometimes they do come together.
RM: Going back your own harmonica playing, I was delighted to read that one of the first tunes you learned to play was Scotland the Brave.
SH: Yes, it was! In fact there were a lot of Scottish tunes that I learned when I was a kid, sometimes from my grandparents, because I had never heard recordings of the tunes.
To this day I love the sound of Jimmy Shand and his band – they were extraordinarily exuberant – and also the voice of Kenneth McKellar singing Handel, Silent Worship. That’s knockout, sung with such passion!
And I’m very aware of Big Country too! [laughs]
RM: And I’m very glad to hear it [laughs]. Joking aside you touch on a salient point – many of us north of the border, myself included, are all too quick to assign Jimmy Shand and the Kenneth McKellars of our Scottish music world to the Heather, Ceilidh and Music Hall crowd but Jimmy Shand was a masterful accordion player and Kenneth McKellar had a wonderful voice.
SH: He had a fantastic voice, yes!
RM: A non-music related part of the book that I found fascinating was your thoughts on the spirit and dream worlds, which have been inspirations for songs such as Tigermoth (the tale of an airman in the afterlife after dying in a dogfight).
I don’t buy into the chain dragging wailing ghoul imagery but I do believe some people have an inherent ability to see snapshots of traumatic or significant past events; almost like capturing a moving image from times past in amber.
SH: That’s a very interesting comment because that parallel's my wife's beliefs; she also thinks that the old stones may hold messages and that a photograph isn't necessarily of just one place.
We’re hugely interested in that and everything else, such as spiritual healing and the world of spirits.
I’m completely open to it but, at the same time, I hope I’ve got sufficient nous not to invest anyone with the title Guru, because as we both well know there are plenty of charlatans out there!
But that doesn’t discredit the idea that there is so much out there that our senses do not perceive...
SH: There was, absolutely. I was hugely inspired by the harmonica and the work of Tommy Reilly and Larry Adler. I got to meet Larry Adler and in fact spent a couple of evenings with him, asking for harmonica tips!
I remember watching him sitting down to play Rhapsody in Blue one evening, with one hand on the piano and one hand on the harmonica, and it was stunning; so compelling.
He told me that George Gershwin told him he preferred it like that, but whether that was Larry embellishing his version we don’t know [laughs] but it was a very powerful interpretation of something that was supposed to be blues in the first place.
I asked him if he was ever interested in playing a blues harmonica, because I know you can bend the notes a bit more – although Larry had his vibrato of course – but he said he didn’t really like them because he didn’t want to play anything with missing notes. And I could understand that, from a purist point of view.
It was a bit like Segovia, when asked if he had heard about the electric guitar and he replied by saying "have you ever heard of an electric violin?" [laughs] because at that time of course nobody had, but later on we knew of that very thing!
But that raises the question of had Segovia been born in another era, he may well have fallen under the spell of the Jimi Hendrix’s of the world just like the rest of us.
Two very different worlds, but sometimes they do come together.
RM: Going back your own harmonica playing, I was delighted to read that one of the first tunes you learned to play was Scotland the Brave.
SH: Yes, it was! In fact there were a lot of Scottish tunes that I learned when I was a kid, sometimes from my grandparents, because I had never heard recordings of the tunes.
To this day I love the sound of Jimmy Shand and his band – they were extraordinarily exuberant – and also the voice of Kenneth McKellar singing Handel, Silent Worship. That’s knockout, sung with such passion!
And I’m very aware of Big Country too! [laughs]
RM: And I’m very glad to hear it [laughs]. Joking aside you touch on a salient point – many of us north of the border, myself included, are all too quick to assign Jimmy Shand and the Kenneth McKellars of our Scottish music world to the Heather, Ceilidh and Music Hall crowd but Jimmy Shand was a masterful accordion player and Kenneth McKellar had a wonderful voice.
SH: He had a fantastic voice, yes!
RM: A non-music related part of the book that I found fascinating was your thoughts on the spirit and dream worlds, which have been inspirations for songs such as Tigermoth (the tale of an airman in the afterlife after dying in a dogfight).
I don’t buy into the chain dragging wailing ghoul imagery but I do believe some people have an inherent ability to see snapshots of traumatic or significant past events; almost like capturing a moving image from times past in amber.
SH: That’s a very interesting comment because that parallel's my wife's beliefs; she also thinks that the old stones may hold messages and that a photograph isn't necessarily of just one place.
We’re hugely interested in that and everything else, such as spiritual healing and the world of spirits.
I’m completely open to it but, at the same time, I hope I’ve got sufficient nous not to invest anyone with the title Guru, because as we both well know there are plenty of charlatans out there!
But that doesn’t discredit the idea that there is so much out there that our senses do not perceive...
The 3LP/2CD remastered edition of Genesis Revisited Live at the Royal Albert Hall was released in June
RM: A major part of the book, as hinted at in the title, is your time with Genesis.
It would have been all too easy to have that period dominate the book but I feel you pitched that part of your career – from your arrival in the band to the whys and wherefores of your departure – perfectly.
That was a massively successful and still highly regarded part of your career but if you had allowed it to spread across too many chapters that would have been to the detriment of a lengthy and successful solo career that has been at a creative peak these last six years or so.
SH: Thank you; that’s nice of you to say so. Yes, you’re right, it was a huge part of my development, that coming together, but I like to think I contributed, much as Phil Collins said to me when I had only just met him, "we’re bound to influence each other."
I had no idea what he meant at the time but Phil was very aware of taking on board the ideas of others, having functioned as a professional actor and taking direction when he sang and danced in a production of Oliver.
That was his background; his mother had been a theatrical agent, his sister was a professional ice skater and his brother a cartoonist, so they had all been down the mines from a very early age, working professionally from very early on.
Phil was very adaptable and versatile, as well as a natural mimic. He could do everyone from Peter Gabriel to Malcolm Muggeridge, even just on their faces and mannerisms alone! He had that actor’s thing where he could inhabit the skins of others.
He was very talented, not just in the drumming department. Yes, we knew him as a drummer but increasingly we became aware that he had this extraordinary voice, too.
RM: As you make mention of in the book, there was a world of social background difference between you and your other Genesis bandmates, Peter Gabriel, Tony Banks and Mike Rutherford.
There was however a clear commonality in your musical explorations and just where you could take that music as, first, the classic quintet and then a quartet after Peter left.
SH: Yes, we were very good together – a group of five songwriters who could also be like a relay team where someone could pass the baton to someone else.
There is still, I think, a respect for each other but the downside to Genesis was the competitiveness that could rise to a combative, psychological level; that could be very intimidating at times and I don’t think I was ready for that.
I think education has its part to play here, though. Their background was Charterhouse and that regime was designed to produce people who could quell a rebellion in the colonies; Viceroy of India material.
That’s the world they came from and some people can survive that, psychologically, and obviously they did.
But I know others who have fallen by the wayside of that harsh regime and some don’t recover.
RM: What you’ve just said reflects on how you have approached writing the autobiography, which is a very honest and open read. You make it very clear, for example, why you are so in touch with the plight of the immigrant or refugee; you’re also open enough to talk about your own personal demons, some of which arose during your most successful times with Genesis.
We don’t just get the story of Steve Hackett, the musician; we get a sense of Steve Hackett, the man.
SH: Well I hope I’ve been honest enough to say when I was ashamed of things – and plenty of times I have been – nor do I want anyone to get the idea that "Oh, this guy never made a mistake on the guitar."
I’ve made tons of mistakes and that’s what shaped me – my mistakes have been my biggest teacher!
Back then, when I started out, I underestimated people and I underestimated places but looking back, over time, I now realise what the hell did I know? What did I know about anything back then?
You can’t judge people just by their background; you’ve got to look below the surface; you’ve got to look past the accent; you’ve got to look past language.
RM: Which returns us to "the explorer."
It’s inner and outer exploration that shapes us and makes us who, and what, we are.
SH: Yes, exactly!
RM: May those explorations continue for a long time to come Steve; thanks for chatting to FabricationsHQ again and I wish you all success with A Genesis In My Bed.
SH: Thank you so much Ross; it’s been really nice speaking to you again and thank you for the support.
All the best!
Ross Muir
Muirsical Conversation with Steve Hackett
July 2020
A Genesis in My Bed will be released on Friday 24th of July; it can be pre-ordered direct from Steve Hackett's webstore: https://store.hackettsongs.com/products/a-genesis-in-my-bed-book
Book cover photo by Tina Korhonen.
Genesis Revisited : Live at the Royal Albert Hall Vinyl Edition (3LP&2CD) is available now.
Due to the continued Covid-19 pandemic the Genesis Revisited : Seconds Out & More! tour dates for 2020 have been rescheduled for 2021. UK dates below.
It would have been all too easy to have that period dominate the book but I feel you pitched that part of your career – from your arrival in the band to the whys and wherefores of your departure – perfectly.
That was a massively successful and still highly regarded part of your career but if you had allowed it to spread across too many chapters that would have been to the detriment of a lengthy and successful solo career that has been at a creative peak these last six years or so.
SH: Thank you; that’s nice of you to say so. Yes, you’re right, it was a huge part of my development, that coming together, but I like to think I contributed, much as Phil Collins said to me when I had only just met him, "we’re bound to influence each other."
I had no idea what he meant at the time but Phil was very aware of taking on board the ideas of others, having functioned as a professional actor and taking direction when he sang and danced in a production of Oliver.
That was his background; his mother had been a theatrical agent, his sister was a professional ice skater and his brother a cartoonist, so they had all been down the mines from a very early age, working professionally from very early on.
Phil was very adaptable and versatile, as well as a natural mimic. He could do everyone from Peter Gabriel to Malcolm Muggeridge, even just on their faces and mannerisms alone! He had that actor’s thing where he could inhabit the skins of others.
He was very talented, not just in the drumming department. Yes, we knew him as a drummer but increasingly we became aware that he had this extraordinary voice, too.
RM: As you make mention of in the book, there was a world of social background difference between you and your other Genesis bandmates, Peter Gabriel, Tony Banks and Mike Rutherford.
There was however a clear commonality in your musical explorations and just where you could take that music as, first, the classic quintet and then a quartet after Peter left.
SH: Yes, we were very good together – a group of five songwriters who could also be like a relay team where someone could pass the baton to someone else.
There is still, I think, a respect for each other but the downside to Genesis was the competitiveness that could rise to a combative, psychological level; that could be very intimidating at times and I don’t think I was ready for that.
I think education has its part to play here, though. Their background was Charterhouse and that regime was designed to produce people who could quell a rebellion in the colonies; Viceroy of India material.
That’s the world they came from and some people can survive that, psychologically, and obviously they did.
But I know others who have fallen by the wayside of that harsh regime and some don’t recover.
RM: What you’ve just said reflects on how you have approached writing the autobiography, which is a very honest and open read. You make it very clear, for example, why you are so in touch with the plight of the immigrant or refugee; you’re also open enough to talk about your own personal demons, some of which arose during your most successful times with Genesis.
We don’t just get the story of Steve Hackett, the musician; we get a sense of Steve Hackett, the man.
SH: Well I hope I’ve been honest enough to say when I was ashamed of things – and plenty of times I have been – nor do I want anyone to get the idea that "Oh, this guy never made a mistake on the guitar."
I’ve made tons of mistakes and that’s what shaped me – my mistakes have been my biggest teacher!
Back then, when I started out, I underestimated people and I underestimated places but looking back, over time, I now realise what the hell did I know? What did I know about anything back then?
You can’t judge people just by their background; you’ve got to look below the surface; you’ve got to look past the accent; you’ve got to look past language.
RM: Which returns us to "the explorer."
It’s inner and outer exploration that shapes us and makes us who, and what, we are.
SH: Yes, exactly!
RM: May those explorations continue for a long time to come Steve; thanks for chatting to FabricationsHQ again and I wish you all success with A Genesis In My Bed.
SH: Thank you so much Ross; it’s been really nice speaking to you again and thank you for the support.
All the best!
Ross Muir
Muirsical Conversation with Steve Hackett
July 2020
A Genesis in My Bed will be released on Friday 24th of July; it can be pre-ordered direct from Steve Hackett's webstore: https://store.hackettsongs.com/products/a-genesis-in-my-bed-book
Book cover photo by Tina Korhonen.
Genesis Revisited : Live at the Royal Albert Hall Vinyl Edition (3LP&2CD) is available now.
Due to the continued Covid-19 pandemic the Genesis Revisited : Seconds Out & More! tour dates for 2020 have been rescheduled for 2021. UK dates below.
