Chords for Genesis on Good Morning America, Nov. 25, 1991
Tempo:
90.65 bpm
Chords used:
E
B
G
F
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
And we are joined now by three of the three members of Genesis, Mike Rutherford, Tony Banks and Phil [N] Collins.
Nice to have you all here.
Morning.
Now, that clip that we just saw, No Son of Mine, it's very, very heavy subject matter lyrics.
It also runs, I think it's also the only single from the album release so far.
Six, six and a half minutes or something like that long.
That's not the normal pop format.
Is this like a conscious effort, Phil, to kind of be away from the mainstream?
Well, I mean, we've always been a little bit away, which is why we're probably still around after so long,
because, you know, we're not very [E] fashionable, never have been.
And so [B] consequently, you sort of run in parallel lines with whatever's going [Ab] on.
But the song is sort of six and a half minutes.
It does reflect sort of the album.
So we wanted to put it out.
But if radio will play it, that's [B] great.
Well, it's interesting.
Tony, [Ab] because I've gone through a couple of the others.
It's also you got homelessness, televangelism, fad diets.
I mean, a lot of socially very [B] current thoughts on so many people's mind.
Is this a more socially conscious [N] group here?
Are things just bothering you more these days?
Are you thinking about them?
Want to talk about them?
I think it's just really lyrics were based in the more on surreal things nowadays.
Perhaps in the early days of the group, we were better known for fantasy kind of lyrics and things.
Although we had a certain amount of, it's always been that in the lyrics.
But in the early days, it was a bit more obscured than it is nowadays, but more direct.
But I mean, you know, when you're writing a lyric, you just write about whatever occurs to you,
worrying you or you're thinking about at the time.
And that's what comes out.
And I find it fascinating how you guys do it when [E] you get together.
It's almost improvisational kind of form of writing music.
First of all, first time in five years.
I mean, you didn't [D] reform.
This is your first time back together in five years.
Is it tough kind of getting back in sync?
You know, Mike, when you get all back in the studio?
Actually, it wasn't.
I mean, I know it was five years since the last album.
But we actually finished working together in [E] July 87, which is when the last tour [Em] finished.
Not [F] really.
I mean, as you say, the way we do it, we just go in the studio.
We don't take material in now [Db] that we do so much stuff on our own.
And we just turn the gear on and kind of cross our fingers.
And off we go.
And this time around, [Gb] actually, it happened very easily.
I mean, within about the first two or three days, we had three or four [G] bits of music.
[F] And we actually wrote the whole album in about two months, I think it was.
But you go in and one person starts with a thought and you add on or you add on.
That's really how it all comes [N] together.
Seems hard.
It's just like in some respects, like jazz music, you know,
[A] you just start playing and [Gb] the other guys join in.
You know, sometimes you can start with guitar riff or keyboard sound or drum machine [Abm] rhythm.
When you have three people who are so independently successful,
any I mean, how do you deal with the meshing of egos?
You check the egos at the door or what?
[E] It isn't it's not hard, actually.
[G] I mean, I think first and foremost, you've got to realize that you're doing it because you want [E] to do it.
Yeah.
And there's always got a set of things we could carry on doing.
Sure, because you're all successful on your [Ebm] own.
And yet you something compels you to get back [G] together and do this music together.
So it's [F] basically our choice.
And I mean, I think, you know, we used to argue a lot [Gb] in the early days.
Yeah, [Db] especially when there were five of us.
A lot of [Dm] arguing.
But three is a [Em] good number.
And [B] still argue.
Yeah, we love each other.
[E] They never argue.
[Bb] We'll see if they argue during the commercial break and I'll cheat.
I'll tell you if they do.
We'll be back in just a moment with more of Genesis right after this from [A] Bolgers.
[D] [Gm] We are back now at Genesis.
[F] Mike Rutherford, Tony Banks and [Eb] Phil Collins, who have just released their 17th album, We Can't Dance.
That's the 17th album in 25 years.
We were just saying it can't be 25 years.
And I asked, where's the first place you ever played in this country?
And it was Brandeis University [E] in Boston to about 50 people, [G] we reckon.
About 50 [G] people during lunch hour, during lunch hour.
And so what's the absolute biggest crowd you've played to?
In Paris, it was a Fête de l'Humanité, which is a communist festival.
Which is, we just, they just have a gig every year.
[N] And we got, did I say something wrong?
No, how many?
120,000.
120,000 people.
That's pretty awesome.
That's pretty amazing.
A lot of people.
When's the tour going to be for this?
The next tour is going to be in May?
Yeah, May and June.
And we'll be playing sort of stadiums.
It's hard, you know, because we don't want to go on the road for too long.
The last Invisible Touch tour was very long, about 10 months in all.
[Bm] And, you know, it's just, you start getting a little bit tired of the traveling.
And also you're away from the family.
[Gb] Well, you know, some of us, I mean, my family travel with me.
But when the kids are at school age, it's hard to do that.
It's hard, sure.
So we just want to sort of cut it down and make it enjoyable.
[C] So the tour won't be as long, [B] which means you end up playing bigger places.
Because you've got to play to as many people as you can.
Because otherwise they get, you don't see them.
Now, do you already start talking about the next album at [N] this point?
No, we don't really start talking about the album until we get into the studio next time.
And we know we'll sort of, we have in the back of our minds that we'll be doing one.
And sort of looking ahead sort of three, I don't know, three, four years probably.
Tony, you've got a solo album coming out, right?
I have indeed.
I'm glad you asked me that.
I knew you would be and therefore I did.
Do tell us about it.
I have an album coming out in March.
It's actually an album I made just before We Can't Dance.
I finished it just before that.
And in Europe we released it back then.
But in America the idea, we thought we'd hold it back until perhaps people,
because the problem was when you release an album in Genesis downtime,
they won't forget who I am, you know?
And even when the group's around, they're not too sure who I am.
But at least they have a better chance.
And Mike still has Mike and [E] Mechanix, right?
Yes, they're going strong.
They're [F] pretty much on hold now until we [Bm] finish the next Genesis tour.
Doing this.
And you're finally, Phil, going to make the movie The Three Bears?
Yeah.
You talked about that a few times.
That's right.
I kept talking about it for about five, six years.
And finally it's being done.
That's with Danny DeVito and Bob Hoskins.
Yeah, it's being written by Jim Hart, who's just finished Hook.
And he's a New Yorker.
Hi, Jim.
And
But you actually are doing another one before then.
Yeah, I'm doing a film in [G] Australia in [A] January.
So there's the [Abm] film in Australia, then the [E] tour, and then Three Bears, hopefully.
All right.
But right now Genesis is back together again.
We Can't Dance.
And there's not one dance song on the album, I guarantee you.
It's nice.
And they didn't fight during
Nice to have you all here.
Morning.
Now, that clip that we just saw, No Son of Mine, it's very, very heavy subject matter lyrics.
It also runs, I think it's also the only single from the album release so far.
Six, six and a half minutes or something like that long.
That's not the normal pop format.
Is this like a conscious effort, Phil, to kind of be away from the mainstream?
Well, I mean, we've always been a little bit away, which is why we're probably still around after so long,
because, you know, we're not very [E] fashionable, never have been.
And so [B] consequently, you sort of run in parallel lines with whatever's going [Ab] on.
But the song is sort of six and a half minutes.
It does reflect sort of the album.
So we wanted to put it out.
But if radio will play it, that's [B] great.
Well, it's interesting.
Tony, [Ab] because I've gone through a couple of the others.
It's also you got homelessness, televangelism, fad diets.
I mean, a lot of socially very [B] current thoughts on so many people's mind.
Is this a more socially conscious [N] group here?
Are things just bothering you more these days?
Are you thinking about them?
Want to talk about them?
I think it's just really lyrics were based in the more on surreal things nowadays.
Perhaps in the early days of the group, we were better known for fantasy kind of lyrics and things.
Although we had a certain amount of, it's always been that in the lyrics.
But in the early days, it was a bit more obscured than it is nowadays, but more direct.
But I mean, you know, when you're writing a lyric, you just write about whatever occurs to you,
worrying you or you're thinking about at the time.
And that's what comes out.
And I find it fascinating how you guys do it when [E] you get together.
It's almost improvisational kind of form of writing music.
First of all, first time in five years.
I mean, you didn't [D] reform.
This is your first time back together in five years.
Is it tough kind of getting back in sync?
You know, Mike, when you get all back in the studio?
Actually, it wasn't.
I mean, I know it was five years since the last album.
But we actually finished working together in [E] July 87, which is when the last tour [Em] finished.
Not [F] really.
I mean, as you say, the way we do it, we just go in the studio.
We don't take material in now [Db] that we do so much stuff on our own.
And we just turn the gear on and kind of cross our fingers.
And off we go.
And this time around, [Gb] actually, it happened very easily.
I mean, within about the first two or three days, we had three or four [G] bits of music.
[F] And we actually wrote the whole album in about two months, I think it was.
But you go in and one person starts with a thought and you add on or you add on.
That's really how it all comes [N] together.
Seems hard.
It's just like in some respects, like jazz music, you know,
[A] you just start playing and [Gb] the other guys join in.
You know, sometimes you can start with guitar riff or keyboard sound or drum machine [Abm] rhythm.
When you have three people who are so independently successful,
any I mean, how do you deal with the meshing of egos?
You check the egos at the door or what?
[E] It isn't it's not hard, actually.
[G] I mean, I think first and foremost, you've got to realize that you're doing it because you want [E] to do it.
Yeah.
And there's always got a set of things we could carry on doing.
Sure, because you're all successful on your [Ebm] own.
And yet you something compels you to get back [G] together and do this music together.
So it's [F] basically our choice.
And I mean, I think, you know, we used to argue a lot [Gb] in the early days.
Yeah, [Db] especially when there were five of us.
A lot of [Dm] arguing.
But three is a [Em] good number.
And [B] still argue.
Yeah, we love each other.
[E] They never argue.
[Bb] We'll see if they argue during the commercial break and I'll cheat.
I'll tell you if they do.
We'll be back in just a moment with more of Genesis right after this from [A] Bolgers.
[D] [Gm] We are back now at Genesis.
[F] Mike Rutherford, Tony Banks and [Eb] Phil Collins, who have just released their 17th album, We Can't Dance.
That's the 17th album in 25 years.
We were just saying it can't be 25 years.
And I asked, where's the first place you ever played in this country?
And it was Brandeis University [E] in Boston to about 50 people, [G] we reckon.
About 50 [G] people during lunch hour, during lunch hour.
And so what's the absolute biggest crowd you've played to?
In Paris, it was a Fête de l'Humanité, which is a communist festival.
Which is, we just, they just have a gig every year.
[N] And we got, did I say something wrong?
No, how many?
120,000.
120,000 people.
That's pretty awesome.
That's pretty amazing.
A lot of people.
When's the tour going to be for this?
The next tour is going to be in May?
Yeah, May and June.
And we'll be playing sort of stadiums.
It's hard, you know, because we don't want to go on the road for too long.
The last Invisible Touch tour was very long, about 10 months in all.
[Bm] And, you know, it's just, you start getting a little bit tired of the traveling.
And also you're away from the family.
[Gb] Well, you know, some of us, I mean, my family travel with me.
But when the kids are at school age, it's hard to do that.
It's hard, sure.
So we just want to sort of cut it down and make it enjoyable.
[C] So the tour won't be as long, [B] which means you end up playing bigger places.
Because you've got to play to as many people as you can.
Because otherwise they get, you don't see them.
Now, do you already start talking about the next album at [N] this point?
No, we don't really start talking about the album until we get into the studio next time.
And we know we'll sort of, we have in the back of our minds that we'll be doing one.
And sort of looking ahead sort of three, I don't know, three, four years probably.
Tony, you've got a solo album coming out, right?
I have indeed.
I'm glad you asked me that.
I knew you would be and therefore I did.
Do tell us about it.
I have an album coming out in March.
It's actually an album I made just before We Can't Dance.
I finished it just before that.
And in Europe we released it back then.
But in America the idea, we thought we'd hold it back until perhaps people,
because the problem was when you release an album in Genesis downtime,
they won't forget who I am, you know?
And even when the group's around, they're not too sure who I am.
But at least they have a better chance.
And Mike still has Mike and [E] Mechanix, right?
Yes, they're going strong.
They're [F] pretty much on hold now until we [Bm] finish the next Genesis tour.
Doing this.
And you're finally, Phil, going to make the movie The Three Bears?
Yeah.
You talked about that a few times.
That's right.
I kept talking about it for about five, six years.
And finally it's being done.
That's with Danny DeVito and Bob Hoskins.
Yeah, it's being written by Jim Hart, who's just finished Hook.
And he's a New Yorker.
Hi, Jim.
And
But you actually are doing another one before then.
Yeah, I'm doing a film in [G] Australia in [A] January.
So there's the [Abm] film in Australia, then the [E] tour, and then Three Bears, hopefully.
All right.
But right now Genesis is back together again.
We Can't Dance.
And there's not one dance song on the album, I guarantee you.
It's nice.
And they didn't fight during
Key:
E
B
G
F
Gb
E
B
G
And we are joined now by three of the three members of Genesis, Mike Rutherford, Tony Banks and Phil [N] Collins.
Nice to have you all here.
Morning.
Now, that clip that we just saw, No Son of Mine, it's very, very heavy subject matter lyrics.
It also runs, I think it's also the only single from the album release so far.
Six, six and a half minutes or something like that long.
That's not the normal pop format.
Is this like a conscious effort, Phil, to kind of be away from the mainstream? _
Well, I mean, we've always been a little bit away, which is why we're probably still around after so long,
because, you know, we're not very [E] fashionable, never have been.
And so [B] consequently, you sort of run in parallel lines with whatever's going [Ab] on.
But the song is sort of six and a half minutes.
It does reflect sort of the album.
So we wanted to put it out.
But if radio will play it, that's [B] great.
Well, it's interesting.
Tony, [Ab] because I've gone through a couple of the others.
It's also you got homelessness, _ televangelism, fad diets.
I mean, a lot of socially very [B] current thoughts on so many people's mind.
Is this a more socially conscious [N] group here?
Are things just bothering you more these days?
Are you thinking about them?
Want to talk about them?
I think it's just really lyrics were based in the more on surreal things nowadays.
Perhaps in the early days of the group, we were better known for fantasy kind of lyrics and things.
Although we had a certain amount of, it's always been that in the lyrics.
But in the early days, it was a bit more obscured than it is nowadays, but more direct.
But I mean, you know, when you're writing a lyric, you just write about whatever occurs to you,
worrying you or you're thinking about at the time.
And that's what comes out.
And I find it fascinating how you guys do it when [E] you get together.
It's almost improvisational kind of form of writing music.
First of all, first time in five years.
I mean, you didn't [D] reform.
This is your first time back together in five years.
Is it tough kind of getting back in sync?
You know, Mike, when you get all back in the studio?
Actually, it wasn't.
I mean, I know it was five years since the last album.
But we actually finished working together in [E] July 87, which is when the last tour [Em] finished.
Not [F] really.
I mean, as you say, the way we do it, we just go in the studio.
We don't take material in now [Db] that we do so much stuff on our own.
And we just turn the gear on and kind of cross our fingers.
And off we go.
And this time around, [Gb] actually, it happened very easily.
I mean, within about the first two or three days, we had three or four [G] bits of music.
[F] And we actually wrote the whole album in about two months, I think it was.
But you go in and one person starts with a thought and you add on or you add on.
That's really how it all comes [N] together.
Seems hard.
It's just like in some respects, like jazz music, you know,
[A] you just start playing and [Gb] the other guys join in.
You know, sometimes you can start with guitar riff or keyboard sound or drum machine [Abm] rhythm.
When you have three people who are so independently successful,
any I mean, how do you deal with the meshing of egos?
You check the egos at the door or what?
[E] It isn't it's not hard, actually.
[G] I mean, I think first and foremost, you've got to realize that you're doing it because you want [E] to do it.
Yeah.
And there's always got a set of things we could carry on doing.
Sure, because you're all successful on your [Ebm] own.
And yet you something compels you to get back [G] together and do this music together.
So it's [F] basically our choice.
And I mean, I think, you know, we used to argue a lot [Gb] in the early days.
Yeah, [Db] especially when there were five of us.
A lot of [Dm] arguing.
But three is a [Em] good number.
And [B] still argue.
Yeah, we love each other.
[E] They never argue.
[Bb] We'll see if they argue during the commercial break and I'll cheat.
I'll tell you if they do.
We'll be back in just a moment with more of Genesis right after this from [A] Bolgers. _ _
_ _ [D] _ _ _ [Gm] We are back now at Genesis.
[F] Mike Rutherford, Tony Banks and [Eb] Phil Collins, who have just released their 17th album, We Can't Dance.
That's the 17th album in 25 years.
We were just saying it can't be 25 years.
And I asked, where's the first place you ever played in this country?
And it was Brandeis University [E] in Boston to about 50 people, [G] we reckon.
About 50 [G] people during lunch hour, during lunch hour.
And so what's the absolute biggest crowd you've played to?
In Paris, it was a Fête de l'Humanité, which is a communist festival.
Which is, we just, they just have a gig every year.
[N] And we got, did I say something wrong?
No, how many?
120,000.
120,000 people.
That's pretty awesome.
That's pretty amazing.
A lot of people.
_ When's the tour going to be for this?
The next tour is going to be in May?
Yeah, May and June.
And we'll be playing sort of stadiums.
_ It's hard, you know, because we don't want to go on the road for too long.
The last Invisible Touch tour was very long, about 10 months in all.
[Bm] And, you know, it's just, you start getting a little bit tired of the traveling.
And also you're away from the family.
[Gb] Well, you know, some of us, I mean, my family travel with me.
But when the kids are at school age, it's hard to do that.
It's hard, sure.
So we just want to sort of cut it down and make it enjoyable.
[C] So the tour won't be as long, [B] which means you end up playing bigger places.
Because you've got to play to as many people as you can.
Because otherwise they get, you don't see them.
Now, do you already start talking about the next album at [N] this point?
No, we don't really start talking about the album until we get into the studio next time.
And we know we'll sort of, we have in the back of our minds that we'll be doing one.
And sort of looking ahead sort of three, I don't know, three, four years probably.
Tony, you've got a solo album coming out, right?
I have indeed.
I'm glad you asked me that.
I knew you would be and therefore I did.
Do tell us about it.
I have an album coming out in March.
It's actually an album I made just before We Can't Dance.
I finished it just before that.
And in Europe we released it back then.
But in America the idea, we thought we'd hold it back until perhaps people,
because the problem was when you release an album in Genesis downtime,
they won't forget who I am, you know?
And even when the group's around, they're not too sure who I am.
But at least they have a better chance.
And Mike still has Mike and [E] Mechanix, right?
Yes, they're going strong.
They're [F] pretty much on hold now until we [Bm] finish the next Genesis tour.
Doing this.
And you're finally, Phil, going to make the movie The Three Bears?
Yeah.
You talked about that a few times.
That's right.
I kept talking about it for about five, six years.
And finally it's being done.
That's with Danny DeVito and Bob Hoskins.
Yeah, it's being written by Jim Hart, who's just finished Hook.
And he's a New Yorker.
Hi, Jim.
And_
But you actually are doing another one before then.
Yeah, I'm doing a film in [G] Australia in [A] January.
So there's the [Abm] film in Australia, then the [E] tour, and then Three Bears, hopefully.
All right.
But right now Genesis is back together again.
We Can't Dance.
And there's not one dance song on the album, I guarantee you.
It's nice.
And they didn't fight during
Nice to have you all here.
Morning.
Now, that clip that we just saw, No Son of Mine, it's very, very heavy subject matter lyrics.
It also runs, I think it's also the only single from the album release so far.
Six, six and a half minutes or something like that long.
That's not the normal pop format.
Is this like a conscious effort, Phil, to kind of be away from the mainstream? _
Well, I mean, we've always been a little bit away, which is why we're probably still around after so long,
because, you know, we're not very [E] fashionable, never have been.
And so [B] consequently, you sort of run in parallel lines with whatever's going [Ab] on.
But the song is sort of six and a half minutes.
It does reflect sort of the album.
So we wanted to put it out.
But if radio will play it, that's [B] great.
Well, it's interesting.
Tony, [Ab] because I've gone through a couple of the others.
It's also you got homelessness, _ televangelism, fad diets.
I mean, a lot of socially very [B] current thoughts on so many people's mind.
Is this a more socially conscious [N] group here?
Are things just bothering you more these days?
Are you thinking about them?
Want to talk about them?
I think it's just really lyrics were based in the more on surreal things nowadays.
Perhaps in the early days of the group, we were better known for fantasy kind of lyrics and things.
Although we had a certain amount of, it's always been that in the lyrics.
But in the early days, it was a bit more obscured than it is nowadays, but more direct.
But I mean, you know, when you're writing a lyric, you just write about whatever occurs to you,
worrying you or you're thinking about at the time.
And that's what comes out.
And I find it fascinating how you guys do it when [E] you get together.
It's almost improvisational kind of form of writing music.
First of all, first time in five years.
I mean, you didn't [D] reform.
This is your first time back together in five years.
Is it tough kind of getting back in sync?
You know, Mike, when you get all back in the studio?
Actually, it wasn't.
I mean, I know it was five years since the last album.
But we actually finished working together in [E] July 87, which is when the last tour [Em] finished.
Not [F] really.
I mean, as you say, the way we do it, we just go in the studio.
We don't take material in now [Db] that we do so much stuff on our own.
And we just turn the gear on and kind of cross our fingers.
And off we go.
And this time around, [Gb] actually, it happened very easily.
I mean, within about the first two or three days, we had three or four [G] bits of music.
[F] And we actually wrote the whole album in about two months, I think it was.
But you go in and one person starts with a thought and you add on or you add on.
That's really how it all comes [N] together.
Seems hard.
It's just like in some respects, like jazz music, you know,
[A] you just start playing and [Gb] the other guys join in.
You know, sometimes you can start with guitar riff or keyboard sound or drum machine [Abm] rhythm.
When you have three people who are so independently successful,
any I mean, how do you deal with the meshing of egos?
You check the egos at the door or what?
[E] It isn't it's not hard, actually.
[G] I mean, I think first and foremost, you've got to realize that you're doing it because you want [E] to do it.
Yeah.
And there's always got a set of things we could carry on doing.
Sure, because you're all successful on your [Ebm] own.
And yet you something compels you to get back [G] together and do this music together.
So it's [F] basically our choice.
And I mean, I think, you know, we used to argue a lot [Gb] in the early days.
Yeah, [Db] especially when there were five of us.
A lot of [Dm] arguing.
But three is a [Em] good number.
And [B] still argue.
Yeah, we love each other.
[E] They never argue.
[Bb] We'll see if they argue during the commercial break and I'll cheat.
I'll tell you if they do.
We'll be back in just a moment with more of Genesis right after this from [A] Bolgers. _ _
_ _ [D] _ _ _ [Gm] We are back now at Genesis.
[F] Mike Rutherford, Tony Banks and [Eb] Phil Collins, who have just released their 17th album, We Can't Dance.
That's the 17th album in 25 years.
We were just saying it can't be 25 years.
And I asked, where's the first place you ever played in this country?
And it was Brandeis University [E] in Boston to about 50 people, [G] we reckon.
About 50 [G] people during lunch hour, during lunch hour.
And so what's the absolute biggest crowd you've played to?
In Paris, it was a Fête de l'Humanité, which is a communist festival.
Which is, we just, they just have a gig every year.
[N] And we got, did I say something wrong?
No, how many?
120,000.
120,000 people.
That's pretty awesome.
That's pretty amazing.
A lot of people.
_ When's the tour going to be for this?
The next tour is going to be in May?
Yeah, May and June.
And we'll be playing sort of stadiums.
_ It's hard, you know, because we don't want to go on the road for too long.
The last Invisible Touch tour was very long, about 10 months in all.
[Bm] And, you know, it's just, you start getting a little bit tired of the traveling.
And also you're away from the family.
[Gb] Well, you know, some of us, I mean, my family travel with me.
But when the kids are at school age, it's hard to do that.
It's hard, sure.
So we just want to sort of cut it down and make it enjoyable.
[C] So the tour won't be as long, [B] which means you end up playing bigger places.
Because you've got to play to as many people as you can.
Because otherwise they get, you don't see them.
Now, do you already start talking about the next album at [N] this point?
No, we don't really start talking about the album until we get into the studio next time.
And we know we'll sort of, we have in the back of our minds that we'll be doing one.
And sort of looking ahead sort of three, I don't know, three, four years probably.
Tony, you've got a solo album coming out, right?
I have indeed.
I'm glad you asked me that.
I knew you would be and therefore I did.
Do tell us about it.
I have an album coming out in March.
It's actually an album I made just before We Can't Dance.
I finished it just before that.
And in Europe we released it back then.
But in America the idea, we thought we'd hold it back until perhaps people,
because the problem was when you release an album in Genesis downtime,
they won't forget who I am, you know?
And even when the group's around, they're not too sure who I am.
But at least they have a better chance.
And Mike still has Mike and [E] Mechanix, right?
Yes, they're going strong.
They're [F] pretty much on hold now until we [Bm] finish the next Genesis tour.
Doing this.
And you're finally, Phil, going to make the movie The Three Bears?
Yeah.
You talked about that a few times.
That's right.
I kept talking about it for about five, six years.
And finally it's being done.
That's with Danny DeVito and Bob Hoskins.
Yeah, it's being written by Jim Hart, who's just finished Hook.
And he's a New Yorker.
Hi, Jim.
And_
But you actually are doing another one before then.
Yeah, I'm doing a film in [G] Australia in [A] January.
So there's the [Abm] film in Australia, then the [E] tour, and then Three Bears, hopefully.
All right.
But right now Genesis is back together again.
We Can't Dance.
And there's not one dance song on the album, I guarantee you.
It's nice.
And they didn't fight during