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Man fights to save the Des Plaines Oasis where he was conceived
Kevin Walters is a man on a mission.
The 21-year-old Crystal Lake man chained himself to the door at the Des Plaines Oasis along the Jane Addams Tollway Friday as reported by WBBM Newsradio’s Mike Krauser.
Because, he says that late one night after a Phil Collins concert, Walters’ parents made their own rendition of “Midnight at the Oasis.” And nine months later, their star was born.
While Phil Collins played the Chicago area solo in June 1990 and again in July 1994, a check of our archives shows that Genesis played at the World Music Theater for two nights in June 1992. Here’s a review from that Genesis show that could have had things “In the Air Tonight” that night.
Editor’s note: This music review was published in the Chicago Sun-Times June 25, 1992.
By Jae-Ha Kim
No, Genesis certainly can’t dance, but no one in his or her right mind expected any fancy footwork from the vintage British group when the musicians opened the first of two nights Wednesday at the World Music Theatre. Phil Collins did grab his crotch once, but that’s another story.
The extravagant Genesis package included state-of-the-art everything.
When the group released its latest CD, “We Can’t Dance,” the musicians said their tour would have a Spartan stage setup. But as it turned out, the show was designed for enormodomes where fans crammed on the lawn have a better chance of seeing God than the band. The much-touted technical part of Genesis’ show included oversized television screens that projected the musicians’ images with surprising clarity, thousands of computer-controlled lights suspended from trolley-style cables and an open stage that required dismantling the World’s own. Maybe that’s why the best pavilion seats sold for just under 50 bucks.
The band had no problem compiling a set list of songs familiar even to new Genesis fans. What with 17 albums from which Genesis could cull material, it seemed that every other song was a hit single. A lengthy medley of 1970s hits a third of the way through the show went down well with the capacity crowd, which especially appreciated a pulsating reworking of the title track from 1978′s “The Lamb Lies Down on Broadway.”
Visuals played a large part. Sometimes they were put to artistic use, as with “Driving the Last Spike,” a song about the laborers who built England’s railways in the 1800s. The video showed a collage of photos of the workers intermingled with surreal portraits. Most of the time, though, the cameras focused the elastic face of Collins , the singer and part-time drummer.
The musicianship was crisp, with keyboardist Tony Banks and guitarist Mike Rutherford setting the grandiose layers for the songs while staying out of the limelight.
If not for Collins , there wouldn’t have been much of a show because no one else moved unless absolutely necessary. That was OK, because Collins was more than willing to “dance” and play a tambourine solo on his forehead, ankles, knees and elbows.
“I Can’t Dance,” its current hit, is Genesis’ answer to all the athletic artists who equate musical ability with gymnastics skills. “I can’t dance/I can’t sing/I’m just standing here selling everything,” Collins sings. Rutherford, Collins and Banks, all in their early 40s, couldn’t possibly compete on a physical level even if they wanted to, and it’s just as well. Does anybody out there really want to see Collins writhe around on stage in biker shorts and Doc Martens? I think not.
Here’s a playlist from “We Can’t Dance,” the album Genesis was supporting on that tour. And “In The Air Tonight” thrown in for good measure.