Genesis (band)

From Wikipedia, the free encyclopedia
  (Redirected from The Farm (recording studio))
Jump to: navigation, search
For the Colombian band, see Génesis (band).
2180 - Pittsburgh - Mellon Arena - Genesis - The Carpet Crawlers.JPG
Genesis performing in 2007
Left to right: Daryl Stuermer, Mike Rutherford, Tony Banks, Phil Collins
Background information
Origin Godalming, Surrey, England
Years active
  • 1967–1998[3][4]
  • 2006–present
Associated acts
Members Tony Banks
Mike Rutherford
Phil Collins
Past members Peter Gabriel
Anthony Phillips
Chris Stewart
John Silver
John Mayhew
Mick Barnard
Steve Hackett
Ray Wilson

Genesis are an English rock band formed at Charterhouse School, Godalming, Surrey in 1967. The most commercially successful line-up includes keyboardist Tony Banks, guitarist Mike Rutherford and drummer/singer Phil Collins. Other important members were singer Peter Gabriel and guitarist Steve Hackett. The band underwent several significant changes in musical style over its career, from folk music to progressive rock in the 1970s, before moving towards pop at the end of the decade. They are one of the best-selling music artists of all time with 21.5 million RIAA-certified albums sold in the US and an estimated 100–130 million sold worldwide.

Formed by five Charterhouse pupils including Banks, Rutherford, Gabriel and Anthony Phillips, Genesis was named by former pupil Jonathan King who arranged them to record several unsuccessful singles and an album. After splitting with King, the group began touring professionally, signing with Charisma Records. Following the departure of Phillips, Genesis recruited Collins and Hackett and recorded several progressive rock style albums, with live shows centred around Gabriel's theatrical costumes and performances. The group were initially commercially successful in Europe, before entering the UK charts with Foxtrot (1972). They followed this with the hit albums Selling England by the Pound (1973) and The Lamb Lies Down on Broadway (1974) before Gabriel decided to leave the group.

After an unsuccessful search for a replacement, Collins took over as lead singer, while the group gained popularity in the UK and the US. Following A Trick of the Tail and Wind & Wuthering (both 1976), Hackett left the band, reducing it to a core of Banks, Rutherford and Collins. Genesis had their first UK top ten and US top 40 single in 1978 with "Follow You Follow Me" and the group continued to gain commercial success with Duke (1980), Abacab (1981), and Genesis (1983), reaching a peak with Invisible Touch (1986), which featured five top five singles in the US. After the follow up, We Can't Dance (1991) and related tour, Collins left Genesis in 1996 to focus on his solo career. Banks and Rutherford recruited Ray Wilson for Calling All Stations (1997), but a lack of success in the US led to a group hiatus. Banks, Rutherford and Collins reunited for the Turn It On Again Tour in 2007, and together with Gabriel and Hackett were interviewed for the BBC documentary Genesis: Together and Apart in 2014.

Their discography includes fifteen studio and six live albums, six of which topped the UK chart. They have won numerous awards and nominations, including a Grammy Award for Best Concept Music Video with "Land of Confusion", and inspired a number of tribute bands recreating Genesis shows from various stages of the band's career. In 2010, Genesis were inducted into the Rock and Roll Hall of Fame.


1967–69: Formation, early demos, and From Genesis to Revelation[edit]

The first Genesis line-up. From left to right: Phillips, Rutherford, Banks, Gabriel, and Stewart.

The founding members of Genesis, singer Peter Gabriel, keyboardist Tony Banks, guitarist Anthony Phillips, bassist and guitarist Mike Rutherford, and drummer Chris Stewart, met at Charterhouse School, a private school in Godalming, Surrey. Banks and Gabriel arrived at the school in September 1963, Rutherford in September 1964, and Phillips in April 1965.[5] The five were members in one of the school's two bands; Phillips and Rutherford were in The Anon with singer Richard MacPhail, bassist Rivers Jobe, and drummer Rob Tyrell, while Gabriel, Banks, and Stewart made up Garden Wall.[5] In January 1967, after both groups had split, Phillips and Rutherford continued to write together and proceeded to make a demo tape at a friend's home-made studio, inviting Banks, Gabriel, and Stewart to record with them in the process. The five recorded six songs: "Don't Want You Back", "Try a Little Sadness", "She's Beautiful", "That's Me", "Listen on Five", and "Patricia", an instrumental.[5][3] When they wished to have them professionally recorded they sought Charterhouse alumnus Jonathan King, who seemed a natural choice as their publisher and producer following the success of his 1965 top five pop single, "Everyone's Gone to the Moon".[6] A group friend gave the tape to King who was immediately enthusiastic.[7] Under King's direction, the group, aged between 15 and 17, signed a one-year recording contract with Decca Records.[8]

From August to December 1967,[9] the five recorded a selection of potential singles at Regent Sound Studios on Denmark Street, London where they attempted longer and more complex compositions, but King advised them to stick to more straightforward pop.[10] In response Banks and Gabriel wrote "The Silent Sun", a pastiche of the Bee Gees, one of King's favourite bands, which was recorded with orchestral arrangements added by Arthur Greenslade.[5] The group exchanged various names for the band, including King's suggestion of Gabriel's Angels and Champagne Meadow from Phillips, before taking King's suggestion of Genesis, indicating the start of his production career. King chose "The Silent Sun" as their first single, with "That's Me" on the B-side, released in February 1968.[11][12] It achieved some airplay on BBC Radio One and Radio Caroline but it failed to sell. A second single, "A Winter's Tale"/"One-Eyed Hound", followed in May 1968 which also sold little.[13] Three months later, Stewart left the group to continue with his studies.[12] He was replaced by fellow Charterhouse pupil John Silver.[14]

King felt the group would achieve greater success with an album.[14] The result, From Genesis to Revelation, was produced at Regent Sound in ten days during their school's summer break in August 1968.[15] King assembled the tracks as a concept album which he produced, while Greenslade added further orchestral arrangements to the songs, something the band were not informed of until the album was released. Phillips was particularly upset about Greenslade's additions.[16] When Decca found an American band already named Genesis, King refused to change his group's name. He reached a compromise by removing their name from the album cover, resulting in a minimalist design with the album title printed on a plain black background.[17] When the album was released in March 1969 it became a commercial failure.[12] Banks recalled the album "after a year or so, had sold 649 copies".[18] A third single, "Where the Sour Turns to Sweet"/"In Hiding", was released in June 1969.[13] The poor commercial performance led to the band's split with King and Decca.[19] King continues to hold the rights to the album which has seen numerous reissues. In 1974, it peaked the US chart at No. 170.[12][20]

When the album was recorded, the band went their separate ways for a year; Gabriel and Phillips stayed at Charterhouse to finish exams, Banks enrolled at Sussex University, and Rutherford studied at Farnborough College of Technology.[21] They regrouped in mid-1969 to discuss their future as their offers in further education would result in the group splitting up. Phillips and Rutherford decided to make music a full-time career as they were starting to write more complex music than their earlier songs with King.[22] After Banks and Gabriel decided to follow suit, the four returned to Regent Sound in August 1969 and recorded four more demos with Silver: "Family" (later known as "Dusk"), "White Mountain", "Going Out to Get You", and "Pacidy". The tape was rejected by each record label that heard it.[23] Silver then left the group to study leisure management in America. His replacement, drummer and carpenter John Mayhew, was found when Mayhew looked for work and left his phone number "with people all over London".[12][24][25]

1969–70: First gigs, signing with Charisma, and Trespass[edit]

In late 1969, Genesis retreated to a cottage that MacPhail's parents owned in Wotton, Surrey to write, rehearse, and develop their stage performance.[26] They adopted a strong working ethic, playing together for as much as eleven hours a day.[27] Their first live gig as Genesis followed in September 1969 at a teenager's birthday party for Mrs. Balmes for £25.[5][28] It was the start of a series of live shows in small venues across the UK which included a radio appearance on BBC's Night Ride show, on 22 February 1970[29] and a spot at the Atomic Sunrise Festival held at the Roundhouse in Chalk Farm a month later.[30] During this time, the band met with various record labels regarding contract offers. Initial discussions with Chris Blackwell of Island and Chris Wright of Chrysalis were unsuccessful. In March 1970, during the band's six-week Tuesday night residency at Ronnie Scott's Jazz Club in Soho, members of Rare Bird, who Genesis had supported earlier, recommended the band to producer and A&R man John Anthony of Charisma Records.[5] Anthony attended one of their shows and enjoyed them enough to convince his boss, label owner Tony Stratton-Smith, to watch their next appearance.[31] Stratton-Smith recalled, "Their potential was immediately apparent ... the material was good and their performance was good ... It was a long shot, because they needed time to find their strength ... but I was prepared to make that commitment".[5] Stratton-Smith agreed to a record and management deal within two weeks, paying Genesis an initial sum of £10 a week.[32]

Genesis stayed at Wotton until April 1970,[33] by which time they had enough new material for a second album.[34] Recording for Trespass began in June at Trident Studios, London with Anthony as producer and David Hentschel hired as assistant engineer.[35] The album included longer and more complex songs than their first with folk and progressive rock elements with various time signature changes, as in the nine-minute song "The Knife".[36] Trespass is the first in a series of three Genesis records designed by Paul Whitehead. He had completed the cover before the band decided to include "The Knife" on the album. Feeling the cover no longer reflected the album's overall mood, the band persuaded Whitehead to slash a knife across the canvas and have the result photographed.[37] Released in October 1970, Trespass reached No. 1 in Belgium in 1971[38] and No. 98 in the UK in 1984.[39] "The Knife" was released as a single in May 1971.[33] The album was largely ignored by the music press at the time of release. Rolling Stone briefly mentioned the album with a negative view following its 1974 reissue: "It's spotty, poorly defined, at times innately boring".[40]

"That was the closest we came to busting up. For some reason we felt so close that if one left, we thought we couldn't carry on. Of all the changes we've been through, surviving Ant leaving was the hardest."

—Mike Rutherford.[41]

After Trespass was recorded, ill health and developing stage fright caused Phillips to leave Genesis. His last show with the band took place in Haywards Heath on 18 July 1970.[29] He felt the increased number of gigs affected the group's creativity and that several songs he wrote were not recorded or performed live.[42] He had contracted bronchial pneumonia and became isolated from the rest of the band, feeling that it had too many songwriters in it.[43] Banks, Gabriel, and Rutherford saw Phillips as an important member, being the most instrumental in encouraging them to turn professional. They regarded his exit as the band's greatest threat and the most difficult to overcome. Gabriel and Rutherford decided they would continue; Banks agreed on the condition that they find a new drummer that was of equal stature to the rest of the group. Mayhew was therefore fired, though Phillips later thought Mayhew's working-class background clashed with the rest of the band which affected his confidence.[41]

1970–72: Collins and Hackett join and Nursery Cryme[edit]

The search for a new guitarist and drummer began with advertisements placed in copies of Melody Maker. The invitation was spotted by drummer Phil Collins, formerly of Flaming Youth who already knew Stratton-Smith. He recalled, "My only knowledge of Genesis was through seeing the ads for their gigs. It seemed like they were constantly working. ... I thought 'At least I'm going to be working if I get the gig'."[44] Roger Taylor, subsequently of Queen, turned down an invitation to audition.[45] Collins went to the audition at Gabriel's parents' house in Chobham, Surrey with his Flaming Youth band mate, guitarist Ronnie Caryl. As they arrived early, Collins took a swim in the pool and heard what the other drummers were playing. "They put on 'Trespass', and my initial impression of a very soft and round music, not edgy, with vocal harmonies and I came away thinking Crosby, Stills and Nash".[46] Gabriel and Rutherford noticed the confident way Collins approached and sat at his drum kit and knew he would be the right replacement. Banks said, "It was a combination of things. He could make it swing a little bit ... he could also tell good jokes and make us laugh ... And he could sing, which was an advantage because Mike and I were not very good at back-up vocals".[47] In August 1970, Collins became the new drummer for Genesis. Caryl's audition was unsuccessful; Rutherford thought he was not the player the group were looking for.[46]

After a short holiday, Genesis began to write and rehearse as a four piece band in Farnham, Surrey. The now empty guitar sections in their songs allowed Banks and Rutherford to expand their sound and play what Gabriel described as "interesting chords".[47] As they had not found a new guitarist, Genesis resumed as a live act with Rutherford adding bass pedals and Banks playing lead guitar lines on a Pianet through a distorted fuzz box amplifier in addition to his keyboard parts, something that he credits in helping him develop his technique.[48] In November 1970, after a second audition with Caryl fell through, Dave Stopps, owner of Friars club in Aylesbury, suggested they use Mick Barnard of The Farm, who joined the band for their gigs which included Genesis's television debut on BBC's Disco 2.[49] After two months of performances, the band found Barnard lacked in expertise and wished to try someone else.[50] In December, Gabriel spotted a Melody Maker advert from Steve Hackett, formerly of Quiet World, who wanted to join a band of "receptive musicians, determined to drive beyond existing stagnant music forms".[51] Gabriel advised Hackett to become familiar with Trespass and attend their upcoming gig at the Lyceum Theatre in London.[51] Hackett auditioned with the group in a flat in Earls Court and formed an instant rapport with Rutherford through a common interest in inversion chords.[52] After Hackett joined in January 1971,[53] Stratton-Smith organised a UK tour with Genesis opening for fellow Charisma acts Lindisfarne and Van der Graaf Generator.[54] Their first overseas dates took place in March with gigs in Belgium[55] followed by their first of three consecutive appearances at the annual Reading Festival on 26 June.[56]

Rehearsals for the band's third album, Nursery Cryme, took place at Luxford House near Crowborough, East Sussex that Stratton-Smith had owned.[57] Recording began at Trident Studios in August 1971 with Anthony and Hentschel reprising their respective roles as producer and assistant engineer. The band's sound evolved with Hackett's more aggressive electric guitar work and Banks adding a Mellotron to his set of keyboards that King Crimson previously owned.[58] The opening track, "The Musical Box", originated when Phillips and Mayhew were in the group. The band developed the piece further including the addition of new guitar parts from Hackett.[59] The album marks the first instance of Hackett using the tapping technique which is featured on "The Musical Box" and "The Return of the Giant Hogweed".[60] Hackett and Collins wrote "For Absent Friends" and marks the first Genesis track with Collins on lead vocals. Whitehead depicted scenes and characters from the lyrics to "The Musical Box" and a Victorian manor house based on Gabriel's parent's home on the album's cover.[61]

Nursery Cryme was released in November 1971 and went on to reach No. 39 in the UK in 1974.[33] Though the group still had a minor cult following at home, they started to achieve commercial and critical success in mainland Europe, with the album reaching No. 4 in the Italian charts.[62] From November 1971 to August 1972, Genesis toured to support the album which included further visits to Belgium, and Italy for the first time where they played to enthusiastic crowds.[33] They recorded radio sessions for BBC's Sounds of the Seventies program in January[63] and March[64] and performed at the Reading Festival that was praised by numerous critics who attended.[65] During the tour Genesis recorded "Happy the Man", a non-album single, with "Seven Stones" from Nursery Cryme on its B-side.[66] At its conclusion, Hackett considered leaving the band citing exhaustion from touring but the band persuaded him to stay.[67]

1972–74: Foxtrot and Selling England by the Pound[edit]

Gabriel in 1974 performing "Watcher of the Skies", dressed in a cape with bat wings and fluorescent makeup.

Following rehearsals in the basement of Una Billings School of Dance in Shepherd's Bush,[68] Genesis recorded Foxtrot at Island Studios between August and September 1972.[69] During the initial sessions, disagreements among Charisma and Anthony contributed to the end of his association with Genesis. After two replacement engineers were tried out, the band settled with John Burns and a new producer, Dave Hitchcock.[70] The album features what music critic and author Chris Welch described as "one of the group's most accomplished works",[71] the 23-minute track "Supper's Ready". It remains the band's longest track recorded. Songs such as the Arthur C. Clarke-inspired "Watcher of the Skies" solidified their reputation as songwriters and performers. Foxtrot was released in October 1972 and reached No. 12 in the UK. It fared even better in Italy where it went to No. 1. Foxtrot was well received from critics. Chris Welch of Melody Maker thought Foxtrot was "a milestone in the group's career", "an important point of development in British group music", and that Genesis had reached "a creative peak".[72] Stephen Thomas Erlewine thought Foxtrot marked the first time "Genesis attacked like a rock band, playing with a visceral power".[73] Stratton-Smith was particularly pleased with the band's efforts, saying "everything that one had believed about the band had come through".[69]

The Foxtrot tour covered Europe and North America from September 1972 to August 1973. The show at the National Stadium in Dublin on 28 September 1972 marked the debut of Gabriel wearing a costume on stage, something that surprised the other band members as they were kept uninformed. Originally suggested by Charisma booking agent Paul Conroy, Gabriel went off stage during an instrumental section in "The Musical Box" and reappeared in his wife's red dress and a fox's head.[74] The incident resulted in front cover reports in the music press, allowing the band to double their performance fee.[75] Gabriel's costumes expanded in the following months to include fluorescent face paint and a cape fitted with bat wings for "Watcher of the Skies", several guises throughout "Supper's Ready", and a mask of an old man for "The Musical Box". In December 1972, Stratton-Smith organised the band's first gigs in the US with a show at Brandeis University in Waltham, Massachusetts and Philharmonic Hall in New York City with openers String Driven Thing, in aid of the United Cerebral Palsy Fund.[76] They were well received despite the band complaining of technical issues.[77] An album of recordings from the following UK leg, initially recorded for the American radio program King Biscuit Flower Hour, was released as Genesis Live in July 1973.[78] It reached No. 9 in the UK[33] and No. 105 in the US.[33]

Selling England by the Pound was recorded at Island Studios in August 1973, the second Genesis album that Burns co-produced. Much of it was written at Una Billings School of Dance and Chessington.[79] Gabriel contributed lyrics based on the idea of commercialism and the decline of English culture and the rise in American influences.[80] Its title refers to a UK Labour Party slogan to make it clear to music critics who may thought Genesis were beginning to "sell out" to America.[81] The lyrics "Firth of Fifth" features an extended electric guitar solo from Hackett. The album's cover is a modified version of a painting named The Dream by Betty Swanwick who added a lawn mower to tie the image to the lyrics of "I Know What I Like (In Your Wardrobe)".[82]

Selling England by the Pound was released in October 1973 to a positive critical reception, though slightly more muted than Foxtrot.[83] The album reached No. 3 in the UK and No. 70 in the US.[33] By this time, Genesis had made little effort to organise their finances and were £150,000 in debt.[84] They hired promoter Tony Smith as their new manager to improve their fortunes and published the band's subsequent music though his company, Hit & Run Music Publishing. The Selling England by the Pound tour visited Europe and North America between September 1973 and May 1974. Their six shows in three days at The Roxy in Los Angeles were well received by audiences and critics. The success of the tour earned the group the "Top Stage Band" title by readers of NME.[33] At its conclusion, MacPhail resigned as their tour manager as he wished to pursue other interests.[85] "I Know What I Like (In Your Wardrobe)" was released as a UK single with "Twilight Alehouse", a non-album track recorded in 1972, that reached No. 21 following its release in February 1974. Its success led to an offer for Genesis to appear on BBC's national show Top of the Pops; they declined as the group thought it would not suit their image.[86]

1974–75: The Lamb Lies Down on Broadway and Gabriel's departure[edit]

In June 1974, Genesis started work on their double concept album, The Lamb Lies Down on Broadway.[87] It marked the start of Gabriel's increasingly strained relationship on the rest of the group which contributed to his departure. The album was written at Headley Grange in East Hampshire where upon their arrival, the building was in a state left by the previous band with excrement on the floor and rat infestations.[88] Gabriel objected to Rutherford's idea of an album based on The Little Prince by Antoine de Saint-Exupéry, thinking the idea was "too twee".[89] He persuaded the band with a less fantastical and more complicated story involving Rael, a Puerto Rican youth living in New York City who embarks on a spiritual quest to establish his freedom and identity while meeting several bizarre characters on the way.[90] Gabriel wrote the story with influences from West Side Story, "a kind of punk" twist to Pilgrim's Progress, author Carl Jung, and the film El Topo by Alejandro Jodorowsky.[91] Most of the album's lyrics were written by Gabriel, leaving much of its music to the rest of the group. His absence from a considerable amount of writing sessions due to difficulties with his wife's first birth was something Rutherford and Banks "were horribly unsupportive" of.[92] Gabriel also left the group when director William Friedkin asked him to write a screenplay, but returned after the project was shelved.[93] In August 1974, production moved to Glosspant, a remote area of Wales with Burns, as co-producer, operating Island Studios' mobile equipment. Further work and mixing took place at Island where Brian Eno contributed synthesizers and effects that the album's sleeve credits as "Enossification". When Gabriel asked Eno how the band could repay him, Eno said he needed a drummer for his track "Mother Whale Eyeless". Collins said, "I got sent upstairs as payment".[94] Gabriel was pleased with Eno's work but Banks was less enthusiastic.[95]

Rutherford, Gabriel, and Collins in 1974 during The Lamb... tour. Gabriel is wearing the "Slipperman" costume.

The Lamb Lies Down on Broadway was released in November 1974 and reached No. 10 in the UK and No. 41 in the US.[20] "Counting Out Time" and "The Carpet Crawlers" were released as singles in 1974 and 1975, respectively. Its sleeve is the first of four Genesis albums designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. From November 1974 to May 1975, Genesis completed 102 dates across North America and Europe as part of The Lamb Lies Down on Broadway tour.[33] Their set included The Lamb... performed in its entirety with an encore, a decision that was not supported by the entire band considering most of the audience were not yet familiar with the large amount of new material.[96] The stage show involved new, more elaborate costumes worn by Gabriel, three backdrop screens that displayed 1,450 slides from eight projectors,[97] and a laser lighting display.[98] Music critics often focused their reviews on Gabriel's theatrics and took the band's musical performance as secondary which irritated the rest of the band.[99]

During their stay in Cleveland on The Lamb... tour, Gabriel told the band he was to leave at its conclusion.[100] He wrote a statement regarding his departure to the English press that was published in August 1975 titled "Out, Angels Out", explaining he had become disillusioned with the music industry and wanted to spend extended time with his family.[101] Banks later stated, "Pete was also getting too big for the group. He was being portrayed as if he was 'the man' and it really wasn't like that. It was a very difficult thing to accommodate. So it was actually a bit of a relief."[100]

1975–77: Collins on lead vocals, A Trick of the Tail, and Wind & Wuthering[edit]

Following The Lamb... tour, Hackett recorded his first solo album Voyage of the Acolyte as he felt unsure that Genesis would survive following Gabriel's departure.[102] He reconvened with the remaining group members in London in July 1975.[103] Collins' idea of continuing as an instrumental four piece was quickly rejected by the group as they thought it would become boring.[104] Rehearsals for A Trick of the Tail took place in Acton where material was quickly written and with little effort;[105] most of "Dance on a Volcano" and "Squonk" was put together in the first three days.[106] Recording began in October 1975 at Trident Studios with Hentschel as producer. As a replacement singer had not been found, the band decided to record the album without vocals and audition singers as they went. They placed an anonymous advertisement in Melody Maker for "a singer for a Genesis-type group" which received around 400 replies. Collins proceeded to teach selected applicants the songs; Mick Strickland was invited into the studio to sing, but the backing tracks were in a key outside of his natural range and the band decided not to work with him.[104] Having failed to find a suitable vocalist, Collins went in the studio and attempted to sing "Squonk". His performance was well received by the band, and they decided that he should be their new lead vocalist. Collins then sang on the remaining tracks.[107]

"My real worry was actually what to say to the audience, because Peter had always had this offbeat charisma that gave the band a strange aura. I was much more friendly and approachable ... I spent more time ... worrying about what to say between songs than I did about what I going to do once the songs started."

—Phil Collins.[108]

A Trick of the Tail was released in February 1976 and was a commercial and critical success for the band. The album reached No. 3 in the UK and No. 31 in the US.[20] It spawned two singles, "A Trick of the Tail" and "Entangled". In June, the album was certified Gold by the British Phonographic Institute for selling over 100,000 copies[109] which helped the band clear the £400,000 of debt they owed when Gabriel left.[110] For the first time in their career Genesis filmed promotional videos for their songs, including "A Trick of the Tail", "Ripples", and "Robbery, Assault and Battery".[111] Before the upcoming tour, Collins sought a drummer he felt comfortable about playing drums while he sang; he chose Bill Bruford who offered to do the job.[112] From March to July 1976, Genesis performed across North America and Europe with the A Trick of the Tail tour, to enthusiastic crowds. Collins adopted a more humorous rapport with the audience, unlike Gabriel's theatrical approach, which was successful. The shows in Glasgow and Stafford were filmed for their concert film Genesis: In Concert, released in cinemas in February 1977 as a double bill with White Rock.[113]

In September 1976, Genesis relocated to Relight Studios in Hilvarenbeek, The Netherlands with Hentschel to record Wind & Wuthering. It was put together in a short amount of time and a considerable amount of material was written beforehand, of which the most suitable songs were picked for development. Rutherford spoke of the band's conscious effort to distance themselves from songs inspired by fantasy, something that their past albums "were full of".[114] The band spent roughly six weeks writing the album[115] with a basic form of each track put down in twelve days.[116] Additional recording and production work was done at Trident Studios that October.[117][116] Hackett, having already released a solo album, enjoyed the greater amount of control over the recording process that working within a group could not provide. He felt his songs, including "Please Don't Touch" which he later released on his second album Please Don't Touch!, were rejected from the final track order in favour of material that Banks, in particular, had put forward. Collins spoke of the situation, "We just wanted to use what we agreed was the strongest material, irrespective of who wrote it".[117] Wind & Wuthering was released in December 1976 and reached No. 6 the UK and No. 26 in the US.[118] Rutherford's track, "Your Own Special Way", became the its sole single and went to No. 43 in the UK. It's B-side is "It's Yourself", originally intended for A Trick of the Tail.[119]

Hackett in January 1977 on the Wind & Wuthering tour, the last before his departure

Prior to the 1977 tour Bruford declined an offer to return as second drummer, leaving Collins searching for a replacement. He heard American drummer Chester Thompson, of Frank Zappa's band and Weather Report, play a drum passage on "More Trouble Every Day" from Zappa's live album Roxy & Elsewhere. Collins said, "It floored me completely ... I had never met him. I rang him up and said, 'Hi Chester, I've heard your stuff, would you like to play with Genesis?' ... He didn't even audition!"[120] Genesis toured Wind & Wuthering from January to July 1977 across Europe, North America, and for the first time, Brazil. The stage show cost £400,000 which featured a new PA system, lasers and smoke, and lighting supplied from two rows of Boeing 747 aircraft landing lights.[121][122] Touring began on 1 January with three sold out shows at the Rainbow Theatre in London where 80,000 applications were made for the 8,000 available tickets.[123] They returned to London in June for three nights at Earls Court, then the largest arena in Britain, supported by Richie Havens.[122] The band's growing popularity in North America led to an appearance on The Mike Douglas Show and concerts organised in larger venues than previous tours, including Madison Square Garden in New York City.[114] Their Brazilian dates were attended by over 150,000 people and a proposed 100,000-person gig was cancelled over rioting fears. An armed bodyguard accompanied each member throughout their stay.[124]

In May 1977 Genesis released Spot the Pigeon, an extended play of three tracks left off Wind & Wuthering. It peaked at No. 14 on the UK singles chart. It was the final Genesis release before Hackett left the group. He had been writing more material on his own and found it increasingly difficult to contribute more of his ideas within a group context. He wished to embark on a solo career and "take the risk in order to find out just how good I was on my own".[125] News of Hackett's departure coincided with the band's double live album Seconds Out, recorded in Paris on the A Trick of the Tail and Wind & Wuthering tours and released in October 1977.[118] It reached No. 4 in the UK and No. 47 in the US.[118]

1977–79: ...And Then There Were Three... and band inactivity[edit]

By the time Seconds Out was released, Banks, Rutherford, and Collins had already recorded ...And Then There Were Three..., the first Genesis album recorded as a trio, in September 1977 at Relight Studios with Hentschel as producer.[126] It was then mixed at Trident Studios in London. The album is a collection of shorter songs in order to put across more musical ideas.[127] Most of its eleven songs were written individually with Banks contributing four, Rutherford three, Collins and Banks one, and the remaining three written collectively.[126] Their new material signalled a change in the band's sound with songs becoming more pop-oriented and commercially accessible, including the group-written track "Follow You Follow Me". Collins recalled it was the only song on the album written from scratch during rehearsals.[128] Rutherford felt comfortable taking on lead guitar duties in addition to his usual rhythm and bass roles.[126] Collins later saw the album as "a very vocal, solid album" that lacked more rhythmic tracks like "Los Endos" or songs from Wind & Wuthering, as coming up with ideas on the drums while living in his flat in Ealing with his family was difficult.[129]

...And Then There Were Three... was released in March 1978. It received some mixed reviews from critics at the time, including Michael Bloom of Rolling Stone who thought the album was "the palest shadow of the group's earlier accomplishments".[130] Chris Welch wrote a positive review in Melody Maker, citing a "remarkably powerful" album.[131] It was a commercial success and peaked at No. 3 in the UK[39] and No. 14 in the US.[20] "Follow You Follow Me" was released as its lead single and reached No. 7 in the UK and No. 23 in the US, their highest charting single in both countries since their formation.[20] Its success introduced the band to a new audience, including a larger female interest, helped by its music video airing on Top of the Pops.[132] Its success caused some fans to accuse the group of selling out to more commercial music.[128] A follow up single, "Many Too Many", didn't sell as well as it had already appeared on the album.[133]

In the search for a new touring guitarist, Rutherford tried out Alphonso Johnson of Weather Report but he was a primarily a bassist and could not play Hackett's lead guitar parts comfortably.[134] Johnson then suggested American guitarist Daryl Stuermer of Jean-Luc Ponty's jazz fusion group who was more comfortable with various guitar styles. During Stuermer's rehearsal in New York City, Rutherford was satisfied with his performance after they played through "Down and Out" and "Squonk".[134] When Stuermer was chosen, he familiarised himself with a list of 26 songs he was asked to learn by going through five per day.[135] The ...And Then There Were Three... tour ran from March to December 1978 and visited North America, Europe, and for the first time, Japan. It cost an estimated £2 million to stage which included the sound system, light and laser displays, and additional effects from six computer controlled mirrors,[136][134] all of which took eight hours to set up and five to dismantle.[137] The show at Madison Square Garden featured an appearance from Gabriel, who sang "I Know What I Like (In Your Wardrobe)".[138] In June, Genesis headlined the year's Knebworth Festival, their only UK show that year.[139][140]

In December 1978, Genesis began a period of inactivity as Collins's marriage was at risk of collapse after touring had made him frequently absent from his wife and children. Following a meeting with Banks, Rutherford and Smith, Collins went to Vancouver, Canada to try and rebuild the family. He explained: "I was never going to leave the band. It was just that if I was going to be living in Vancouver then we'd have had to organise ourselves differently."[136] Banks and Rutherford decided to put Genesis on an extended break and make their respective debut solo albums, A Curious Feeling and Smallcreep's Day, at Polar Studios in Stockholm, Sweden.[136] In April 1979, Collins returned to the UK after his attempt to save his marriage failed. With time to spare before working on a new Genesis album, Collins performed with Brand X and started writing his first solo album, Face Value, at his home in Shalford, Surrey.[136]

1979–82: Duke and Abacab[edit]

"Basically, we reached the point ... where we either became a caricature of ourselves and settled into a rut, or we changed. There was no doubt in our minds that change was the answer."

—Mike Rutherford on the band's change in direction.[141]

In 1979, Banks and Rutherford moved into Collins's home in Shalford to write and rehearse material for Duke. The three found the writing process easier and less complicated than ...And Then There Were Three.... Rutherford reasoned this as they were "getting back to the basic stage of ideas being worked on jointly".[136] Banks put it down to their break in activity, resulting in "good ideas ... which hasn't happened for some time".[136] Duke continued the band's transition into writing shorter songs with each member contributing two songs for the group to develop. Banks put forward "Heathaze" and "Cul-de-Sac", Rutherford used "Man of Our Times" and "Alone Tonight", and Collins had "Misunderstanding" and "Please Don't Ask". All three wrote the remaining five tracks including "Duchess", the first Genesis song that uses a drum machine, specifically a Roland CR-78 imported from Japan.[142] In its original form, the album was to contain a 30-minute track based on a fictional character named Albert, but the idea was cancelled to avoid comparisons to "Supper's Ready" from Foxtrot. In November 1979, the band recorded Duke at Polar Studios with Hentschel reprising his role as producer. Its cover, done by French illustrator Lionel Koechlin, features the character Albert and other artwork from his book, L'Alphabet d'Albert, published in 1979.[143]

Released in March 1980, Duke was the band's biggest commercial success at the time of release, spending two weeks at No. 1 in the UK and peaking at No. 11 in the US.[118] The album spawned three singles; "Turn It On Again" went to No. 8 in the UK,[118] "Misunderstanding" reached No. 14 in the US,[20] and "Duchess" peaked at No. 42 in the UK.[39] Duke was supported with a UK and North American tour from April to June 1980 which began with a 40-date tour of the UK where all 106,000 tickets were sold within hours of going on sale.[144]

The band's remodelled studio in Chiddingfold, Surrey known as The Farm. Abacab was the first album recorded there.

In November 1980 Genesis bought Fisher Lane Farm, a farmhouse with an adjoining cowshed near Chiddingfold, Surrey, as their new rehearsal and recording facility. The building was remodelled into a studio in four months before recording for Abacab began in March 1981.[145] The new environment had a productive effect on the writing process as the band wrote enough for a double album, but they discarded one hour's worth of songs that sounded too similar to their past albums. Banks said a conscious effort was made to keep melodies as simple as possible which signalled further changes in their direction.[146] The shift was underlined in its production when Hentschel, their producer and engineer since 1975, was replaced by Hugh Padgham after Collins liked his production on Face Value and Gabriel's third solo album.[147] Production duties were solely credited the band for the first time with Padgham as their engineer.[148] The album is formed of group written material with an individual song from each member. "No Reply at All" features the Phenix Horns, the horn section of American band Earth, Wind & Fire.[149]

Abacab was released in September 1981 with four different covers, each with a different colour scheme, based on an abstract design by Bill Smith. The album was a greater commercial success than Duke, spending two weeks at No. 1 in the UK and reaching No. 7 in the US where it went on to sell two million copies. Three singles from the album entered the top forty in both countries; "Abacab" reached No. 9 in the UK and No. 26 in the US, "No Reply at All" reached No. 29 in the US,[20] and "Keep It Dark", a European only single, went to No. 33 in the UK.[39] Abacab was supported with a tour of Europe and North America from September to December 1981. The tour marked the band's first use of the Vari-Lite, a computer controlled intelligent lighting system. Following a demonstration at The Farm, the band and Smith showed an immediate interest in the technology and became shareholders of the company.[150] In May 1982, three tracks recorded during the Abacab sessions – "Paperlate", "You Might Recall", and "Me and Virgil" – were released as an extended play in Europe titled 3×3 which peaked at No. 10 in the UK.[39] Its cover is a homage to the Twist and Shout EP by The Beatles with sleeve notes written by their former publicist Tony Barrow.[151]

1982–85: Three Sides Live and Genesis[edit]

In June 1982, Genesis released the double live album Three Sides Live in two different versions. The North American edition contains three sides of live recordings with the fourth comprising the 3×3 tracks and two from the Duke sessions. The European release contains a fourth side of extra live tracks.[152] The album reached No. 2 in the UK and No. 10 in the US[39] and coincided with the home video release of the Three Sides Live concert film recorded in 1981. A tour of North America and Europe followed that ran from August to September 1982, featuring guest appearances from Bill Bruford and the Phenix Horns.[152] On 2 October, Genesis headlined a one-off concert with Gabriel at the Milton Keynes Bowl under the name Six of the Best, supported by Talk Talk, The Blues Band, and John Martyn. The concert was organised to raise money for Gabriel's World of Music, Arts and Dance project which was, by that point, in considerable debt.[153] Hackett, who flew in from abroad, arrived in time to perform the last two songs.[154]

Work on the twelfth Genesis album, Genesis, began in March 1983 with Padgham returning as engineer.[155] It is the first album written, recorded, and mixed at the remodelled studio at The Farm. Banks remembered the band were scarce for new musical ideas which "felt at times as though we were stretching the material as far as we could".[156] "Mama" concerns a man's obsession with a prostitute at a Cuban brothel.[157] It originated from a beat Rutherford came up with on a LinnDrum machine that was fed through his guitar amplifier and an echo gate.[156] Collins's laugh on the track originated from "The Message" by Grandmaster Flash and the Furious Five. "That's All" was the band's attempt to create a pop song with a melody in the style of The Beatles with Collins attempting a "Ringo Starr drum part". Released in October 1983, Genesis went to No. 1 in the UK and peaked at No. 9 in the US,[20][39] where it reached Platinum by December that year and went on to sell over four million copies.[158] Five tracks were released as singles; "Mama" reached No. 4 in the UK, their highest charting UK single to date, and "That's All" reached No. 6 in the U.S. The Mama Tour ran from November 1983 to February 1984, covering North America and five UK shows in Birmingham. The latter shows were filmed and released as Genesis Live – The Mama Tour. In 1985, Genesis was nominated for a Best Rock Performance by a Duo or Group with Vocal and "Second Home by the Sea" was nominated for Best Rock Instrumental Performance.[159]

In March 1984, Genesis took a break in activity to allow each member to continue with their solo careers. Rutherford formed his group Mike + The Mechanics, Banks worked on his solo album Soundtracks, and Collins released No Jacket Required which achieved worldwide success and increased his popularity as a result. In a June 1985 interview, Collins spoke of the band's intention to start work on a Genesis album that year,[160] ending rumours to a false announcement that aired on BBC Radio 1 suggesting Genesis had split.[161]

1985–96: Invisible Touch, We Can't Dance, and Collins's departure[edit]

The single "Land of Confusion" featured Spitting Image puppets of the band in the style of The Beatles' 1963 album With the Beatles.

Genesis reconvened at The Farm in October 1985 to start work on Invisible Touch which lasted for six months.[162] They continued their method of song writing used on Genesis by developing material from group improvisations. Banks remembered the time as a strong period creatively for the band, with ideas "flowing out of us".[163] "Invisible Touch" was developed in such a way, when the group were working on "The Last Domino", the second part of "Domino". During the session, Rutherford began to play an improvised guitar riff to which Collins replied with an off-the-cuff lyric – "She seems to have an invisible touch" – which became the song's chorus hook.[164]

Following its release in June 1986, the album spent three weeks at No. 1 in the UK and reached No. 3 in the US.[20][39] Despite the mixed reviews, Invisible Touch was a big commercial success and remains the biggest selling Genesis album with over six million copies sold in the US.[158] The album's five singles – "Invisible Touch", "Throwing It All Away", "Land of Confusion", "In Too Deep", and "Tonight, Tonight, Tonight" – entered the top five on the US singles chart between 1986 and 1987[20] with "Invisible Touch" topping the chart for one week.[165] Genesis became the first group and foreign act to achieve this feat, equalling the five singles record set by Michael Jackson, Janet Jackson, and Madonna.[166] The five singles performed less well in the UK, ranging from Nos. 14 to 22.[39] In 1987, Genesis were nominated for an American Music Award for Favorite Pop/Rock Band, Duo, or Group. Padgham was nominated for a Brit Award for Best British Producer,[167] and "The Brazilian" received a Grammy Award nomination for Best Pop Instrumental Performance.[168] The music video for "Land of Confusion" was nominated for an MTV Video of the Year Award. Genesis commissioned the creators of the satirical British television show Spitting Image, Peter Fluck and Roger Law, to make puppets of them in the style of the show.[169]

"Nearly 300,000 people at Wembley ... I thought at the time, and I still think now, that moment was the peak of our career."

—Tony Banks.[170]

The Invisible Touch Tour was the band's largest world tour in its history which included 112 dates from September 1986 to July 1987. Genesis received some criticism in their decision to have Michelob beer as a sponsor. The tour concluded with four consecutive sold out shows at Wembley Stadium in London.[171] The shows were released in 1988 as The Invisible Touch Tour.[164] When the tour ended, Genesis took a five-year break while each member committed to their solo projects. They performed twice during this time; on 14 May 1988, they performed a 20-minute set at the Atlantic Records 40th Anniversary concert at Madison Square Garden.[171] This was followed by a set at a charity gig at the 1990 Knebworth Festival in June, headlined by Pink Floyd.[172]

In 1991 Genesis recorded their thirteenth album, We Can't Dance, from March to September with their new engineer and co-producer, Nick Davis. The band took advantage of the increased capacity the CD offered and released over 71 minutes of new music across 12 tracks. Collins wrote the lyrics to "Since I Lost You" for his friend Eric Clapton following the death of Clapton's four-year-old son Conor. Following the release of We Can't Dance in November 1991, the album went to No. 1 in the UK for one week and No. 4 in the US,[20][39] where it went on to sell over 4 million copies.[158] The album spawned six singles released from 1991 to 1993; "No Son of Mine" went to No. 6 in the UK and "I Can't Dance" reached No. 7 in the UK and the US.[20][39] In 1993, We Can't Dance was nominated for a Brit Award for Best British Album.[173]

Genesis performing at the Knebworth Festival in August 1992.

The We Can't Dance tour visited North America and Europe from May to November 1992 with each concert attended by an average of 56,000 people.[174] It featured their most expensive stage set yet with three moveable 21 by 42 feet (6.4 by 12.8 m) tall Sony Jumbotron video screens,[175] the first of its kind produced,[176] and two 80 feet (24 m) sound "towers" on each side of the stage.[177] On 2 August Genesis headlined their second Knebworth Festival concert in their history. In November, they performed six nights at Earls Court; one show was released on home video as The Way We Walk Live in Concert. The tour spawned two live albums; The Way We Walk, Volume One: The Shorts reached No. 3 in the UK and The Way We Walk, Volume Two: The Longs went to No. 1 in the UK.[39] Following the tour, the band took a break in activity. Banks, Rutherford, and Collins performed at Cowdray Castle, Midhurst in September 1993 for a money raising event with Pink Floyd touring guitarist Tim Renwick and drummer Gary Wallis and Queen drummer Roger Taylor. Rutherford also played bass on Pink Floyd's set at the same concert.[178]

In March 1996, Collins announced his departure from Genesis. He "felt it time to change direction in my musical life. For me now, it will be music for movies, some jazz projects, and of course my solo career."[179]

1996–2006: Wilson on lead vocals, Calling All Stations, and hiatus[edit]

Ray Wilson

Shortly after Banks and Rutherford decided to continue Genesis in 1996, they went to The Farm to start writing Calling All Stations. Rutherford initially found the sessions difficult as he saw Collins as "the guy in the middle" who made Banks and himself work better.[180] Their best ideas developed in this period were put forward while they auditioned new singers, including Francis Dunnery and Nick Van Eede. The two main contenders, David Longdon and Scottish singer Ray Wilson of Stiltskin, auditioned throughout 1996 which involved singing along to Genesis tracks with the lead vocals removed. Wilson was announced as the new Genesis singer in June 1997.[181] Though much of the album was already written by the time he joined, Banks was pleased with his contributions to album which included writing the lyrics to "Small Talk" and riffs on "Not About Us" and "There Must Be Some Other Way".[182][183] Banks and Rutherford opted for two drummers on Calling All Stations – Israeli session musician Nir Zidkyahu and Nick D'Virgilio of Spock's Beard.[4]

Calling All Stations was released in August 1997. It was a success in Europe, where it reached No. 2 in the UK, but the album peaked at No. 54 in the US, their lowest charting album there since 1974.[39] Three tracks were released as singles; "Congo" was the highest charting with a peak of No. 29.[39] Genesis completed a European tour from January to May 1998, adding Zidkyahu on drums and Irish guitarist Anthony Drennan. A North American tour was planned but was cancelled following its poor commercial response and lack of ticket sales, which led to Banks and Rutherford announcing in 2000 that the group would no longer be recording and touring.[4] In an April 2007 interview, Wilson described his exit from the band "like death by silence."[184]

In 1998, Banks, Collins, Gabriel, Hackett, Phillips, Rutherford, and Silver gathered for a photo session and dinner to celebrate the release of the four-disc box set, Genesis Archive 1967–75. The set features "Supper's Ready" and "It" with new overdubs by Gabriel and Hackett.[185] In 1999, Banks, Collins, Rutherford, Hackett, and Gabriel released a new version of "The Carpet Crawlers" for the compilation album Turn It On Again: The Hits.[186] On 21 September 2000, Collins, Banks, Rutherford reunited at the Music Managers Forum, in honour of their manager Tony Smith. Gabriel attended the ceremony but chose not to perform.[184] In 2004, Genesis released Platinum Collection, a three-disc box set of songs from 1970–97 that reached No. 21 in the UK.[39]

2006–present: 2007 tour, reunion speculations, and BBC documentary[edit]

Genesis performing in 2007

In a press conference held in London in November 2006, Banks, Rutherford, and Collins announced their reunion for the Turn It On Again Tour, their first with Collins in fifteen years.[187] They revealed the initial plan of touring The Lamb Lies Down on Broadway with Gabriel and Hackett. The five met in Glasgow in November 2004 to discuss the idea further, but it developed further as Gabriel was unable to commit due to other projects.[188] Instead, Banks, Rutherford and Collins decided to proceed with Thompson and Stuermer returning on drums and guitar, respectively. In March 2007, a press conference was held in New York City to announce the North American leg.[189]

The Turn It On Again Tour included 48 shows across Europe and North America between June and October 2007. The stage, designed by architect Mark Fisher with a lighting display by Patrick Woodroffe, included a 55-metre long LED backdrop formed of 9 million LED lights, the largest screen used for a rock concert at the time.[190] The European leg saw close to 400,000 tickets sold in 40 minutes for shows in Germany and the Netherlands.[191] On 7 July, Genesis opened the Live Earth concert in London at Wembley Stadium. The show in Düsseldorf was broadcast live into cinemas across Europe. The leg ended with a free concert on 14 July at the Circus Maximus in Rome that was attended in excess of 400,000 people.[192] It was filmed for DVD that was released in 2008 as When in Rome 2007. A live album formed of recordings from various European dates was released in November 2007 as Live over Europe 2007.[193]

In 2007, the band's studio albums from 1970–97 were digitally remastered by Nick Davis across three box sets: Genesis 1976–1982, Genesis 1983–1998, and Genesis 1970–1975. Each album is presented as a two-disc set containing a CD/Super Audio CD of a new stereo mix and a DVD with a 5.1 surround sound mix and bonus features including previously unreleased live performances, interviews, and concert programs.[194] Two DVD box sets followed, Genesis Live 1973–2007[195] and Genesis Movie Box 1981–2007, in 2009.[196]

Since 2011, Genesis have expressed mixed opinions about a reunion. Collins retired from the music industry as an active musician that year in favour of family commitments[197] and has stated he can no longer play the drums due to medical issues.[198] Banks cited Collins's decision to "move on somewhat" and pointed out the 2007 tour was "a sort of goodbye".[199] Hackett has said "I would say it's possible, but highly improbable. I've always been open to it. I'm not the guy who says no."[188] Gabriel addressed the possibility of a reunion: "I never say never. It really didn't happen last time. I think there's a small chance, but I don't think it's very high."[200] In 2014, Collins reiterated, "Have people thought it through? It’s not as if you’re going to get Peter as the singer, me as the drummer. I can’t play any more, so it’s never going to happen," adding it would not be appropriate for Gabriel to sing their 1980s hits.[201] Collins subsequently announced an end to his retirement, and speculated a reunion with Banks and Rutherford would be possible,[202] which Banks endorsed.[203]

In 2014 Gabriel, Banks, Rutherford, Collins and Hackett reunited for Genesis: Together and Apart, a BBC documentary about the band's history and the various solo albums the members have released. Although he participated in the documentary and promoted it, Hackett was critical following its broadcast, claiming that it was biased, he hadn't been given editorial involvement and it completely ignored his solo work despite him speaking at length about it.[204] The documentary does not feature Wilson's time in Genesis. Hackett used the documentary as an example of how a Genesis reunion would be: "Look at the documentary and you'll get an idea of the priorities that come across."[205]

Musical style[edit]

Genesis have always been first and foremost songwriters. Any instruments featured on any of the songs were used because they helped serve the song. Rutherford later said "We're much more concerned with feel."[206] Though styles changed dramatically over the group's career, they were always built on musical contrasts and the willingness to experiment.[207]

Members of the original line-up were exposed to classical and church music as well as rock artists of the 1960s.[208] In their early years, Genesis' music combined elements of the pop, folk, and psychedelic genres.[2] Several songs developed during Phillips' time in the band originated on 12-string guitars, often with unconventional tunings. By the 1970s, the group began to include fantasy and surreal elements in their lyrics, such as the "The Musical Box".[209] Nursery Cryme marks the first time electric instruments were used more extensively. A Trick of the Tail marked a return to the band's roots with acoustic passages and songs inspired by fantasy.[210]

Early lyrics drew from psychedelia, fantasy, mythological figures, and fairytale themes. Gabriel emerged as one of the band's main lyricists who often incorporated puns and double entendres in his lines and track titles and addressed various themes including social commentary.[211] Selling England by the Pound contains references to English culture of the time including "Aisle of Plenty", where four British supermarket chains are referenced to reflect the album's theme of commercialism. Literary sources are used as inspiration for many Genesis tracks; "The Cinema Show" is based on T. S. Eliot's poem The Waste Land,[212] and Arthur C. Clarke's novel Childhood's End inspired the lyrics to "Watcher of the Skies".[213]

Mike Rutherford playing his distinctive double neck guitar, combining 12-string and bass.

By the time the group had slimmed down to the trio of Banks, Rutherford and Collins, they had decided to change lyrical styles, dealing more with everyday matters which connected with female fans.[132] Collins' songs, in particular, were personal in nature.[214] However, the group still featured humour in songs such as "Illegal Alien",[215] and dealt with serious themes such as politics on "Land of Confusion"[216] and commercialisation on "I Can't Dance".[217]

Banks has said that a common way of developing songs throughout the band's career was for Collins to play the rhythm, Rutherford to set up a groove and riffs, and for him to add the harmonies and melodies on top. He cites the "Apocalypse in 9/8" section of "Supper's Ready", "The Cinema Show" and "Domino" as examples of this, and says the restrictions it gave him allowed the group to produce straightforward pop songs such as "Invisible Touch" and "Land of Confusion" in later years.[218]

Banks used a number of keyboards during Genesis' career, continually trying out new models, though he used the piano regularly throughout the group's lifetime. In the 1970s, he frequently used the Hammond organ, Hohner Pianet, Mellotron, RMI Electronic Piano and ARP Pro Soloist.[219] In the 1980s, he used the Sequential Circuits Prophet 5 and Prophet 10, the ARP Quadra and various Korg synthesizers.[220] For the Turn It On Again tour in 2007, his main board was a Korg Oasys.[221] As both a guitarist and bassist, Rutherford regularly swapped between the two roles, and his trademark instrument with Genesis, particularly through the 1970s, was a double neck guitar. In the 1980s and beyond, he favoured the Eric Clapton Stratocaster.[222]



"Genesis has had a hard time getting respect. In the early '70s ... it attracted an avid cult following but was largely ignored by the rock press and public at large ... Even in the early '80s, when Genesis did finally shed its art-rock inclinations and move toward pop, becoming international stars in the process, the press was unimpressed, dismissing the group as easy-listening lightweights ... All of which, to be honest, has been grossly unfair to the group."

—Music critic J. D. Considine.[223]

Genesis are among the list of best-selling music artists of all time with an estimated 100–130 million albums sold worldwide.[224][225] Some sources claim they have sold 150 million.[226][227][228] Their total certified album sales include 21.5 million in the US,[229] 7.2 million in the UK,[230] 5.6 million in Germany,[231] and 3.4 million in France.[232][233] Genesis have been awarded with eleven Gold and four Multi-Platinum albums in the UK,[109] while in the US they have seven Gold, two Platinum, and four Multi-Platinum albums.[158]


Genesis have been cited as a principal influence on the neo-progressive rock subgenre that emerged in the 1980s,[234] featuring bands including Marillion,[235] and Pallas.[236] Other bands whose members have been influenced by Genesis include Queen,[237][238] Rush,[237] Van Halen,[237] Iron Maiden,[239] Simple Minds,[240] Echo & the Bunnymen,[241] Dream Theater,[242] Mostly Autumn,[243] and Sound of Contact.[244] Guy Garvey of alternative rock band Elbow was influenced by 1970s Genesis and Gabriel's solo career.[245] Taylor Hawkins, drummer of Foo Fighters, has described Seconds Out as "amazing" and declared Collins "an incredible drummer. Anyone who wants to be good on the drums should check him out – the man is a master."[246] Similarly, Rush drummer Neil Peart has praised the drumming of Phil Collins in early Genesis.[247] Trey Anastasio of Phish spoke of the band: "It's impossible to overstate what impact this band and musical philosophy had on me as a young musician. I'm forever in their debt."[248]

Mainstream criticism[edit]

Genesis were targets for criticism throughout the 1970s from those who considered progressive rock to be pretentious. A Ray Lowry cartoon from 1977 depicted an arena of disinterested fans at a concert with a sign reading "GENESNOOZE" above the stage.[249] Influential BBC DJ John Peel championed the band in their early years (they performed three sessions for him between 1970 and 1972), but he "grew disillusioned with their later excesses".[250] Some regarded the group as overtly middle class, paying particular attention to the founding members' private education, and claimed rock music was being taken away from the working class, whom they regarded as its core audience.[251] Likening his background to that of the punk artist Joe Strummer, who had become a "people's hero" musician, Gabriel stated in 2013, "To this day, we've never outgrown the snotty rich-kid thing ... we were always very straight about where we came from, and we were middle-class, not aristocratic".[252] Gabriel's theatrics were unpalatable to some of the mainstream rock audience, resulting in a cult following rather than that of a mainstream rock band.[253]

Q reviewer Andy Fyfe addressed the band's legacy in 2007 by writing that in spite of their commercial success, "... the bottom line is that little of the band's output has aged well ... There are moments of impressive songwriting, such as the tender "Many Too Many", the darkly tragic "Duchess" and epic "One for the Vine", but little of Genesis's music transcends in the way real classics do, and that is why they will remain perennial whipping boys for decades to come."[228] At their commercial peak in the 1980s, the music of Genesis faced accusations from leading critics that it was "flabbergastingly insignificant",[254] as well as being "barely distinguishable" from Collins's songs as a solo artist.[255] The New Rolling Stone Album Guide documented how the band had struggled to gain critical respect throughout their long career, being "largely ignored" in their earliest years, before being "derided as middlebrow throwbacks still in thrall to the pomposities of art rock" in the late 1970s. The band's subsequent commercial heights had resulted in being dismissed as "easy-listening lightweights" and the solo careers of Collins and Rutherford had been held against the group. Rolling Stone writer J. D. Considine argued this was unfair, as the band had made their "share of mediocre albums" but no bad ones.[223]

Fan criticism[edit]

Because Genesis' overall output has had a variety of styles from progressive rock to pop, journalists have reported that fans preferring one era strongly dislike the other. Rock author Colin McGuire has described the arguments from fans of the Gabriel era as "they sold out and became too corporate when Collins stepped into the spotlight", while fans of the Collins era argue "the Gabriel years were boring and hard to stomach". He concluded both eras of the band should be judged on their own merits.[256] The band themselves have been aware of these divides; press interviews for Abacab explicitly stated that fans of Foxtrot might not like the album, but should keep an open mind.[257] Robert Pollard of Guided by Voices said "Genesis with Peter Gabriel might be my biggest influence" but heavily criticised their later output for its commercialism, arguing they became "the opposite of what they were" and "one of the worst bands in the world".[258] According to Rolling Stone's Erik Hedegaard, Collins in particular was blamed by those who accused the band of selling out.[259]

Tribute bands[edit]

The Musical Box performing in 2011 with costumes and stage effects sanctioned by Genesis.

Genesis have been the inspiration of various worldwide tribute bands, including ReGenesis from England, The Watch from Italy, and Genetics from Argentina. The most successful act has been the Canadian-French band The Musical Box that formed in 1993 and have been officially endorsed by Genesis.[260] In 1995, the band focused to recreate Genesis shows during the Foxtrot, Selling England by the Pound, The Lamb Lies Down on Broadway, and A Trick of the Tail tours as accurately as possible with exact set-lists and similar outfits, instruments, stage design.[260] Genesis allowed the group to use their set of projector slides from The Lamb... tour and various costumes worn by Gabriel. They continue to tour and have played live with guest performances by Hackett and Collins. A number of UK tribute bands now exist, including Los Endos who play earlier Genesis material, and Mama, who cover all eras.[260]

Awards and accolades[edit]

Genesis have received honours and awards throughout the course of their career. In March 2010, Genesis were inducted into the Rock and Roll Hall of Fame by Phish guitarist Trey Anastasio.[261] The band's awards include a Silver Clef Award for outstanding contributions to British music at its second annual ceremony in 1977.[262] In 1988, band received received one of the only two Grammy Awards issued for the short-lived Best Concept Music Video category for "Land of Confusion".[263] In September 2012, a Lifetime Achievement Award was given to the band at the inaugural Progressive Music Awards.[227] In 2004, Q ranked Genesis as the seventeenth-biggest band in a list compiled based on album sales, time spent on the UK charts, and largest audience for a headlining show.[264] Genesis were honoured at the second VH1 Rock Honors in May 2007, which featured Banks, Rutherford and Collins.[265] In 2008, the band received a Lifetime Achievement Award at the MOJO Awards in 2008.[266]



Main article: Genesis discography
Studio albums


  1. ^ a b Buckley 2003, p. 422.
  2. ^ a b c d Eder, Bruce. "Genesis – Artist Biography". AllMusic. Retrieved 2 August 2015. 
  3. ^ a b Bowler & Dray 1992, p. 13.
  4. ^ a b c Welch 2011, p. 125.
  5. ^ a b c d e f g Frame 1983, p. 23.
  6. ^ Bowler & Dray 1992, p. 14.
  7. ^ Bowler & Dray 1992, p. 15.
  8. ^ Welch 2011, p. 11.
  9. ^ Platts 2001, pp. 11–12.
  10. ^ Bowler & Dray 1992, p. 16.
  11. ^ Bowler & Dray 1992, p. 17.
  12. ^ a b c d e Genesis 2007, p. 348.
  13. ^ a b Hewitt 2001, p. 25.
  14. ^ a b Bowler & Dray 1992, p. 19.
  15. ^ Bowler & Dray 1992, pp. 21–22.
  16. ^ Bowler & Dray 1992, p. 20.
  17. ^ Bowler & Dray 1992, p. 21.
  18. ^ Genesis 2007, p. 52.
  19. ^ King, Jonathan. In the Beginning, From Genesis to Revelation (sleeve notes). 1993 release.
  20. ^ a b c d e f g h i j k l "Genesis: Awards". AllMusic. Retrieved 23 September 2015. 
  21. ^ Bowler & Dray 1992, p. 22.
  22. ^ Bowler & Dray 1992, pp. 23–24.
  23. ^ Platts 2001, p. 19.
  24. ^ Bowler & Dray 1992, pp. 23,27.
  25. ^ Perrone, Pierre (20 April 2009). "John Mayhew: Drummer who played with the fledgling Genesis on 'Trespass'". The Independent. Retrieved 15 September 2015. 
  26. ^ Genesis 2007, p. 49.
  27. ^ Bowler & Dray 1992, p. 28.
  28. ^ Platts 2001, p. 20.
  29. ^ a b Hewitt 2001, p. 27.
  30. ^ Genesis 2007, p. 74.
  31. ^ Genesis 2007, p. 71.
  32. ^ Genesis 2007, p. 72.
  33. ^ a b c d e f g h i Genesis 2007, p. 349.
  34. ^ Bowler & Dray 1992, p. 27.
  35. ^ Bowler & Dray 1992, p. 31.
  36. ^ Bowler & Dray 1992, pp. 32–33.
  37. ^ Romano 2010, p. 72.
  38. ^ Platts 2001, p. 50.
  39. ^ a b c d e f g h i j k l m n o "GENESIS". Official Charts. Retrieved 20 September 2015. 
  40. ^ Fletcher, Gordon (1 August 1974). "Genesis: Trespass : Music Reviews". Rolling Stone. Archived from the original on 2 May 2008. 
  41. ^ a b Bowler & Dray 1992, p. 35.
  42. ^ Bowler & Dray 1992, pp. 29,31.
  43. ^ Bowler & Dray 1992, p. 34.
  44. ^ Genesis 2007, pp. 92–93.
  45. ^ "Queen 40th anniversary: 10 things you never knew". The Daily Telegraph. 24 September 2011. Retrieved 27 August 2015. 
  46. ^ a b Genesis 2007, p. 94.
  47. ^ a b Genesis 2007, p. 95.
  48. ^ Genesis 2007, p. 96.
  49. ^ Rutherford 2015, p. 94.
  50. ^ Bowler & Dray 1992, p. 41.
  51. ^ a b Bowler & Dray 1992, p. 43.
  52. ^ Genesis 2007, p. 101.
  53. ^ Bowler & Dray 1992, p. 44.
  54. ^ Genesis 2007, p. 103.
  55. ^ Hewitt 2001, p. 32.
  56. ^ Platts 2001, p. 42.
  57. ^ Genesis 2007, pp. 105–106.
  58. ^ Platts 2001, p. 43.
  59. ^ Bowler & Dray 1992, p. 53.
  60. ^ Band Interviews feature from Nursery Cryme DVD at 31:02–31:33
  61. ^ Macan 1997, pp. 60–61.
  62. ^ Bowler & Dray 1992, p. 59.
  63. ^ Hewitt 2001, p. 33.
  64. ^ Platts 2001, p. 44.
  65. ^ "Report on the Reading Festival: Genesis". Melody Maker. 26 August 1972. 
  66. ^ Bowler & Dray 1992, pp. 61,249.
  67. ^ Band Interviews feature from Foxtrot DVD at 2:10–3:01
  68. ^ Bowler & Dray 1992, p. 62.
  69. ^ a b Various Mojo Magazines 2007, p. 290.
  70. ^ Platts 2001, p. 54.
  71. ^ Welch (1995), p. 21
  72. ^ "Advert – Genesis – Foxtrot album – Melody Maker – 14th Oct". Melody Maker: 23. 14 October 1972. Retrieved 30 November 2014. 
  73. ^ Erlewine, Stephen Thomas. "Foxtrot – Genesis". AllMusic. 
  74. ^ Genesis 2007, p. 113.
  75. ^ Platts 2001, p. 59.
  76. ^ Welch, Chris (23 December 1972). "Genesis: A fun time in NYC". Melody Maker: 8,9. Retrieved 15 September 2015. 
  77. ^ Genesis 2007, p. 133.
  78. ^ Genesis 2007, p. 148.
  79. ^ Genesis 2007, p. 141.
  80. ^ Genesis 2007, p. 143.
  81. ^ Bowler & Dray 1992, p. 80.
  82. ^ Bowler & Dray 1992, p. 81.
  83. ^ Bowler & Dray 1992, p. 82.
  84. ^ Genesis 2007, p. 164.
  85. ^ Genesis 2007, p. 111.
  86. ^ Genesis 2007, p. 145.
  87. ^ Rutherford 2015, p. 120.
  88. ^ Genesis 2007, p. 151.
  89. ^ Platts 2001, p. 74.
  90. ^ Welch, Chris. Genesis: The Lamb Lies Down On Broadway. Melody Maker, 23 November. 1974.
  91. ^ Genesis 2007, p. 157.
  92. ^ Rutherford 2015, p. 122.
  93. ^ Platts 2001, p. 75.
  94. ^ Thompson 2005, p. 117.
  95. ^ "Genesis's Tony Banks and Mike Rutherford Talk To Uncut!". Uncut. Retrieved 12 January 2015. 
  96. ^ Neer, Dan (1985). Mike on Mike [interview LP], Atlantic Recording Corporation.
  97. ^ Bowler & Dray 1992, p. 100.
  98. ^ Platts 2001, p. 95.
  99. ^ Bowler & Dray 1992, p. 93.
  100. ^ a b Genesis 2007, p. 158.
  101. ^ Bowler & Dray 1992, p. 107.
  102. ^ Bowler & Dray 1992, p. 108.
  103. ^ Bowler & Dray 1992, p. 111.
  104. ^ a b Rutherford 2015, p. 139.
  105. ^ Rutherford 2015, p. 137.
  106. ^ Bowler & Dray 1992, p. 112.
  107. ^ Bowler & Dray 1992, p. 118.
  108. ^ Genesis 2007, pp. 170.
  109. ^ a b "Certified Awards". BPI. Select keyword "Genesis", By award : Gold, By Format : Album, navigate to page 3. Retrieved 3 April 2015. 
  110. ^ Zammitt, David (16 November 2014). "Beyond the Stool: Drummers in the Spotlight". DIY Magazine. Retrieved 13 April 2015. 
  111. ^ "See Mike Rutherford's Career From Genesis to the Mechanics in 13 Videos". Rolling Stone. 5 February 2015. Retrieved 14 September 2015. 
  112. ^ Bowler & Dray 1992, pp. 122.
  113. ^ Bowler & Dray 1992, p. 134.
  114. ^ a b Frischvers, Richard (31 March 1977). "'Wind and Wuthering'". Circus: 58–60. 
  115. ^ Welch, Chris (25 December 1976). "Wuthering heights". Melody Maker: 14. 
  116. ^ a b "Genesis – Wind and Wuthering – press kit – Atlantic Records". Atlantic Records. 1977. Retrieved 28 April 2015. 
  117. ^ a b Bowler & Dray 1992, pp. 128–129.
  118. ^ a b c d e Genesis 2007, p. 350.
  119. ^ Hewitt 2001, p. 75.
  120. ^ Bowler & Dray 1992, p. 133.
  121. ^ Salewicz, Chris (2 July 1977). "It Helps You Make It on the Night". New Musical Express: 14. Retrieved 20 September 2015. 
  122. ^ a b "Genesis: The Earl's Court Supergig and Mike Rutherford Interviewed". Beat Instrumental: 4–6,49. August 1977. Retrieved 20 September 2015. 
  123. ^ Bowler & Dray 1992, p. 132.
  124. ^ "Brazil goes nuts for Genesis". Sounds. 28 May 1977. 
  125. ^ Band Interviews feature from ...And Then There Were Three... DVD at 2:08–2:15
  126. ^ a b c Bowler & Dray 1992, p. 144.
  127. ^ Bowler & Dray 1992, p. 147.
  128. ^ a b Bowler & Dray 1992, p. 148.
  129. ^ Dallas, Karl (11 November 1978). "Genesis: A Return to the Roots". Melody Maker: 36. Retrieved 20 September 2015. 
  130. ^ Bloom, Michael (10 August 1978). "And Then There Were Three". Rolling Stone. Retrieved 23 March 2007. Archived 10 March 2007 at the Wayback Machine
  131. ^ Welch, Chris (1 April 1978). "Genesis: Tricks and Treats". Melody Maker. Retrieved 20 September 2015. 
  132. ^ a b Bowler & Dray 1992, p. 149.
  133. ^ Bowler & Dray 1992, p. 150.
  134. ^ a b c Bowler & Dray 1992, p. 151.
  135. ^ Genesis 2007, p. 229.
  136. ^ a b c d e f Fielder, Hugh (27 October 1979). "The return of... Getting it together in the Country". Sounds. Retrieved 11 October 2014. 
  137. ^ Fielder, Hugh (22 April 1978). "The Shocking Truth About Genesis in America". Sounds. Retrieved 20 September 2015. 
  138. ^ Greene, Andy (23 July 2013). "Flashback: Peter Gabriel Revives a Genesis Classic in 1978". Rolling Stone. Retrieved 3 November 2015. 
  139. ^ "Knebworth House Rock Concerts: The Seventies". Archived from the original on 3 January 2006. Retrieved 25 October 2012. 
  140. ^ "The 1978 Knebworth Concert @". Retrieved 25 October 2012. 
  141. ^ Griffin, John (28 August 1982). "Genesis in orbit with new image and album topping Top Twenty". The Montreal Gazzette: E-2. Retrieved 9 October 2015. 
  142. ^ Bowler & Dray 1992, p. 164.
  143. ^ Koechlin, Lionel (1979). L'Alphabet d'Albert. Jannick. ISBN 978-2-902-46204-9. 
  144. ^ "Genesis: Another London Concert". NME. 8 February 1980. 
  145. ^ Genesis 2007, p. 238.
  146. ^ Bowler & Dray 1992, p. 170.
  147. ^ Flans, Robyn (1 May 2005). "Classic Tracks: Phil Collins' In the Air Tonight". Mix. Archived from the original on 17 March 2007. Retrieved 25 March 2007. 
  148. ^ Bowler & Dray 1992, p. 171.
  149. ^ Bowler & Dray 1992, p. 175.
  150. ^ "Genesis of the Moving Beam". Total Production International (128). April 2010. 
  151. ^ Bowler & Dray 1992, p. 178.
  152. ^ a b Bowler & Dray 1992, p. 179.
  153. ^ Strange, Paul. "The lamp wakes up". Melody Maker. Retrieved 23 September 2015. 
  154. ^ Bowler & Dray 1992, p. 182.
  155. ^ Bowler & Dray 1992, p. 186.
  156. ^ a b Genesis 2007, p. 263.
  157. ^ Bowler & Dray 1992, p. 187.
  158. ^ a b c d "Gold & Platinum: Genesis". Recording Industry Association of America. Retrieved 18 September 2015. 
  159. ^ "27th Annual Grammy Awards Final Nominations". Billboard (Nielsen Business Media, Inc.) 97 (4): 78. 26 January 1985. ISSN 0006-2510. Retrieved 12 February 2011. 
  160. ^ Hinkley, David (30 June 1985). "Rock's Little Drummer Boy Goes Pop". New York Daily News Magazine: 6. 
  161. ^ Bowler & Dray 1992, p. 198.
  162. ^ Platts 2001, p. 142.
  163. ^ Genesis 2007, p. 282.
  164. ^ a b Bowler & Dray 1992, p. 202.
  165. ^ "The Hot 100 – 1986 Archive". Billboard. Retrieved 1 October 2015. 
  166. ^ Grien, Paul (13 June 1987). "Chart Beat: Genesis Joins Five-Top-Five-Hits Club; Walden Produces His Sixth In Two Years" (PDF). Billboard: 6. Retrieved 4 October 2015. 
  167. ^ "Hugh Padham". Retrieved 10 October 2015. 
  168. ^ "Veterans top Grammy nominations". The Herald. January 8, 1987. 
  169. ^ "Peter Gabriel, 'Sledgehammer' (1986) – The 30 All-TIME Best Music Videos". Time. Retrieved 23 October 2012. 
  170. ^ Genesis 2007, p. 287.
  171. ^ a b Platts 2001, p. 143.
  172. ^ Bowler & Dray 1992, p. 214.
  173. ^ "Genesis". The BRIT Awards. Archived from the original on 24 October 2014. Retrieved 10 November 2012. 
  174. ^ Hewitt 2001, p. 63.
  175. ^ Wood, Sam (1 June 1992). "Genesis, Live and on TV at Spectrum". The Philadelphia Inquirer. Retrieved 4 October 2015. 
  176. ^ Hewitt 2001, p. 62.
  177. ^ "Rock Band Genesis Thrives On Its 'Mega-event' Shows". The Morning Call. 31 May 1992. Retrieved 4 October 2015. 
  178. ^ Povey, Glenn (2007). Echoes : The Complete History of Pink Floyd. 3C Publishing. p. 257. ISBN 978-0-95546-241-2. 
  179. ^ Darling, Linda; Silberstein, Scott (28 March 1996). "Phil Quits Genesis!". Entertainment Wire. Retrieved 23 March 2007. 
  180. ^ Genesis 2007, p. 310.
  181. ^ "David Longdon exclusive interview for 'Dusk' – November 2010". Retrieved 21 December 2014. 
  182. ^ Genesis 2007, p. 315.
  183. ^ "Dotmusic Talent: GENESIS". Archived from the original on 8 July 1998. Retrieved 21 December 2014. 
  184. ^ a b "Celebrity Gossip and Entertainment News – VH1 Celebrity". VH1 Celebrity Gossip and Entertainment News. Archived from the original on 7 August 2007. Retrieved 21 December 2014. 
  185. ^ Everett 2008, p. 339.
  186. ^ "Turn It On Again : The Hits". AllMusic. Retrieved 9 October 2015. 
  187. ^ Masters, Tim (7 November 2006). "Genesis reunion 'not about money'". BBC News. Retrieved 18 September 2015. 
  188. ^ a b Greene, Andy (22 October 2012). "Steve Hackett Revisits Genesis Catalog, Says Reunion Is 'Highly Improbable'". Rolling Stone. Retrieved 15 September 2015. 
  189. ^ Bychawski, Adam (7 March 2007). "Genesis announce North American reunion dates". NME. Retrieved 18 September 2015. 
  190. ^ "Genesis concert backdrop uses 9 million LEDs". LEDs Magazine. July 2007. Retrieved 18 September 2015. 
  191. ^ "Genesis UK comeback gigs sell out". BBC News. 24 November 2006. Retrieved 18 September 2015. 
  192. ^ "Genesis to play free Rome concert". BBC News. 9 February 2007. Retrieved 18 September 2015. 
  193. ^ "Live Over Europe / When In Rome". AllMusic. Retrieved 9 October 2015. 
  194. ^ "14 Genesis Albums Coming To 5:1 Super Audio CD Surround Sound". High Fidelity Review. 10 November 2006. Retrieved 9 October 2015. 
  195. ^ "Live 1973 – 2007 : Genesis". AllMusic. Retrieved 9 October 2015. 
  196. ^ "Genesis : The Movie Box". AllMusic. Retrieved 9 October 2015. 
  197. ^ Wardrop, Murray (3 March 2011). "Phil Collins calls time on music career". The Daily Telegraph (London). Retrieved 4 March 2011. 
  198. ^ "Latest Music News, Band, artist, Musician & Music Video News". Billboard. Retrieved 21 July 2011. 
  199. ^ BBC Breakfast. Interview with Tony Banks. 4 May 2012
  200. ^ "Peter Gabriel on Genesis Reunion". Rolling Stone. 14 April 2014. 
  201. ^ "Genesis Interviews". Uncut. 10 September 2015. Retrieved 9 October 2015. 
  202. ^ Kaye, Ben (28 October 2015). "Phil Collins returns: "I am no longer retired"". Consequence of Sound. Retrieved 9 November 2015. 
  203. ^ "Tony Banks wants a Genesis reunion". Tv3. 4 September 2015. Retrieved 9 November 2015. 
  204. ^ Kreps, Daniel (5 October 2014). "Genesis Guitarist Steve Hackett Blasts 'Biased' Documentary". Rolling Stone. Retrieved 14 October 2014. 
  205. ^ DeRiso, Nick (29 January 2015). "Steve Hackett Says Genesis Documentary Doomed Reunion". Ultimate Classic Rock. Retrieved 19 August 2015. 
  206. ^ Bowler & Dray 1992, p. x.
  207. ^ Bowler & Dray 1992, p. 224.
  208. ^ Bowler & Dray 1992, pp. 6–7.
  209. ^ Hegarty & Halliwell 2011, pp. 58–61.
  210. ^ Bowler & Dray 1992, p. 120.
  211. ^ Martin 2002, p. 71.
  212. ^ Macan 1997, p. 70.
  213. ^ Hegarty & Halliwell 2011, p. 96,126.
  214. ^ Bowler & Dray 1992, pp. 161–162.
  215. ^ Bowler & Dray 1992, p. 189.
  216. ^ Bowler & Dray 1992, p. 203.
  217. ^ Bowler & Dray 1992, p. 221.
  218. ^ Reed, Ryan (28 July 2015). "Genesis' Tony Banks Talks Elusive Solo Success, New Box Set". Rolling Stone. Retrieved 8 October 2015. 
  219. ^ Sound on Sound (April 2009). "ReGenesis : Early Genesis for the modern keyboardist". Retrieved 13 December 2012. 
  220. ^ Reid, Gordon (March 1999). "Sequential CircuitsProphet Synthesizers 5 & 10 (Retro)". Sound on Sound. Retrieved 9 October 2015. 
  221. ^ "Korg Oasys: On Tour with Tony Banks and Genesis". Digital Village. Retrieved 8 October 2015. 
  222. ^ "Mike Rutherford on Genesis". Guitar Player. 1 August 2007. Retrieved 8 October 2015. 
  223. ^ a b Nathan Brackett; Christian Hoard, eds. (2004). The New Rolling Stone Album Guide. Simon & Schuster Ltd. p. 328. ISBN 978-0743201698. 
  224. ^ Majendie, Paul (December 18, 1997). "Collins May Be Gone, But Genesis Plays On". The Moscow Times. Retrieved November 14, 2014. 
  225. ^ Conroy, Rick (7 November 2014). "God Bless You, Phil Collins". Wellington Times. Retrieved 13 November 2014. 
  226. ^ "B List: 10 Bands That Should Be In The HOF". Glide Magazine. 6 March 2008. Retrieved 7 October 2015. 
  227. ^ a b "Genesis honoured at Progressive Music awards". BBC News. 6 September 2012. Retrieved 6 September 2012. 
  228. ^ a b Andy Fyfe. "Proggy Style". Q. May 2007. Issue 250. p. 136.
  229. ^ "Top Selling Artists". Recording Industry Association of America. Retrieved 23 June 2015. 
  230. ^ "Certified Awards Search". British Phonographic Industry. Retrieved March 13, 2013. 
  231. ^ "Gold-/Platin-Datenbank ('Gold-/Platin-Datenbank')" (in German). Bundesverband Musikindustrie. Retrieved December 6, 2011. 
  232. ^ "InfoDisc: Les Certifications depuis 1973" [InfoDisc: Certifications from 1973]. Syndicat National de l'Édition Phonographique (in French). Retrieved September 15, 2009. 
  233. ^ "SNEP: Les Certifications". Syndicat National de l'Édition Phonographique (in French). SNEP. Retrieved February 21, 2014. 
  234. ^ "Pop/Rock » Art-Rock/Experimental » Neo-Prog". AllMusic. Retrieved 28 July 2015. 
  235. ^ "Interview: Steve Hogarth of Marillion". Retrieved 17 January 2008. 
  236. ^ Interview with Graeme Murray in Classic Rock, March 2011, Issue 155.
  237. ^ a b c Frost, Matt (29 April 2015). "Steve Hackett talks Wolflight, phrasing and the nylon knack". MusicRadar. Retrieved 9 October 2015. 
  238. ^ "Steve Hackett". Inside Out Music. 2015. Retrieved 23 August 2015. 
  239. ^ Run to the Hills, Mick Wall
  240. ^ Eglinton, Mark (4 November 2014). "Reel To Reel Cacophony: Jim Kerr Of Simple Minds' Favourite Albums". The Quietus. Retrieved 8 October 2015. 
  241. ^ Robb, John (5 March 2015). "Will Sergeant’s top 10 favourite albums : number 8". Louder than War. Retrieved 3 November 2015. 
  242. ^ "Dream Theater's Jordan Rudess: the 10 greatest prog-rock albums of all time". MusicRadar. 15 May 2013. Retrieved 8 October 2015. 
  243. ^ Lambe, Stephen. "New Prog Rock festival hits Gloucester". BBC. Retrieved 8 October 2015. 
  244. ^ "Simon Collins (Son of Phil Collins of Genesis) Launches New Progressive Rock Band, Sound of Contact". Retrieved 21 December 2014. 
  245. ^ Laurence, Alexander (March 2002). "Elbow interview by Alexander Laurence". Freewilliamsburg: The Williamsburg, Brooklyn Based Culture Guide. Retrieved 23 June 2013. 
  246. ^ "Taylor Hawkins: My Prog Heroes". TeamRock. 7 April 2014. Retrieved 21 August 2015. 
  247. ^ "6 pioneers of prog rock drumming". MusicRadar. 2 June 2015. Retrieved 22 August 2015. 
  248. ^ "Abba receive Hall of Fame honour". BBC News. 16 March 2010. 
  249. ^ Maconie, Stuart (December 1994). "Genesis: the loathed and the loved". Q. 
  250. ^ "BBC – Radio 1 – Keeping It Peel". BBC. Retrieved 7 July 2013. 
  251. ^ Bowler & Dray 1992, p. 1.
  252. ^ Alexander, Phil (30 July 2013). "Peter Gabriel: "Joe Strummer Used To Piss Me Off"". Mojo. Retrieved 11 August 2014. 
  253. ^ Welch 2011, p. 37.
  254. ^ Hilburn, Robert (25 May 1987). "Pop Music Review : Genesis Strikes Out in Center Field". Los Angeles Times. Retrieved 25 April 2014. 
  255. ^ Peter Buckley, ed. (2003). The Rough Guide to Rock. Rough Guides Ltd. p. 423. ISBN 978-1843531050. 
  256. ^ McGuire, Colin (10 January 2014). "In Defense of Both the Phil Collins and Peter Gabriel Eras of Genesis". PopMatters. Retrieved 6 October 2015. 
  257. ^ Bowler & Dray 1992, p. 172.
  258. ^ Stratton, Jeff (1999). "The Onion Interview with Bob Pollard". The Onion. Retrieved 22 August 2015. 
  259. ^ Hedegaard, Erik (4 March 2011). "Phil Collins' Last Stand: Why the Troubled Pop Star Wants to Call It Quits (page 1)". Rolling Stone. Retrieved 9 October 2015. 
  260. ^ a b c Haggarty, Martin (28 January 2012). "Never Mind the Mellotron". Rock News Desk. Retrieved 18 September 2015. 
  261. ^ UA Libraries Access to Databases, E-Journals & E-Books
  262. ^ "Nordoff Robbins Silver Clef Past Award Winners". Nordoff-Robbins. Retrieved 18 September 2015. 
  263. ^ "30th Annual Grammy Awards". Grammy Awards. Retrieved 24 October 2012. 
  264. ^ Barnes, Anthony (3 October 2004). "Q: Which is biggest band of all time? A: And readers say...". The Independent. Retrieved 29 September 2015. 
  265. ^ "For The Record". MTV News. 9 March 2007. 
  266. ^ Singh, Anita (16 June 2008). "Duffy wins big with Mercy at Mojo Awards". The Telegraph. Retrieved 29 September 2015. 
  • Banks, Tony; Collins, Phil; Gabriel, Peter; Hackett, Steve; Rutherford, Mike (2007). Dodd, Philipp, ed. Genesis. Chapter and Verse. Weidenfeld and Nicholson. ISBN 978-0-297-84434-1. 
  • Bowler, Dave; Dray, Bryan (1992). Genesis – A Biography. Sidgwick & Jackson. ISBN 978-0-283-06132-5. .
  • Buckley, Peter (2003). The Rough Guide to Rock (3rd ed.). Rough Guides. ISBN 978-1-843-53105-0. 
  • Everett, Walter (2008). Expression in pop-rock music: critical and analytical essays. Routledge. ISBN 978-0-415-97959-7. 
  • Carruthers, Bob (2011). Genesis: The Gabriel Era – Uncensored on the Record. Coda Books. ISBN 978-1-908-53873-4. 
  • Frame, Pete (1983). The Complete Rock Family Trees. Omnibus Press. ISBN 978-0-7119-0465-1. 
  • Hegarty, Paul; Halliwell, Martin (2011). Beyond and Before: Progressive Rock Since the 1960s. New York: The Continuum International Publishing Group. ISBN 978-0-8264-2332-0. 
  • Hewitt, Alan (2001). Opening the Musical Box – A Genesis Chronicle. Firefly Publishing. ISBN 978-0-946-71930-3. 
  • Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture. Oxford University Press. ISBN 978-0-195-09887-7. 
  • Martin, Bill (2002). Avant Rock: Experimental Music from the Beatles to Bjork. Chicago: Open Court. 
  • Platts, Robin (2001). Genesis: Inside & Out (1967–2000). Collector's Guide Publishing. ISBN 978-1-896-52271-5. 
  • Romano, Will (2010). Mountains Come Out of the Sky: The Complete Illustrated History of Prog Rock. Backbeat Books. ISBN 978-0-8793-0991-6. 
  • Rutherford, Mike (2015). The Living Years: The First Genesis Memoir. Thomas Dunne Books. ISBN 978-1-250-06068-6. 
  • Thompson, Dave (2005). Turn It On Again: Peter Gabriel, Phil Collins and Genesis. Backbeat Book. ISBN 978-0-879-30810-0. 
  • Various Mojo Magazines (2007). The Mojo Collection: 4th Edition. Canongate Books. ISBN 978-1-84767-643-6. 
  • Welch, Chris (2011). Genesis: The Complete Guide to Their Music. Omnibus Press. ISBN 978-0-857-12739-6. 
DVD media
  • Various band members (10 November 2008). Nursery Cryme DVD from Genesis 1970–1975 (DVD). EMI. UPC 0081227990305. 
  • Various band members (10 November 2008). Foxtrot DVD from Genesis 1970–1975 (DVD). EMI. UPC 0081227990305. 
  • Various band members (10 November 2008). ...And Then There Were Three... DVD from Genesis 1970–1975 (DVD). EMI. UPC 0081227990305. 

External links[edit]