As Genesis embarked on their ambitious The Lamb Lies Down on Broadway tour, which commenced on November 20, 1974, audiences were drawn into an elaborate fusion of music and visual storytelling that spanned 102 shows across the U.S., Europe, and the UK. The tour, running until May 22, 1975, was an unprecedented venture, marked by its innovation, chaos, and lasting legacy. But how did it become one of the most memorable and challenging chapters in Genesis’ history?
In November 1992, Genesis released The Shorts, the first volume of their dual live album project, The Way We Walk. This release marked a departure from the typical live double-album format that encapsulates an entire show. Instead, Genesis took a bold approach by splitting their 1992 tour recordings into two thematic compilations: The Shorts—a collection of their most recent hits—and The Longs, featuring their extended, experimental tracks and a medley from the ’70s.
In June 1974, Genesis found themselves at a pivotal moment in their career. The band, having evolved through various phases, was now at the cusp of creating one of their most ambitious and transformative albums: The Lamb Lies Down on Broadway. Genesis had entered a new phase, both creatively and personally. The group decided to record in a new environment, seeking a place that would inspire their next sonic chapter. They chose Headley Grange, a decaying old eighteenth-century poorhouse in East Hampshire, previously inhabited by artists like Led Zeppelin and Bad Company. But when Genesis arrived, it was in a dilapidated state. The previous occupants had left behind quite a mess, and the house, with its eerie atmosphere, only added to the tension brewing within the band.
We Can’t Dance marked Genesis’ 1991 return following an intensive period of solo projects and the global success of their previous Invisible Touch tour, which captivated 3.5 million fans across 112 shows but left the band physically and emotionally spent. Personal experiences, including Mike Rutherford’s loss of his father and complications during his son Harry’s birth, shaped the hiatus that saw Mike successfully releasing The Living Years with Mike + The Mechanics, and Phil Collins achieving massive success with …But Seriously and its accompanying tour. The band reconvened at The Farm, their private studio in Surrey, in March 1991, producing We Can’t Dance over six months. This album would become the final Genesis album with Collins as lead vocalist.
On November 7, 2006, Genesis fans received long-awaited news during a press conference at the May Fair Hotel in London. Tony Banks, Phil Collins, and Mike Rutherford—the trio that had propelled Genesis to global stardom—announced their reunion for the Turn It On Again tour, set for 2007. It marked the first time in 14 years that Collins, who had stepped away in 1996, would join his bandmates on stage. Chester Thompson and Daryl Stuermer, long-standing touring members, were also set to return, cementing a lineup familiar to fans of the group’s 1980s and 1990s peak.
Genesis’s second album, Trespass, marked a turning point in their musical journey. Released in October 1970 on the Charisma label (and on ABC Records in the US), the album showcased a band finding its identity, blending folk, rock, and soul in ways that set them apart from their contemporaries. Recorded at Trident Studios in London under the guidance of producer John Anthony, Trespass was a bold step forward for Genesis, a band on the brink of discovering their iconic sound.
Genesis released their double live album Seconds Out in October 1977, capturing the band’s performance during the Wind & Wuthering tour. Recorded mainly at the Palais des Sports in Paris in June 1977, with one track from the Pavillon de Paris in June 1976, the album showcases Genesis at a pivotal moment in their evolution.
It’s the year 1972. Genesis had released Nursery Cryme the year before and had played their first show overseas in Brussels in early 1972. Several shows in Europe followed and after their return to the UK, they began writing their next album Foxtrot, which, for many fans, would become their ‘progressive’ high point.
Phil Collins: ‘The mid-1980s was the biggest we ever got.’1
In the mid-1980s, the gap between Genesis albums had become bigger. Phil Collins had started his solo career at the beginning of the decade and after the Genesis album Mike Rutherford had formed his chart-topping band ‘Mike and the Mechanics’ together with vocalists Paul Carrack and Paul Young. Tony Banks, having published solo albums since 1979, was the only one of the trio to not have significant chart success.
In 1985, Genesis went into their ‘Farm’ studio, again with producer Hugh Padgham, to write and produce their next album. The result was the powerful, vibrant album Invisible Touch, released in 1986. Out of the eight tracks, five became hit singles: ‘Tonight, Tonight, Tonight’, ‘Land of Confusion’, ‘In Too Deep’, ‘Throwing It All Away’ and the title track ‘Invisible Touch.’
Invisible Touch
The lead single ‘Invisible Touch’ is often ‘regarded by the loyal progressive-rock aficionado as a betrayal‘, as it represents Genesis ‘at its most commercial.’2 The song was, just like all the songs on the album, a product of group jamming. Paul Gomersall, the engineer who assisted Hugh Padgham on Invisible Touch remembered the band’s way of writing songs:
‘Mike would come up with some sort of wacky drum loop. He’d bring his drum machine in, or Phil would, and they’d work around that. Mike is very experimental. I think he sees himself as more like a Brian Eno sort of person who makes interesting sounds and rhythms. Tony’s stuff was more chordal. Half the sound of Genesis is the chords that Tony comes up with.’3
The song ‘Invisible Touch’ was written during such a jam session when Mike Rutherford played the guitar riff that became the basis of the song with an echo effect and Phil Collins started singing ‘She seems to have an invisible touch, yeah!’ Phil then wrote the lyrics about loving a mysterious person who gets under one’s skin, dominates one’s life and although it might be bad, one cannot keep away from them.
Like the rest of the album, the song ‘Invisible Touch’ is dominated by e-drum sounds used in 1980s pop music. The drum machine in the background was inspired by Sheila E.’s and Prince’s ‘The Glamorous Life’, released in 1985. These ingredients, along with Mike Rutherford’s bass line, Tony Banks’ keyboard solo and the key change in the outro, turn ‘Invisible Touch’ into a very energetic, joyous pop song.
Phil Collins: ‘Invisible Touch is my favourite Genesis song.’4
In concert, the band never performed ‘Invisible Touch’ in its original key, but down a half-step or more to save strain on Phil Collins’s voice. Still, he would turn it into a celebrated sing-a-long with the audience.
Mike Rutherford also mentioned that ‘Invisible Touch’ was one of his favourites to play live, as ‘it’s a wonderful song: upbeat, fun to play, always a strong moment in any gig.’5
For many ‘old-school fans’, the album Invisible Touch was a total sell-out and the song itself became a target of hate. It was their first and only number one hit in the US single charts and was even mentioned in American Psycho when lead character Patrick Bateman names it as the group’s ‘undisputed masterpiece.’
Tonight, Tonight, Tonight
‘Tonight, Tonight, Tonight’ is according to music journalist Chris Welch the band’s ‘most memorable pop ballad‘, with ‘a nagging electronic theme‘ and lyrics that ‘are alternately obscure and direct.‘6
The album version is 9-minutes long and includes various elements from the band’s career. Again, the song was a result of jamming (the working title being ‘Monkey/Zulu’) and one can hear how Tony Banks took the lead and improvised the long passages, including a middle section with ‘a series of suitably weird instrumental effects.’7 The abstract, but very direct lyrics by Phil, some of which were improvised too, are about drug abuse.
Mike Rutherford: ‘It’s more of the old-style Genesis in that it covers a lot of ground musically and has a fairly involved instrumental passage in the middle. We’ve done songs like this from the word go. The initial bit came from an improvised jam and the song and solo part in the middle were obvious from a longer section when Tony was just improvising sound over a rhythm being played by Phil and I and he just assembled a composed solo part.‘8
Mike Rutherford about Tony Banks: ‘He’s the most adventurous in terms of song format, he’s always trying to not get stuck into a verse, chorus, middle eight, he’ll always push us a little bit to question whether we couldn’t explore a bit more.‘9
Land of Confusion
Mike Rutherford wrote the lyrics for this rare politically themed song about the tension between nations, calling it ‘a political song about the mess we landed in. I’ve always shielded away from doing what I call a preachy song, a protest song, but it seemed to work. Maybe because the music was quite angry it made it work.’10
The music was written by all three members together.
Spitting Image and the music video
‘Land of Confusion’ became very famous for its promotional video, which not only showed Rutherford, Collins and Banks as puppets created by the British television comedy ‘Spitting Image’, but also politicians such as Jimmy Carter, Henry Kissinger, Leonid Brezhnev, Margaret Thatcher and of course Ronald Reagan, in whose nightmare all these caricatures appear.
The idea for the music video came as Genesis video director Jim Yukich saw Phil Collins being caricatured on the TV show ‘Spitting Image’, ‘a series of satirical programmes […] since 1984, in which lifelike but grotesque puppets act out scenes relating to topical events and people in the news, including especially politicians and members of the royal family‘.11
On the show, Phil’s puppet was performing a parody of his chart-topping love ballads, ‘Oh, You Must Be Leaving’ while weeping constantly.
The main protagonist in ‘Land of Confusion’ is Ronald Reagan, then president of the United States, who is in bed with his wife and a monkey. The monkey is a reference to the movie Bedtime for Bonzo, in which Reagan shared a bed with a monkey.
The video also features puppets of famous musicians Bob Dylan, David Bowie, Tina Turner, Michael Jackson and other celebrities. The music video won Genesis their first and only Grammy Award in 1987 for ‘Best Concept Music Video’.
Tony Banks: ‘What other video can boast having all these stars, like Madonna and Prince?’12
In Too Deep
In 1985, Phil Collins had been commissioned by Ray Cooper of Handmade Films (George Harrisons’ film company that he had set up to produce Monty Python) to write a song for the film Mona Lisa, starring Bob Hoskins and Cathy Tyson.
While on solo tour in Australia, he wrote the chorus of what became ‘In Too Deep’, but when the film was due to be released, Phil did not work on a solo album, but on a Genesis album. The three wrote the rest of the song and created a warm pop ballad, in which Phil shines on vocals while Tony is playing piano and Mike’s adds well-placed and delicate guitar accents. Submitting it to Ray Cooper, he naturally liked it very much, and inevitably ‘In Too Deep’ became a hit outside of the movie as well.
Tony Banks remembered not knowing what to do in the music video, which just shows the band playing because it was no funny song. Perhaps they should have included clips of Mona Lisa in between.
Anything She Does
This very fast song is dominated by Tony Banks’ synthesizers and the brass sounds with which he emulates horns, and Phil’s drums. The ending is deliberately chaotic.
With Tony Banks’ lyrics being about page three-girls, Genesis wanted to have British comedian Benny Hill as his character Fred Scuttle for the music video. Phil got the task of ringing him up. At this time, Hill wanted to get away from his image as ‘dirty old man’. The script saw the band rehearsing backstage at Wembley Stadium and him being the door man on duty while all the women lined up to try and get past him. Hill agreed on the condition that his character tried to chase the girls, but never got one. Phil was very happy for the signed photograph he got in the end.
Domino
Domino’ is a 11-minute epic in two parts (I. ‘In the Glow of the Night’, II. ‘The Last Domino’), which are very different from each other. Part One begins slowly and pretty until an abrupt ending and a musical explosion lead to Part Two in double tempo with a heavy beat.
Being the album’s long song, the lyrics about the desperation and loneliness in war time were written by Tony Banks.
Mike Rutherford: ‘His words are the reason why he’ll never write a hit single.’13
Phil Collins: ‘We were always a group of songwriters who would write 3-, 10- and 20-minute songs. We still write 10-minute songs, like ‘Domino’, but unfortunately, the three-minute songs have gotten better and become hits. I don’t feel we’ve bastardized the way we were, as we still work the same way. Diehard fans will say, ‘Rubbish. ‘The Carpet Crawlers, ‘I Know What I Like’ – that was progressive!’ But I don’t see that. We’d have killed for hit singles back in the early days!‘14
Mike drew a comparison to the costumes of Peter Gabriel: ‘Looking back, people forget the show’s an hour and three quarters maybe and the costumes were probably 15 minutes of the whole thing. When we started having hit singles with MTV and videos, a hit single overshadowed the whole album and people started sort of saying ‘You stopped doing long songs.’ We never did, really, every album had a sort of 15-minute-long song on it till the very end. But they were album tracks, so they weren’t on television, they weren’t on the radio, but live they were a big part of the set.’15
Throwing It All Away
‘Throwing It All Away’ is based on an intensive guitar riff by Mike that is repeated throughout the whole song. He also wrote the simple love-song lyrics.
The song gives Phil another opportunity to sing about the end of a relationship and again, he does what he can do best masterfully. Even though the topic is sad, the mood is very uplifting and the whole composition is a brilliant example of how concise the trio Banks/Collins/Rutherford could combine their songwriting skills. When played live, the song became famous for its call-and-response.
‘Throwing It All Away’ was live drummer Chester Thompson’s favourite song to play: ‘The crazy thing about that is that the full kit only comes in the last bit of the song, it’s mostly just hi-hat and bass drum and then you finally come in towards the end, but I just thought it was such a great feel, I loved playing that song.’16
The music video is made up of sequences filmed during the band’s 1986 tour, partly by Phil with a hand camera.
The Brazilian
The last song on Invisible Touch is the instrumental ‘The Brazilian’, which is full of strange electric percussion sounds and half-tone step and definitely is ‘the strangest and most demanding cut on the album’, as music journalist Chris Welch writes: ‘A re-affirmation of the band’s faith in its musical past, […] full of spacey sounds like a sea monster, breathing heavily and stomping up the beach.’17
Reception
Music journalist Chris Welch thinks that Invisible Touch comes closest to achieving the status of being Genesis ‘ultimate album’.18 Band biographers Bowler & Dray think that ‘certainly it was their best album since ‘Wind And Wuthering’‘ and ‘one of the very best albums of the 1980s.’19 . Some fan-reactions can be summed up nicely by Alan Hewitt, founder of Genesis’s official The Waiting Room fanzine, who described Invisible Touch as ‘the first Genesis album he ever played once and then turned into a frisbee‘.20
Tony Banks: ‘On ‘Invisible Touch’, you’ve got the ‘Domino’ suite, which is 12 minutes long, and ‘Tonight, Tonight, Tonight’, which is about nine minutes. Both are identifiably Genesis, the sort of thing that no one else does. If you add, say ‘The Brazilian’, which again is like no other group, you’ve got at least 50% of the album. There are songs like ‘Invisible Touch’ and ‘Throwing It All Away’, but we’ve always done those. It’s just that we do them better now. With the songs, say off ‘The Lamb Lies Down’, maybe they’re lyrically more complex, but in terms of the songs themselves – ‘Carpet Crawlers’ or ‘Counting Out Time’ – they’re all attempts at the same kind of things. Even ‘From Genesis to Revelation’ was all short songs, all attempts at writing hit singles. And all failed.‘21
The multi-platinum album Invisible Touch was the band’s most successful and granted by the critics. Songs like ‘Invisible Touch’, ‘Land of Confusion’ and ‘Tonight, Tonight, Tonight’ dominated international charts throughout 1986/87. In the US, charts were also calculated on radio airplay, so even the song ‘Anything She Does’, which had not been released as a single, ended up in the charts. Also, the song’s music videos were running endlessly on MTV, the new medium of music television that had come up in the 1980s.
Tony Banks: ‘It’s great having hits. I was brought up in the era of hits, in the 60s the next Beatles song coming out was the sort of high point of my existence.’22
Peter Gabriel had been equally successful at that time: The single ‘Invisible Touch’ had been knocked off no. 1 by his hit ‘Sledgehammer’ and his album So was equally successful and became his biggest-selling album. 1986 seemed to have been a good year for this former ‘art rock’ band and its members.
The Invisible Touch Tour
Mike Rutherford: ‘A lot of people came to see us in the 80s and 90s in America because of the hit singles, but I always knew the long songs would grab them. They were songs that were visually were impressive with the vari-lites. Those who came to see us because of the singles and the radio tracks went away with a different impression of us.‘23
The successful album was followed by a massive tour that led the band through ‘large open air arenas and stadiums in Europe and the USA. The tour also took in several shows in Japan, only their second visit to that country, and finally included their first ever shows in New Zealand and Australia.’ The tour culminated ‘in a record-breaking four consecutive nights at London’s enormous Wembley Stadium in 1987.’24
Phil Collins:‘The Wembley shows were very special. It was still the old Wembley; it was football territory. Everything just seemed to peak at that point. I’ve been thinking about the set of the time with ‘Home By The Sea’, where the lights were coming down.’25
The record-breaking Wembley shows were filmed for a home video release, the first using Sony Hi Definition film.
After the end of the 1987 tour, Phil, Mike and Tony went back to their solo careers. Genesis came together in 1991 to record and release their final studio album with Phil Collins, We Can’t Dance. But that’s another story.
Sources
Banks, Tony; Collins, Phil; Gabriel, Peter; Hackett, Steve; Rutherford, Mike; Dodd, Philip (2007): Genesis. Chapter & verse. New York: Thomas Dunne Books/St. Martin’s Griffin.
Barnett, Laura, ‘Phil Collins and Mike Rutherford: How we made Invisible Touch’, The Guardian (14 October 2014).
Richard Macphail, a beloved and influential figure in Genesis history, passed away unexpectedly on August 27, 2024, at the age of 73.
Before they became a household name synonymous with prog rock innovation and some of the most iconic music of the 1970s and 80s, the band Genesis was a group of young men trying to find their sound, their place, and their future in the music world.
This essay offers an insider’s perspective on these early days by Richard Macphail, close friend, tour manager, and roadie for the band during their formative years. Here’s to you, Richard. Thank you for everything.
The Seeds of Genesis
The story of Genesis truly begins with one man: Richard Macphail.
At Charterhouse School, Richard crossed paths with Rivers Jobe, a bass player who introduced him to the world of music, and more specifically, to Anthony Phillips, a key figure in the early Genesis lineup. This introduction led to the formation of a band named Anon, which included Mike Rutherford on guitar.
‘At Charterhouse, I met a guy called Rivers Jobe, who was way ahead of us all. He went on very early to become a professional bass player,’ Richard recalled. It was through Rivers Jobe that Richard Macphail found himself behind a drum kit, despite realizing quickly that drumming wasn’t his forte. Instead, his role shifted to vocals, a position he felt more comfortable with.
Early Rehearsals and the Birth of Anon
At Richard’s first visit to Anthony Phillips’ house in Putney, the furniture was pushed aside to make room for music equipment: ‘I was astonished to find that the dining room had been converted into a rehearsal space.‘ After the summer holidays, Anthony Phillips also joined Charterhouse School. Together with drummer Rob Tyrell, a friend of Ant’s, they formed the band ‘Anon’, playing mostly Rolling Stones covers at parties and local dances.
Mike Rutherford, another Charterhouse student, joined Anon after connecting with Ant Phillips over their mutual love of guitar. Despite challenges like strict housemasters and other school obligations, the group managed to hone their skills and pull together own material. The first member to bring in an own song was Ant: a track called ‘Pennsylvania Flickhouse’.
‘Ant was way ahead in terms of composing’, Richard Macphail remembered. The Anon booked an hour of studio time at Tony Pike’s Sound in Putney: ‘We piled all the gear in Ant’s mother’s Mercedes and got on a bus and I thought ‘An hour, on my God, what are we gonna do with a whole hour? Each song’s three minutes long, that means we’re gonna get about nine songs done.’ We just got one done and we had huge rails with Mr Pike because everything was of course too loud and he said ‘You’re gonna ruin my equipment!’, all that classic stuff that went on in those days in recording studios.’
This time was the true beginning of what would eventually evolve into Genesis.
Genesis is Born
As members of Anon left Charterhouse and pursued different paths, the remaining members, including Mike Rutherford and Anthony Phillips, joined forces with Peter Gabriel and Tony Banks, leading to the formation of Genesis. Jonathan King, a Charterhouse alumnus, discovered the band after hearing a demo recorded by Brian Roberts, another Charterhouse student. King was impressed enough to produce their first album, From Genesis to Revelation.
In 1969, as the band members faced a crucial decision about their future, they took what we would now call a ‘gap year.’ During this time, they found themselves with their third drummer, John Mayhew, in an empty cottage owned by Richard Macphail’s parents: ‘Coincidentally, my parents had a cottage near Dorking in Surrey, quite remote, but only an hour from London. It was empty and they were going to sell it. They wanted to wait till spring and they let us use it. My dad worked for Rank Hovis McDouggal, he got us an old bread van and that’s how it all kicked off. That was the summer of ’69–’70, where we did our getting it together in the country thing.‘ Also, Richard’s sister had married a scientist who built him a stereo amplifier with headphones. Thus, he was able to play the band new, experimental records in stereo, which influenced them hugely in their own songwriting.
This period was pivotal, as it solidified the band’s commitment to their music and each other.
The Creative Process and the Making of Trespass
Despite their growing cohesion, the band experienced turbulent times. Richard Macphail was the sixth member, trying his best to nourish his guests with pretty basic food. ‘Mike Rutherford once said that if it wasn’t for me, they would have killed each other,’ he recalled, highlighting the intense personalities and creative differences that frequently caused friction. However, this tension also fueled their creativity, leading to the evolution of their signature sound.
During that time at ‘Christmas Cottage’, as they called it, the band wrote their second album Trespass, which included songs like ‘Stagnation’ and ‘The Knife.’ Richard recalled watching Peter Gabriel write the lyrics to ‘The Knife’ and being struck by the violent revolution described in the song—an interesting contrast to Peter Gabriel’s typically shy demeanor.
The creative process at this time was organic and collaborative. ‘Everyone brought their bits to the party,’ Richard explained. This method of piecing together various musical ideas became a hallmark of Genesis’s style, particularly evident in later works like ‘Supper’s Ready’.
Turbulence and Transformation
With the bread van, the band began touring the UK in 1969/1970. At these early gigs, Peter Gabriel was very nervous as frontman, so much that he sometimes forgot the lyrics and more than once, Richard Macphail had to step in and do the announcements. During their gigs, Richard Macphail also proved to be the problem-solver: One time, a little later, when they had a Mellotron, they could not get the instrument up the stairs of a venue. Thinking they had to cancel the show, Richard just sawed off the banisters to solve the problem.
One of the major challenges came when Anthony Phillips, a cornerstone of the band, announced he was leaving due to stage fright and health issues in the summer of 1970. ‘It was a serious question as to whether they would go on,’ Richard remembered. In a crucial meeting at the back of their van behind the Marquee Club, Rich urged the remaining members to continue. Thankfully, they did, and the search for new members began.
The Arrival of Phil Collins and Steve Hackett
The introduction of Phil Collins as the drummer and later, Steve Hackett as the guitarist, marked a turning point for Genesis. Phil Collins, who Richard described as ‘unbelievable‘ in his drumming abilities, transformed the band’s music with his dynamic style. ‘I never could have imagined in a million years the difference a drummer could make,’ Richard reflected.
Steve Hackett’s arrival completed the classic Genesis lineup. Although more introverted than the others, Steve Hackett’s musical prowess, particularly his love for the 12-string guitar and his brilliant lead guitar skills, meshed perfectly with the band’s evolving sound. ‘It really went clunk with that,’ Richard Macphail said, noting that this lineup would go on to produce some of Genesis’s most celebrated work.
A Band on the Brink of Greatness
By the time Genesis released Trespass in October 1970, they had overcome significant hurdles, including lineup changes and internal conflicts. The band was now poised on the brink of greatness, with a lineup that would soon produce some of the most innovative music of the 1970s. Richard Macphail was an important figure during that crucial, formative period of growth, experimentation, and transformation. Richard Macphail helped Genesis laying the groundwork for their future as prog rock pioneers. Thank you Richard.
Richard Macphail: 17 September 1950 – 27 August 2024.
Title photo: Richard on the cover of his book My Book of Genesis
