Category: Genesis

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Archive I 1967 – 1975 (1998) – Genesis

In June 1998, Genesis released their first of two ‘Archive’ box sets: Archive 1967 – 1975 covers the era with Peter Gabriel as lead vocalist.

The plans to release ‘Archive’ box sets dated back to 1994

After the release of their last studio album Calling All Stations* in 1997, Genesis began putting together unreleased material from their history. The idea dated back to 1994. Originally there were plans to release three box sets. The first would have featured the Gabriel years, the second the period from the mid 1970’s to the early 80’s and the last the period from the mid 80’s to the early 90’s.

But over the years, there were delays and plans were changed. The recordings were released on two box sets, the first one being Archive 1967-75* , released in 1998, the second one being Genesis Archive 2 1976-1992*, released in 2000, which covers the era with Phil Collins on lead vocals. Both sets feature unreleased live performances, studio tracks and demo songs.

A complete live performance of The Lamb Lies Down On Broadway

Archive 1967 – 1975 is a box set that includes four discs. The mixing was done by Genesis producer Nick Davis. The first two discs feature a complete live performance of Genesis’ magnum opus The Lamb Lies Down on Broadway*. When the band toured the concept album in 1974/75, they played the whole double album. After this tour, Peter Gabriel left the band. The live performance in the box set is from The Shrine Auditorium, Los Angeles. Unfortunately, most of Peter Gabriel’s stories about the adventures of Rael between the songs were left out.

Peter Gabriel re-recorded his vocals at Real World Studios in 1995

Also, it is not a completely live recording. Peter Gabriel and former lead guitarist Steve Hackett re-recorded some of their parts in 1995. You can hear the difference in Gabriel’s voice if you compare the studio versions from 1974 to the live version on Archive I. Gabriel recorded his vocals at his Real World Studios. Also, the last song ‘It’, fades out because the tape machine at the Shrine ran out halfway through the song.

The live performance in general sounds more powerful than the studio version and the crowd seems to be enthusiastic. Apart from that, the songs are almost identical to the studio versions. The only exception is ‘The Waiting Room (Evil Jam)’, which was an instrumental with lots of space for improvisation that was therefore played differently every night. Apart from that, especially the title track, ‘Fly On A Windshield’ and ‘Carpet Crawlers’ stand out.

A live performance of ‘Supper’s Ready’ from 1973

Disc 3 includes live performances from the Rainbow Theatre in London, recorded on the Selling England By the Pound* tour in 1973. We finally get to hear songs like ‘Dancing With The Moonlight Knight’ and ‘Supper’s Ready’ live with Peter on vocals on an official release. Here, the stories are included. It also features a 1971 BBC recording of ‘Stagnation’ and b-sides and studio tracks from that era like ‘Twilight Alehouse’ and ‘Happy The Man.’

The last disc is the most interesting one, at least for the fans. It features songs from the band’s earliest period, still with Anthony Phillips on guitar. There are BBC sessions and many demo songs. You can hear the band becoming Genesis on this disc. Some of the tracks are real gems, from the early version of ‘Dusk’ to the appealing ‘Hey!’. There is an atmosphere in these early recordings that went missing after Ant Phillips left the band.

Apart from the four discs, there is a 82-page booklet which contains the band’s history and interviews with band members and associates.

So Archive 1967 – 1975 is a quite interesting box set. We finally get to hear official live versions of Gabriel-era songs sung by him. The only official live release with him had been Live* from 1973, which only covers songs from Trespass*, Nursery Cryme* and Foxtrot*. The inclusion of b-sides and unreleased studio tracks like ‘Twilight Alehouse’ make this box set special. Some would argue that disc 4 is only for the hardcore fans, but it also is the most surprising and most interesting of the four discs. Unfortunately some rare tracks and demos that are known to exist did not make it onto the box set. But all in all, Archive 1967-75 is an extraordinary release. Fans seemed to agree with that: It reached no. 35 in the UK charts in 1998.

The band met at Heathrow Airport to promote the release

To promote the release of Archive I, Genesis members past and present reunited for a photo shoot (and a following dinner) at Heathrow Airport in May 1998. There were Tony Banks, Peter Gabriel, Anthony Phillips, former drummer John Silver, Phil Collins, Steve Hackett and Mike Rutherford. The band’s first drummer Chris Stewart only made it to the dinner. Trespass-era drummer John Mayhew did not attend the event.

Genesis’ next ‘Archive’ release would be in 2000. It would be entitled Archive II 1976 – 1992 and feature the period with Phil Collins as lead vocalist.

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The Last Show of “The Lamb” Tour – and Peter Gabriel’s Final Genesis Gig

On May 22, 1975, Genesis played the final show of their ambitious The Lamb Lies Down on Broadway tour. It would also mark the last time Peter Gabriel performed with the band as lead vocalist.

The Lamb Lies Down On Broadway: A Bold New Chapter

In 1974, Genesis entered the studio to record their most ambitious project yet: The Lamb Lies Down on Broadway. The double concept album told a surreal and complex story by Peter Gabriel, following a Puerto Rican teenager named Rael as he journeys through a strange underworld beneath New York City.

The urban American setting was a dramatic shift from the band’s earlier tales rooted in British folklore and fantasy. After touring North America, Genesis were aiming to break into the U.S. market. The Lamb was also their first true concept album (after an unsuccessful attempt on their debut), a hallmark of many progressive rock bands at the time.

Internally, however, tensions were mounting. Gabriel wrote all the lyrics and developed the story independently, while Tony Banks, Mike Rutherford, and Phil Collins composed most of the music during jam sessions at Headley Grange. Steve Hackett’s contributions were minimal, and the creative disconnect between words and music created friction. Only one track, “The Light Dies Down on Broadway”, had lyrics penned by Banks and Rutherford instead of Gabriel.

Behind-the-Scenes Tensions

Two key factors contributed to Gabriel’s growing estrangement from the band. First, he had attracted interest from The Exorcist director William Friedkin, who was keen to collaborate on a film. Gabriel was tempted, even considering leaving the band, but the project never materialized.

Second, Gabriel’s wife Jill gave birth to their first daughter, Anna, in July 1974. Complications following the birth drew Gabriel further away from the group. He was the first member to start a family, and this life change made him reassess his priorities and see a future beyond the band. His inner conflict bled into The Lamb‘s narrative, for example in the song “In the Cage,” where Rael cries, “Get me out of this cage!”

Upon release, The Lamb Lies Down on Broadway received mixed reviews and was commercially underwhelming. Ticket sales for the tour were below expectations, and several shows were cancelled. Though the album is now revered as a cult classic, its reception at the time was disappointing, particularly for Gabriel, who had poured his heart into the concept.

A Tour Like No Other

The band made the bold decision to perform the album in full on tour, even before many fans had a chance to hear it. Gabriel, already known for his theatrical costumes, pushed the visual spectacle even further, but it came at a cost. His elaborate outfits, including the infamous “Slipperman” costume, sometimes muffled his vocals or distracted from the music itself. The rest of the band grew frustrated, feeling the show had become more about theatrics than sound.

Technical problems were frequent. The stage used projected slides to accompany the story, but they often jammed or displayed out of sequence. In one infamous incident, a Peter Gabriel dummy meant to mirror him on stage was mysteriously swapped for a naked roadie. And during a song that required a small explosion, the production manager accidentally triggered a huge blast so loud that the band stopped mid-song. Peeking through the curtain, the crew member sheepishly said, “Sorry,” to which Phil Collins yelled, “You’re fired!”

Gabriel’s Departure

Midway through the tour, Gabriel made the decision to leave Genesis. Their manager Tony Smith was not surprised, but asked him to finish the remaining dates before making it public.

Gabriel’s final show with Genesis took place in Saint-Étienne, France, in May 1975. Ironically, it wasn’t meant to be the last show, but the scheduled final concert was canceled at the last minute. And so, without much fanfare, Peter Gabriel’s time with Genesis came to an end.

He had co-founded the band in 1967 alongside Tony Banks, Mike Rutherford, and Anthony Phillips. His departure, announced later that year, shocked fans and cast doubt over the band’s future. Could Genesis survive without their charismatic frontman?

As history would show — they could. And so could he.

Photo: Peter Gabriel in 1975. Photographer unknown. https://commons.wikimedia.org/wiki/File: Peter_Gabriel,_April_1975.jpg. Unknown author / CC0 (https://creativecommons.org/licenses/by/3.0).

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A Winter’s Tale (1968) – Genesis

On 10 May 1968, Genesis released their second single. Like its predecessor – and its successor – it failed to make an impact. Here’s the story behind A Winter’s Tale.

In 1968, Genesis were still schoolboys. The four classmates from Charterhouse were in their late teens when producer Jonathan King offered them a record deal. Tony Banks (keyboards), Peter Gabriel (vocals), Anthony Phillips (guitar), Mike Rutherford (guitar and bass), and Chris Stewart (drums) agreed. King chose to produce their first album himself, and it was he who came up with the name “Genesis,” symbolising both the band’s beginning and the start of his own career as a producer.

The first singles

Genesis had been writing pop songs while still at school, but by the time they signed their deal, they were already moving towards more adventurous material. Jonathan King, however, preferred straightforward pop. So, to please him, Tony Banks and Peter Gabriel wrote The Silent Sun, a deliberate nod to the Bee Gees, which King loved and released as their debut single. It flopped.

A Winter’s Tale

For their second single, A Winter’s Tale, Tony Banks and Peter Gabriel again collaborated. Like The Silent Sun, it’s a love song, but here, the band sounds more confident, particularly in the soaring chorus. Once again, Peter Gabriel’s distinctive voice takes centre stage, rising above a lush (and somewhat overpowering) string arrangement. Even at this young age, Gabriel’s vocal strength hinted at the frontman he would soon become.

Unfortunately, A Winter’s Tale also failed to chart. It received little radio play and only a couple of published reviews. New Musical Express praised the song’s “pulsating crescendo” and thoughtful lyrics, but continued: “The melody could have done with a little more substance.”1

Mike Rutherford recalls in his autobiography that the band brainstormed ways to boost airplay. Peter Gabriel suggested they hand the single directly to BBC Radio 1 DJ Tony Blackburn. Tony Banks was tasked with waiting outside Broadcasting House. Nervous and unsure, he apparently came across a little too forcefully when Blackburn emerged – likely startling him and not helping their cause.2

From Genesis to Revelation

Shortly after the release of A Winter’s Tale, drummer Chris Stewart left the band and was replaced by John Silver, who would record their debut album From Genesis to Revelation. The album was an ambitious concept piece about the history of mankind, but musically, it still leaned far more towards soft pop than progressive rock. To the band’s disappointment, King added even more lush string arrangements, giving the album a gentle, almost easy-listening feel.

A third single, Where the Sour Turns to Sweet, followed, but like the others, it failed to chart. Eventually, the growing divide between King’s pop sensibilities and the band’s evolving musical ambitions led them to part ways.

What remains from this era is a fascinating and surprisingly strong collection of songs recorded by a band still in their teens. Among them is A Winter’s Tale, a glimpse of what was to come.

(And as a footnote for collectors: there’s a curious story about a cover version of A Winter’s Tale by Rita Pavone’s brother – but that’s a tale for another time.)

  1. Thompson, Dave, Turn it on again. Peter Gabriel, Phil Collins & Genesis. (San Francisco: Backbeat Books, 2005), p. 18 ↩︎
  2. Rutherford, Mike (2014): The Living Years. London: Constable, p. 48. ↩︎
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Ray Wilson announced as new lead vocalist

On 6 June 1997, Tony Banks and Mike Rutherford of Genesis announce the band’s new lead singer after Phil Collins’ departure: 28 year old Ray Wilson.

When it was announced in March of 1996 that Phil Collins would leave Genesis after 25 years, the public was impatient to know who would become the next lead singer of the band. Genesis had survived the loss of their first singer Peter Gabriel in 1975. And when Phil Collins left the band in 1996, the two remaining members Tony Banks (keyboards) and Mike Rutherford (guitars) decided to survive a singer’s loss once more. The two founding members of Genesis started to write and record new songs and tried to find a new singer. Music media suggested several vocalists, until on June 6th 1997, the band announced that Ray Wilson would be their new lead singer.

Ray Wilson

Ray was born in Dumfries, Scotland, on 8 September 1968. He had previously been in a band called Guaranteed Pure and was frontman for the band Stiltskin. Their biggest hit was the song ‘Inside’, used in a Levi’s commercial in 1994. The song had reached no. 1 of the charts. Ray was not an unknown singer when he joined Genesis, but theirs and Stiltskin’s music was worlds apart. His fans and Genesis fans were both surprised and suspicious.

Ray remembers on the Songbook DVD: ‘I was in my little studio writing songs. It was ten in the morning, I was making a coffee, and Tony Smith, the manager of Genesis, was on the phone: ‘Would you like to come and audition to replace Phil Collins?”

In the years before, Phil Collins’ solo success had created an image of ‘Phil Collins and Genesis’, as if Genesis was the band behind him. Filling out this role and changing this public image, would be very difficult.

Calling All Stations

Ray, Mike and Tony went into the band’s studio ‘The Farm’ in Surrey and recorded the new album Calling All Stations*. Most of the songs were already written by Tony and Mike, but Ray was able to add some of his ideas. The album was very dark and melancholic. Phil Collins’ influence on Genesis music, his energy and cheerfulness combined with Mike’s and Tony’s music, was missing. The Genesis chemistry only worked fully when all three of them worked and wrote together.

Ray’s expressive voice worked with the melodramatic music. He did a remarkable job on the album and the following tour. His voice and style was a bit closer to Peter Gabriel’s, but the music on Calling All Stations seemed to be closer to its predecessor We Can’t Dance*. Like We Can’t Dance, Calling All Stations was produced by Nick Davis.

Three singles were released from the sombre, dark record: ‘Congo’, ‘Shipwrecked’ and ‘Not About Us’. Ray co-wrote the last song as well as the songs ‘Small Talk’ and ‘There Must Be Some Other Way’. The drums on the album were played by Israeli session drummer Nir Zidkyahu and Nick D’Virgilio from American prog band Spock’s Beard.

The critics were not too kind. NMW wrote that ‘the world doesn’t care enough about Genesis to make the effort’ to buy the album and ‘like the rest of the population, they’ve forgotten why they were once any good.’ Q wrote that the album consists of ‘just darkness, confusion, individual isolation’ and described it as ‘one-paced and one-dimensional.’

Live on tour 1998

On tour, Ray proved that he could sing songs from all the eras. The setlist covered hits like ‘Invisible Touch’, ‘No Son Of Mine’ or ‘Follow You Follow Me’ (in a lovely acoustic version), younger epics like ‘Home By The Sea’ and Gabriel-era songs like ‘Carpet Crawlers’ and ‘The Lamb Lies Down On Broadway’. The new material worked well between these songs and some tracks, like the title track, were even better live. Ray, Mike and Tony were accompanied by drummer Nir Zidkyahu and guitarist Anthony Drennan, who filled the roles of Chester Thompson and Daryl Stuermer.

The album was not as successful as the ones before

But unfortunately the album was not a big commercial success when compared to the albums before. It reached no. 2 in British charts, but only no. 54 in America. Also, ticket sales were not as high was they used to be and the tour had to be minimized in terms of production and venues. The American leg of the tour had to be cancelled completely. So after the 1998 tour, Tony Banks and Mike Rutherford decided to put Genesis to rest.

It was not to be the end of Genesis. But back in 1998 it looked like it. Unfortunately, Ray Wilson, who had been thrown into this situation, was even made responsible by some fans and critics. This is simply not fair. Ray has a unique voice and delivered the songs – his own and Peter’s and Phil’s – in a special way.

After the end of Genesis, Ray took some time to recover and has since started a solo career. He releases solo albums and still plays some Genesis and Genesis-related songs during his live shows.

Title photo: Ray Wilson live in Dortmund in 2017 (Photo: André Wilms of ‘The Photography Of Mister Ilms)‘.

Listen to live versions from the 1998 tour with Ray on “Genesis – BBC Broadcasts” – Get it here!*

Genesis Music on Amazon*

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3×3 (EP, 1982) – Genesis

In May 1982, Genesis released 3×3, an extended play featuring three songs left over from the Abacab sessions – tracks that did not make it onto the album but were too good to shelve.

Three Unreleased Songs from the Abacab Sessions

Abacab (1981) marked a turning point for Genesis. With a new producer, Hugh Padgham, and their newly purchased studio – The Farm in Surrey – the band had the freedom to jam, experiment, and refine their sound. When the album was finalized, they found themselves with a few strong tracks that had not made the cut. Rather than letting them go to waste, they chose to release them on an EP the following year.

The songs – Paperlate, You Might Recall, and Me and Virgil – were all co-written by Tony Banks, Phil Collins, and Mike Rutherford. The 3×3 EP came out in May 1982, between two major tours. In the U.S., it was never released as an EP; only Paperlate appeared as a single, with You Might Recall on the B-side.

The Songs

Paperlate shares a similar vibe with No Reply at All from Abacab – funky, upbeat, and driven by the Earth, Wind & Fire horn section, who had also worked with Collins on his solo debut Face Value. The title “Paperlate” comes from a lyric in Dancing with the Moonlit Knight (from Selling England by the Pound, 1973). During a soundcheck in either 1978 or 1980, Phil kept repeating the line “Paperlate cried a voice in the crowd…”, which eventually sparked the idea for a new song.

You Might Recall is a more romantic tune, stylistically close to some of Mike Rutherford’s earlier ballads like Alone Tonight.

The final track, Me and Virgil, is a storytelling piece reminiscent of Deep in the Motherlode (1978). This time, it was Collins who penned a Wild West narrative, with the band attempting to capture the spirit of The Band. However, Collins later expressed dissatisfaction with the track, and it was notably left off the Genesis Archive 2 box set in 2000.

Beatles-Inspired Artwork

The EP’s cover art was a playful homage to the Beatles’ 1960s EPs, particularly Twist and Shout. Genesis even brought in Tony Barrow, the Beatles’ former press officer, to write the sleeve notes in a cheeky, retro style (“These cheeky chappies from Guildford…”).

Not everyone got the joke. One reviewer, unaware of the Beatles reference, assumed the design was serious. But fans appreciated the nod, and the band’s sense of humor shone through once again. The EP was a hit in the UK, and Paperlate earned the band another appearance on Top of the Pops, with the EP reaching No. 10 on the charts.

Three Sides Live and the U.S. Version of 3×3

Later that year, Genesis released the live album Three Sides Live. Since EPs did not sell particularly well in the U.S., the band opted to include the 3×3 tracks on the album’s fourth side instead of releasing them separately. To round out that side, they added two outtakes from the Duke sessions: Open Door (by Rutherford) and Evidence of Autumn (by Banks). The UK version, in contrast, featured a full fourth side of live material.

3×3 was never released as a standalone CD. However, Paperlate and You Might Recall were included in the Genesis Archive 2: 1976–1992 box set in 2000, which featured many previously unavailable tracks. All three EP songs, including a remixed Me and Virgil, were later made available on CD in the Genesis 1976–1982 box set.

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We Can’t Dance in Tampa – The Story of the 1992 Tour

Tampa, Florida, 17 May 1992. It was only the fourth night of Genesis’ massive We Can’t Dance tour when the band had to leave the stage early after just two songs. Phil Collins was suffering from throat problems, and the show was cancelled after Land of Confusion and No Son of Mine, leaving a restless crowd behind. Thankfully, it was a one-off incident. The We Can’t Dance tour would go on to become one of the band’s biggest productions ever, both in scale and ambition.

Let’s take a closer look at this monumental tour.

A Blockbuster Album: We Can’t Dance

Released in 1991, We Can’t Dance was Genesis’ 14th studio album and it became another global smash. Even after nearly 25 years in the business, the band were still topping charts around the world. The album spawned four hit singles: No Son of Mine, I Can’t Dance, Hold On My Heart, and Jesus He Knows Me. Each of them came with its own high-budget music video. I Can’t Dance and Jesus He Knows Me, in particular, stood out for their sharp humour and clever production.

Stadiums, Screens, and Scale: The We Can’t Dance Tour

Naturally, such a successful album deserved a tour to match. More than 60 shows were scheduled across North America and Europe in 1992. While Genesis weren’t entirely comfortable with stadium gigs, they ultimately preferred three months of large-scale shows over a ten-month arena tour. The goal was clear: keep the tour tight and efficient.

The production went up a notch: three massive Sony Jumbotron video screens were installed behind the stage, ensuring that fans even in the furthest rows could see the band up close. Rehearsals took place inside the enormous Goodyear Blimp hangar in Houston, one of the few places big enough to house the full setup.

The Setlist and the Line-Up

Tony Banks, Phil Collins, and Mike Rutherford were joined once again by their trusted touring musicians Chester Thompson (drums) and Daryl Stuermer (guitar and bass). After weeks of rehearsals, the setlist came together: mostly material from We Can’t Dance, along with select tracks from Invisible Touch and Genesis, and of course the classic encore Turn It On Again.

A 20-minute medley brought back highlights from the band’s 1970s output. It was a refreshing change from the long-standing In the Cage medley, which had featured in live shows for years.

Trouble in Tampa

The tour kicked off on 8 May 1992 in Texas. But disaster struck on night four in Tampa. Phil Collins’ voice simply gave out. He had always taken care of his voice while on tour, using various treatments when needed and he knew the crowd could sing along if he had to take it easy. But this time, he just couldn’t go on. After Land of Confusion and No Son of Mine, the band had no choice but to walk off stage.

Fortunately, Phil recovered quickly, and the rest of the tour went ahead as planned. The first leg concluded in August with a massive open-air concert at Knebworth Park, which was broadcast on Premiere. The second leg kicked off in the autumn, taking the band across the UK, a region they hadn’t toured extensively during the 1980s. They made up for it with multiple dates at London’s Earl’s Court, which were filmed and later released as The Way We Walk: Live in Concert.

The Way We Walk – Capturing the Tour

The tour also resulted in a live double album: Live – The Way We Walk, split into two volumes — The Shorts and The Longs. Rather than presenting an entire show in sequence, the band divided the material into their hit singles and their longer, progressive epics. Some fans didn’t love this format, but it made sense at the time: casual listeners knew the hits, while long-time fans appreciated the deeper cuts. Later editions of the album would restore the original running order.

The Last Dance (For a While)

Unbeknownst to fans and band members alike, the We Can’t Dance tour would be the last Genesis tour with Phil Collins until the 2007 reunion. It was also the final tour for Chester Thompson and Daryl Stuermer, at least for the next 15 years.

No one knew it at the time, but this was the end of an era. For many fans, 1992 was the last chance to see this iconic lineup live. But, as Genesis fans now know, there was more to come — eventually.

But that’s another story.

Title photo: Genesis Live- Land Of Confusion. Photo taken during the performance by Genesis of “Land of Confusion” in Knebworth, England (August 2nd, 1992). Source: Wikimedia Commons, Manny Hernandez/ CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

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Live at the Roundhouse 1970

On March 11, 1970, Genesis played one of the most significant gigs of their early career at the Atomic Sunrise Festival at London’s legendary Roundhouse. The event, sponsored by Yoko Ono, featured artists such as David Bowie and Hawkwind. Just weeks later, Genesis signed their first major record deal with Charisma Records.

Genesis in Early 1970

At the start of 1970, Genesis were busy writing and rehearsing new material for their second album. Their debut album had failed to chart, and they had parted ways with producer Jonathan King and Decca Records. Determined to take a new direction, the band moved away from the pop-oriented style of their first record and embraced a more adventurous, experimental sound. At the time, Genesis consisted of: Peter Gabriel (vocals), Tony Banks (keyboards), Ant Phillips (lead guitar), Mike Rutherford (guitar and bass) and John Mayhew (drums).

Opening for David Bowie at the Roundhouse

Still an unknown band, Genesis saw the Atomic Sunrise Festival as a huge opportunity – especially since they were set to open for David Bowie.

Both Tony Banks and Peter Gabriel were big Bowie fans. Space Oddity had been released the previous year, and Bowie was already a rising star. His live shows at the time were highly theatrical, something that fascinated Gabriel. A few years later, Genesis would gain recognition for their elaborate stage performances, partly inspired by Bowie’s dramatic approach.

However, not everyone in the band was equally enthusiastic. While Gabriel was impressed by Bowie’s visuals, Banks felt that the theatrical elements took too much attention away from the music. This difference in perspective would later lead to tensions within Genesis, especially as Gabriel began incorporating costumes and masks into their own performances – something that divided opinions among the band.

The Atomic Sunrise Festival and Yoko Ono’s Involvement

At the Atomic Sunrise Festival, Genesis performed songs that would later appear on their second album, Trespass, including “Looking for Someone” and “The Knife” – both of which were captured in surviving video footage. It is also believed that they played “Twilight Alehouse”. In later interviews, Ant Phillips joked that this footage is the only visual proof that he ever performed with Genesis.

Despite the significance of the gig, the band’s experience was not entirely positive. Gabriel recalled that there were more people on stage than in the audience, and Phillips was so nervous that he could barely play – a stage fright that would later contribute to his decision to leave Genesis.

Still, both Banks and Phillips were impressed by the professionalism behind the scenes. Every performance at the festival was recorded on 8-track equipment, and parts of it were filmed. Since the event was backed by Yoko Ono, there’s a possibility that the full footage still exists somewhere in the Apple Records archives.

A few weeks after the show, Genesis signed with Charisma Records, and by the end of the year, they released Trespass. But changes were already on the horizon – Ant Phillips left the band, and a new drummer joined in the summer of 1970… but that’s a story for another time.

Title photo: Genesis mixing desk 2 – Revox A77 and associated gear for Genesis at a concert in the Liverpool Empire, 1970s, precise year unknown. Source: Wikimedia Commons, Rodhullandemu / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

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Genesis’ Induction into the Rock and Roll Hall of Fame (2010)

On March 15, 2010, Genesis was inducted into the Rock and Roll Hall of Fame. Phil Collins, Mike Rutherford, Tony Banks, and Steve Hackett attended the ceremony, accompanied by long-time live members Chester Thompson and Daryl Stuermer. Peter Gabriel, however, chose not to attend. The band was introduced by Phish frontman Trey Anastasio.

Live on the 29th of July, 1992. Kiel, Germany.

Phil Collins’ Health Issues Following the ‘Turn It On Again’ Tour

By the time Genesis received this honor, they had already been on hiatus for three years. Their last tour, Turn It On Again, took place in 2007, featuring Collins, Rutherford, and Banks, along with Stuermer and Thompson. The tour was a massive success, but it came at a cost.

During the tour, Phil Collins began experiencing numbness in his left arm and fingers while drumming. It was later revealed that he had suffered severe nerve damage in his neck and back – likely a result of decades of drumming. With his ability to play drums compromised, the prospect of future Genesis live performances seemed highly unlikely.

The Way We Walk: The Shorts (Cover) – from left to right: Daryl Stuermer, Chester Thompson, Mike Rutherford, Tony Banks, Phil Collins

Would Peter Gabriel Reunite with His Former Bandmates?

As news of Genesis’ induction spread, speculation ran wild. Would all former members attend? Would Peter Gabriel make a surprise appearance? Would they even perform together?

The answer was a clear no. Gabriel was preparing for his own tour and opted out of the ceremony. Over the years, he had distanced himself from Genesis, having left the band in 1975 to embark on a highly successful solo career. He had no interest in rekindling the past and, to put an end to the rumors, simply stayed away. However, the other four core members – Banks, Rutherford, Collins, and Hackett – were present, along with their families and longtime touring musicians Stuermer and Thompson.

The induction speech was delivered by Trey Anastasio of Phish.

Genesis live, July 29th, 1992 Kiel, Germany. The Nordmarksportfeld.

Phish’s Performance: Two Unusual Genesis Songs

Phish performed two Genesis songs that evening: Watcher of the Skies and No Reply at All – one from each era of the band, yet both somewhat unconventional choices. Interestingly, they seemed to struggle more with the ‘pop’ track No Reply at All than with the complex, progressive Watcher of the Skies.

Trey Anastasio’s speech was a highlight of the night. Rather than rehashing well-known Genesis anecdotes, he provided a musician’s perspective on the artistry behind Trespass, Selling England by the Pound, and Duke. His speech was a fitting tribute, emphasizing that Genesis wasn’t being honored merely for their commercial success, but for their musicianship and innovation.

Daryl Stuermer, Chester Thompson and Mike Rutherford, Liverpool Empire, Duke Tour 1980.
Genesis, Phil Collins, Strasbourg, October 1981

A Bittersweet Moment for Genesis Fans

When the four classic members took the stage, Rutherford, Collins, and Hackett each shared a few words. (Hackett’s speech, admittedly, was a bit awkward.) Rutherford acknowledged Gabriel’s absence, explaining that he was busy preparing for an orchestral tour.

Later, Phil Collins admitted he was actually relieved that Gabriel hadn’t attended – otherwise, the night would have been overshadowed by inevitable questions about a possible reunion. The induction felt like a final chapter in Genesis’ long and storied career, a celebration rather than a new beginning.

Unbeknownst to fans at the time, this would be the last public appearance of Genesis for many years – and also the final time Chester Thompson would stand alongside them.

Trey Anastasio summed it up best when he described Genesis as ‘rebellious, restless, and constantly striving for something more.’ Few statements could better encapsulate the essence of their career.

Title photo: Genesis on stage during the The Lamb Lies Down On Broadway tour, 1974-75. Source: Wikimedia Commons, Nick Contador/ CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

First photo: Genesis live, July 29th, 1992 Kiel, Germany. The Nordmarksportfeld. Source: Wikimedia Commons, Derzsi Elekes Andor/ CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

Second Photo: The Way We Walk – The Shorts (Cover).

Third photo: Genesis live, July 29th, 1992 Kiel, Germany. The Nordmarksportfeld. Source: Wikimedia Commons, Derzsi Elekes Andor/ CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

Fourth photo: Daryl Stuermer, Chester Thompson and Mike Rutherford, Liverpool Empire, Duke Tour 1980. Source: Wikimedia Commons, Rodhullandemu/ CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

Fourth photo: Genesis, Phil Collins, Strasbourg, October 1981. Source: Wikimedia Commons, Philippe Roos from Strasbourg/ CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

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Duke (1980) – Genesis

The Album That Defined a New Era for Genesis

On March 28, 1980, Genesis released Duke, an album that marked a return to their roots as a band that thrived on jamming and improvisation. After years of bringing in individually written songs, the trio rediscovered the creative spark of working together. The result? One of their most celebrated albums—featuring the instant classic “Turn It On Again.”

Phil Collins Steps Into the Spotlight as a Songwriter

By the end of their grueling 1978 world tour, Phil Collins’ personal life was in turmoil. His marriage had fallen apart due to the relentless touring schedule, and in a last attempt to save it, he took a break from Genesis. While Tony Banks and Mike Rutherford used the time to release their first solo albums, Phil moved to Canada to try and rebuild his family life.

But it wasn’t meant to be. When his efforts failed, Phil returned to England, alone in his home in Surrey, and turned to music as an outlet – something he had never done quite like this before. For the first time, he began writing songs on his own, setting the stage for his future solo success.

Genesis Reignite Their Creative Energy

In 1979, Genesis regrouped at Phil’s home to start work on their next album. To Tony and Mike’s surprise, Phil had become a songwriter in his own right. While each member brought in individual ideas, the real magic happened when they began jamming again – something they hadn’t done since Peter Gabriel left the band. The result was a fresh, modern sound that still had the unmistakable Genesis touch.

“Turn It On Again” – The Song That Became a Genesis Anthem

Fans got their first taste of the new album in early March 1980, when Turn It On Again was released as a single. From the very start, it was clear this was a defining Genesis track.

Built around a complex 13/8 time signature, the song somehow felt effortlessly catchy -listeners didn’t even notice the odd rhythm until they tried to clap or tap their feet along with it. The song became a staple of Genesis’ live shows, appearing on every tour since its release. From 1983 onward, it was transformed into a high-energy rock medley, featuring snippets of classic cover songs.

Turn It On Again wasn’t just a hit; it became synonymous with Genesis. The band later named a greatest hits collection after it (Turn It On Again: The Hits) and even titled their 2007 reunion tour Turn It On Again – The Tour.

On an album filled with outstanding tracks, this driving, offbeat number had a special place. It reached #8 on the UK charts, earning Genesis a live performance on Top of the Pops – a rare treat for the band at the time.

Duke – The Story of Albert

The album itself, Duke, was released in late March 1980 and became Genesis’ first-ever UK #1 album.

Its artwork introduced the world to Albert, the faceless character on the cover, and the music inside told a loose narrative about fame, fortune, and downfall. The album opened with Behind The Lines, a grand, euphoric track that quickly shifted into a soulful, anthemic song – a bold statement from a band entering the new decade.

Together, Phil, Tony, and Mike proved once again that they were the core of Genesis, the same trio behind some of their greatest musical moments: the ‘Apocalypse of 9/8’-climax of “Supper’s Ready,” the instrumental finale of “The Cinema Show,” and large portions of The Lamb Lies Down on Broadway.

“Misunderstanding” – A Glimpse into Phil Collins’ Future

Despite the collaborative approach, each band member contributed individual songs to Duke. Among them was Misunderstanding, one of the first songs Phil ever wrote entirely by himself for Genesis.

Unlike their usual intricate arrangements, Misunderstanding was a straightforward, heartfelt pop song, with simple yet effective lyrics and a laid-back groove. Surprisingly (or maybe not), it became a bigger hit in the U.S. than in the UK, reaching the Top 20 and offering an early glimpse of Phil’s future success as a solo artist.

A Favorite Among Fans – and the Band

Duke remains a favorite among Genesis fans, and Tony Banks often cites it as one of his personal top Genesis albums. He especially highlights “Duchess”, a song that blends Genesis’ progressive roots with their evolving pop sensibilities.

As the first Genesis song to feature a drum machine, Duchess set the stage for much of their later work. The song’s story about an artist’s rise and fall even mirrors the band’s own journey – a theme that made it particularly special for Tony. Despite its deceptive simplicity, he considers it to be as emotionally powerful as “Supper’s Ready.”

Duke – The Album That Redefined Genesis

With Duke, Genesis proved they could balance artistic ambition with mainstream appeal. It marked a transition – a bridge between their progressive past and the radio-friendly sound that would define their 1980s success.

More than 40 years later, it remains one of their most important albums.

🎧 What’s your favorite track from Duke? Let us know in the comments!

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Phil Collins’ Departure from Genesis in 1996

On March 28, 1996, Genesis officially announced Phil Collins’ departure in a press release titled: “Genesis end twenty-year experiment, decide to replace Peter Gabriel as vocalist.”

It marked the end of an era. But the story of Phil’s (temporary) exit began long before that.

Phil Collins Had Made Up His Mind in 1993

By 1993, Genesis were at their peak. The massive We Can’t Dance tour had wrapped up the previous year, and in the fall of ’93, the band performed at Cowdray Ruins, a charity concert alongside Pink Floyd, Queen, and Eric Clapton. Genesis played a short set and joined the all-star lineup for the encore. No one realized it would be Phil Collins’ last performance with the band for a long time.

At the time, Phil was already deep into writing what would become his most personal solo album, Both Sides. He played every instrument and produced the album himself, much like he had done on Face Value. The deeply introspective songs reflected his personal turmoil – his marriage to Jill was falling apart due to his affair with childhood sweetheart Lavinia Lang. With his family on the verge of breaking up again, he found it increasingly difficult to sing Genesis songs. He wanted to write and perform music that truly reflected his own emotions.

A New Chapter, a New Life in Switzerland

Sometime after the Cowdray Ruins gig, Phil confided in manager Tony Smith about his desire to leave Genesis. But Smith, ever the businessman, encouraged him to finish his solo album and tour first—then decide.

Phil embarked on the Both Sides world tour in 1994 and 1995, during which he met Orianne Cevey in Switzerland. Falling in love, he decided to leave England and settle in Lake Geneva. The British press harshly criticized him – both for his music and his personal life. He grew to resent his ‘Mr. Nice Guy’ image and felt increasingly distant from Genesis.

Tony Banks and Mike Rutherford Decide to Carry On

In 1996, the band convened in Tony Smith’s kitchen, where Phil finally made it official – he was leaving Genesis.

Tony Banks reacted with typical British understatement: “It’s a sad day, a very sad day.”

Mike Rutherford, on the other hand, was more surprised that Phil had stayed as long as he did given his highly successful solo career.

On March 28, 1996, exactly twenty years and two days after his first show as Genesis’ lead singer, the news went public. With Phil’s departure, Genesis lost not just their frontman and entertainer, but also a brilliant composer and drummer.

Still, Tony and Mike decided to continue, eventually searching for a new singer. Meanwhile, Phil focused on his solo career, though his success never quite reached the heights of the 1980s.

Despite going their separate ways, the three remained close. By the early 2000s, they occasionally reunited for special appearances. Then, a decade after Phil’s departure, Genesis officially came back together for the 2007 Turn It On Again tour.

But that’s another story.

Title photo: The world famous band – Genesis. Tony Banks, Phil Collins and Mike Rutherford. (Photo 1991) . Source: Wikimedia Commons, David Scheinmann / CC BY (https://creativecommons.org/licenses/by/3.0).