Tag: Charterhouse

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Anthony Phillips’s last gig with Genesis

Cover for one of the various editions of 'From Genesis to Revelation'

On 18 July 1970, Genesis played their last show with founding member and guitarist Anthony Phillips at Haywards Heath.

Charterhouse and ‘The Anon’

Anthony Phillips joined Charterhouse, a public school in Godalming, Surrey, in April 1965. Being a guitarist, he quickly formed a band there with his fellow pupils Richard MacPhail, Rivers Jobe, Rob Tyrell and Mike Rutherford. They named themselves Anon and played songs by The Rolling Stones1, The Beatles and several other pop groups of the era. They performed mostly at parties.

The first member to bring in an own song into Anon was Anthony Phillips: ‘Pennsylvania Flickhouse’. They booked an hour of studio time at Tony Pike’s studio in Putney, as Richard MacPhail remembers: ‘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.’2

In December 1966, the group disbanded.

Anthony Phillips in Genesis

In 1967, Ant and his friend and fellow guitarist Mike Rutherford began writing music together. To record a demo, they asked another Charterhouse pupil, Tony Banks, if he could play organ on a song. Tony agreed under the condition that his mate Peter Gabriel could also come along and sing one of their songs. Both of them had also played in a band at Charterhouse, The Garden Wall. Ant and Mike agreed and soon, former Garden Wall drummer Chris Stewart joined the group.

The demo tape was given to producer Jonathan King, who signed them to his publishing company and they recorded some singles. King then named the group Genesis, and the group recorded their first studio album From Genesis to Revelation (1969). Like on the singles, King added strings arranged by Arthur Greenslade to the mix. To their frustration, the band only found out about the strings when listening to the finished version of From Genesis To Revelation with only Ant Phillips showing his anger by storming out of the studio.

By mid-1969, the boys’ parents wanted them to resume education. At Charterhouse, Ant began studying for further A levels to pursue a university degree. But Ant and Mike had been gripped by rock and roll and decided to become professional musicians. By the end of the summer of 1969, Peter and Tony joined them in their wish to become full-time musicians. They began writing music and touring the country from late 1969 to early 1970. ‘Yet, something was lacking‘, it is said in the press kit of Ant’s first solo album, ‘Phillips, perhaps because he was younger than the others found that life on the road was getting in the way of his writing.’3

The unhappiness and the stress began affecting Ant’s health and also he began suffering from stage fright: : ‘I was in Watford Tech, I remember playing the opening thing of ‘Let Us Now Make Love’ and I looked at the guitar and I thought ‘I haven’t got a clue what comes next’ and then I saw myself playing, but it was really scary.’4 Rich MacPhail remembers him playing a gig at Hackney where Ant was almost catatonic.5

Ant battled with the stage fright for three months thinking it was a passing phase and then fell ill with bronchial pneumonia: ‘Doctors were advising me to leave [the band]6‘, Ant says.

In June 1970, Genesis recorded their second album Trespass. Ant enjoyed working in the studio, but in July, they went straight back into band-life with little sleep, a lot of excitement and although Richard MacPhail tried his best to nourish his mates, pretty basic food. They were travelling and sleeping in their bread van or on floors: ‘We literally pitched up somewhere in the Midlands and we had nowhere to stay’, Ant recalls. ‘Too far to go back and some guy said: ‘Well, I know a guy with a bloody big house in Buxton’ and we stayed on the drafted floor of a bloody big house in Buxton.’7

Anthony Phillips leaves the band

Finally, Ant decided to leave Genesis. ‘I remember driving out with with Richard MacPhail who said ‘Can we have a word with you?”, Mike Rutherford remembers. ‘To the pitch at Richmond rugby ground after a soundcheck. Light was falling, it was a weird atmosphere and Ant said he wanted to leave. It was a huge shock to me.’8 Ant’s last show was at Haywards Heath on 18 July 1970.

Tony Banks says: ‘I thought it was the end of the group. He was vital to its formation and in many ways he was the strongest member. We felt that whatever was special about us was a combination of the four of us being together in the same room so I assumed that when he left, that was it.’9

Losing Ant ‘was the closest we came to busting up’, Mike Rutherford agrees. ‘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.’10

The aftermath

After Ant’s departure, Genesis did not disband, but his influence remained. The acoustic beginning of the ‘The Musical Box’, the opening song of their next album Nursery Cryme, was based on an instrumental guitar piece by Mike and Ant called ‘F Sharp’.

Ant himself went into a hiatus. ‘I left Genesis in a cloud of dust’, he says. ‘I remember I was listening to Sibelius when I had one those strange revelations – that I was terribly limited.’11 He started studying various musical styles and in 1974, he began teaching music as a means to further explore the subject. In 1977 he said: ‘In the time since I left Genesis, I’ve studied classical guitar, piano, orchestration.’12 That same year he released his first solo album The Geese And The Ghost. Anthony Phillips is still active as a musician today.

Title photo: Cover of one of the various editions of From Genesis to Revelation

Footnotes

  1. To this day, Ant sends Christmas cards to Richard addressed to ‘Mick Phail’. ↩︎
  2. RICHARD MACPHAIL INTERVIEW Revised : GENESIS early years ↩︎
  3. “The Geese and The Ghost Press Kit“. Passport Records. 1977. pp. 2–3. ↩︎
  4. ANTHONY PHILLIPS UNFILTERED: GENESIS C0-FOUNDER IN CONVERSATION ↩︎
  5. RICHARD MACPHAIL INTERVIEW Revised : GENESIS early years. In fact, Anthony Phillips has not played live to this day. ↩︎
  6. Cherry Red Interview: Anthony Phillips Story – Part 1 – Interview by Mark Powell – 2014 ↩︎
  7. ANTHONY PHILLIPS UNFILTERED: GENESIS C0-FOUNDER IN CONVERSATION ↩︎
  8. MIKE RUTHERFORD UNFILTERED: GENESIS GUITARIST/COMPOSER IN CONVERSATION. Now Revised ↩︎
  9. Bowler, Dave; Dray, Bryan, Genesis. A biography. (London: Sidgwick & Jackson, 1992), p. 35. ↩︎
  10. Ibid. ↩︎
  11. Hedges, Dan, ‘It’s that candour moment…’, Sounds (26 March 1977). ↩︎
  12. Ibid. ↩︎
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How Phil Collins Joined Genesis

On 4 August 1970, Phil Collins officially became the drummer for Genesis. Here’s the story of how he landed the gig, and how it all began with a swim.

‘Looking for someone…’

By the summer of 1970, Genesis had just suffered what they later described as the biggest loss in their career: guitarist and founding member Anthony Phillips had decided to leave the band. Though the music on Trespass was complete, Ant’s struggle with stage fright made it impossible for him to continue performing. With his departure, Genesis (then a quartet) decided it was time to look for a new guitarist and, crucially, a new drummer.

Up until that point, they had gone through three different drummers. So, they placed an anonymous ad in Melody Maker, the go-to magazine for musicians in the UK:

‘TONY STRATTON SMITH is looking for 12-STRING GUITARIST who can also play lead; plus DRUMMER sensitive to acoustic music.’

One aspiring young drummer in London happened to see it: Phil Collins.

Answering the call

Phil had previously played in a band called Flaming Youth (originally named Hickory) and released one album with them. But the band never took off, rarely performed live, and left Phil frustrated and eager for something new. Determined to pursue a career as a professional drummer, he began scanning Melody Maker for new opportunities.

He recognised the name of the band’s manager, Tony Stratton-Smith, from his earlier music ventures and knew he could often be found at the bar in London’s Marquee Club. So Phil turned up and asked directly if he could audition for the band. Stratton-Smith responded that the band insisted on auditions for everyone. The band, he revealed, was Genesis. Phil had seen their name in the back pages of Melody Maker listings, but didn’t know much about their music.

At the time, Genesis was a trio: Tony Banks on keyboards, Peter Gabriel on vocals, and Mike Rutherford on guitar and bass. Phil recalls calling them and speaking with Peter Gabriel:

‘He said ‘Yes, uhm, come down to my parents’ house in Chobham.”

Peter was intrigued when Phil mentioned he had played with George Harrison. (Phil would later admit that all he had done was play percussion on one of George’s sessions, but the name-drop got his foot in the door.)

The audition (and the swimming pool)

Phil and his friend, guitarist Ronnie Caryl, drove out to the Gabriels’ countryside home near Woking on a hot summer day. The house had a pool and was surrounded by fields. Ronnie was hoping to join the band too.

Phil remembers seeing Mike Rutherford in what looked like a crushed velvet dressing gown and slippers. (Mike insists it was just a swimsuit and robe – they were by the pool, after all.) Tony Banks barely spoke and struck Phil as a ‘tortured artist.’ Peter Gabriel seemed eccentric.

They’d arrived early, and there were still a few drummers ahead of Phil. While waiting, they were invited to take a swim.

‘Being there early and having two or three drummers ahead of me, I didn’t know what the conversation was, what they were saying to each other, but I could hear the music. The same piece of music being played two or three times and the same piece of music being played with the next guy two or three times. So by the time I came up to play, I kind of felt I knew what I was doing.’

The band played pieces that showed the different styles Genesis was experimenting with: delicate passages, heavier sections, and more experimental parts. Phil listened to the Trespass album in the living room and was struck by the harmonies that reminded him of Crosby, Stills & Nash. He later said he would’ve joined them even if he hadn’t liked the music: he simply needed a job.

Thanks to the sneak preview while in the pool, Phil nailed the audition.

Peter Gabriel later said:

‘Just the way he sat down on the stool, I knew he was going to be good. Some people have this sort of confidence about what they do.’

After they left, Ronnie thought Phil had failed the audition but that he had done great. As we know, it turned out the other way around. Phil got the job. Ronnie didn’t, but he did end up playing in Phil’s solo band years later.

Fitting into the band

Phil, then just 19, joined Genesis in August 1970. The band took a short holiday before getting back together to rehearse in a space called Farnham Maltings, which Mike’s father helped them rent. Over six weeks, they began working on what would become Nursery Cryme.

Phil immediately noticed the cultural gap between him and the others. He was a working-class lad with a grammar and stage school background. The others were Charterhouse-educated public school boys. He recalls seeing Tony Banks and thinking he looked like Beethoven with his long hair.

Peter Gabriel, meanwhile, had a bass drum next to his mic stand, which he would bang on spontaneously, even out of rhythm. This annoyed Phil.

The atmosphere in the band was intense. Tensions ran high, especially between Peter and Tony.

‘In the middle of a conversation, suddenly someone would get up and slam a guitar on the floor and walk out‘, Phil remembers. ‘I thought ‘What?’ Someone had said something to upset somebody else. Two hours later this person would come back and we’d start playing again. Suddenly there’d be ‘Oh, f*** you’ and somebody else walked out. It was very highly strung.’

Peter Gabriel adds:

‘I would often be at loggerheads with Tony Banks, and Phil would always sit on the fence, he would never want to come into the argument.’

Phil’s different background influenced more than just the sound. It affected the group’s dynamics. He realised early on that his role included defusing arguments with humour, a skill that came naturally from his time at stage school.

Mike Rutherford recalls:

‘Apart from the humour, he’s got a very laid-back approach. He was very serious about his work, but had a very laid-back approach to life, which I think helped us a little bit.‘

Phil may have thought he was joining a band that held rehearsals by a pool in the countryside. In reality, he’d just signed up for years of rough touring in a van. But the chemistry was right and the rest is history.

Title photo: Genesis – ‘The Knife’ (single cover).

Sources

Phil Collins – A Life Less Ordinary (documentary, 2002)

Genesis – Sum of the Parts (documentary, 2014)

Philipp Röttgers – Two eras of Genesis? The development of a rock band (book, 2015)

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The Silent Sun (1968) – Genesis

In February 1968, Genesis released their debut single, The Silent Sun, on Decca Records. At just 17 years old, Peter Gabriel was already making his mark. Let’s take a closer look at the band’s very first single!

Genesis at Charterhouse

In 1968, Genesis were still students at Charterhouse School. Tony Banks, Peter Gabriel, Mike Rutherford, and Anthony Phillips had formed the band as a way to escape the constraints of school life. At the time, the group operated as two songwriting pairs: Banks and Gabriel on one side, Phillips and Rutherford on the other.

While still at school, they recorded demos and sent them to Jonathan King, a former Charterhouse student who had found success as a musician and producer (his best-known hit being Everyone’s Gone to the Moon). King was particularly impressed by Peter Gabriel’s voice and signed them to Decca Records, intending to produce a full album. However, when the band presented their next batch of demos, he wasn’t impressed.

A Producer Who Loved The Bee Gees

Jonathan King wanted the band to deliver a potential hit. Knowing he was a fan of The Bee Gees, Peter and Tony deliberately wrote a song in their style—The Silent Sun.

‘I tried my best Robin Gibb impersonation,’ Peter later joked.1

King loved it and made it their debut single, later including it on the band’s first album, From Genesis to Revelation.

Musically, The Silent Sun blends folk and pop, with Tony Banks’ piano already playing a central role. The song primarily highlights Peter’s vocals, with orchestral strings added later by King in the studio. It’s also one of the rare official Genesis recordings to feature their original drummer, Chris Stewart.

‘We had been drilled by Jonathan King to write short pop songs, which I resisted,’ Anthony Phillips recalled. ‘I didn’t like The Silent Sun at all.’ He later reflected that it was probably for the best that the song wasn’t a hit: ‘If it had been successful, the band would never have developed its proper style.’2

Tony Banks, however, believed it had the potential to be a great hit. For Peter Gabriel, seeing the name Genesis in Record Mirror was a career-defining moment, while Mike Rutherford fondly remembers the thrill of hearing The Silent Sun on the radio for the first time in Anthony Phillips’ kitchen.

Reviews and Reception

Upon release, the Decca catalogue described The Silent Sun as ‘quietly attractive.’’.3 New Musical Express praised its ‘beautiful flowing arrangement of violins and cellos,’ though they speculated it ‘might be a bit too complex for the average fan.’4

A Single That Failed but a Band That Flourished

Despite their enthusiasm, The Silent Sun failed to chart. The accompanying album, From Genesis to Revelation, was also a commercial failure. Eventually, Genesis parted ways with Jonathan King, allowing them to explore a more adventurous and distinctive musical direction.

As the band gained fame, King repeatedly re-released these early recordings in various formats, capitalizing on Genesis’ later success. But for Genesis themselves, The Silent Sun remains a fascinating footnote in their history—their first step on the road to greatness.

* = Affiliate Marketing Link

Sources

ANTHONY PHILLIPS FULL UNCUT INTERVIEW .PT 1:FORMING GENESIS/ EARLY RECORDING/DISCOVERING THEIR SOUND.

Decca Press release.

GENESIS REUNION 2014: THE THREE. Part ONE. NOW FULL UNCUT VERSION ! + improved audio!

Thompson, Dave, Turn it on again. Peter Gabriel, Phil Collins & Genesis. (San Francisco: Backbeat Books, 2005).

  1. GENESIS REUNION 2014: THE THREE. Part ONE. NOW FULL UNCUT VERSION ! + improved audio! ↩︎
  2. ANTHONY PHILLIPS FULL UNCUT INTERVIEW .PT 1:FORMING GENESIS/ EARLY RECORDING/DISCOVERING THEIR SOUND. ↩︎
  3. Decca Press release. ↩︎
  4. Thompson 2005: 17. ↩︎