On October 2, 1982, the legendary ‘Six Of The Best’ reunion show with Peter Gabriel and Genesis took place at Milton Keynes.
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Genesis at Reading Festival 1971
On June 26, 1971, Genesis appeared at Reading Festival for the first time.
Peter Gabriel had broken his ankle
On their first appearance at Reading Festival, Genesis were low on the bill. Other artists that performed at the festival were Lindisfarne, Terry Reid, Renaissance and Sha Na Na. There were the usual problems that a festival and its visitors have to deal with: Rain, mud and an unscheduled police squad. For Genesis, the gig at Reading followed the incident at the Friars Club, where Peter Gabriel had broken his ankle.
On June 19th, Genesis had played at Friars in Aylesbury and during the encore of ‘The Knife’, Peter Gabriel had jumped into the crowd. Unfortunately, the audience parted when they saw him coming and he hit the floor, breaking his ankle. Following the incident, he played at least one show in a wheelchair at the art college in Lincoln. Tour manager, roadie, sound engineer and friend of the band Richard Macphail remembers: ‘And it scared the pants of me, because the stage was like a traditional theatre stage that sloped towards the audience. He was wildly cavorting in this wheelchair on this stage. I thought he was going to fall off the stage and break his neck!’1 Luckily, he did not and the band could play Reading Festival at June 26, 1971.
Reading Festival
The 11th National Jazz and Blues festival took place in Reading for the first time that year. Before, the event had taken place in Richmond, Windsor, Sunbury and Plumpton, but each time, the locals had complained, so the festival had to move on. The festival usually takes place in August, so admittedly it is a bit unclear to the author why the festival took place on 25, 26, and 27 June 1971. The ticket names the location as ‘Thames-side Arena, Richfield Avenue’ and the festival is titled ‘Reading Festival of folk and progressive music’. The ticket for Saturday, June 26, cost £1.50.
Over the next few years, the festival would become one of the leading British rock festivals. Not only the greatest bands of the age played there, but it was also the birthplace for future superstars. Organizer Harold Pendleton was allowed to stage the festival in Reading, because the local council wanted to celebrate the town’s 1000th anniversary and really believed it to be a jazz and blues festival, which it had originally been in the 1960s.
Genesis performed on Saturday
In 1971, Genesis was not the only act of Charisma Records that played at Reading Festival. As mentioned, Lindisfarne were there as well as Van der Graaf Generator, and Bell & Arc and Audience. Other notable acts that year were Arthur Brown, Rory Gallagher, Wishbone Ash, Medicine Head, Osibisa, Ian Matthews and Ralph McTell.
Due to their low billing, Genesis played midafternoon on the second day of the festival. Their performance was highlighted as one of the best of the event, and consequentially, they were invited back for the next two festivals.
During the summer of 1971, Genesis started to appear at outdoor rock festivals. Steve Hackett remembers that it used to rain for the first five years they played at festivals in England or Europe, always resulting in a mud bath. At Reading Festival, the power was fluctuating and the band could not get the organ in tune (and that meant that the Mellotron would be even worse to tune). They also tuned their twelve-string guitars in the dressing rooms and by the time they got on stage, they were already out of tune. Tuning a twelve-string guitar in front of an audience was almost impossible.
Not a festival band
Tony Banks thinks that Genesis were never a good festival group. It was difficult to build a dramatic atmosphere in daylight and most of the audiences did not really understand the long song with lots of chord changes. Also, the sound was mostly rubbish. Nevertheless, they builded a live following and got a reputation of being a good live band for festivals, but the best times were when they could play after dark at the end of a day with their own fans in the audience. However, at their first appearance at Reading, they already got some fans waving their Genesis flag during the gig.
Photo: Reading Festival Line Up 1973. Reading-festivaalin vuoden 1973 esiintyjälista Source: Wikimedia Commons, National Jazz, Blues and Rock Festival. / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).
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- Platts, Robin, Genesis. Behind the lines, 1967-2007. (Burlington, Ont., Canada: Collectors Guide Pub., 2007), p. 44. ↩︎
Genesis’ First Gig Abroad: Belgium, March 7, 1971
Genesis played their first-ever overseas concert on March 7, 1971, at La Ferme in Woluwe St. Lambert, Belgium. This landmark performance marked a significant step in the band’s journey, as they ventured beyond the UK for the first time.
Trespass Had Charted in Belgium
At the start of 1971, Genesis had yet to achieve major success in their home country. However, things were different on the continent: their second album, Trespass, had reached number one in Belgium. Encouraged by this unexpected success, the band – now featuring new members Phil Collins on drums and Steve Hackett on guitar – headed to Belgium for their first international show.
A Rough Journey Across the Channel
The band crossed the English Channel on an overnight ferry, but sleep was out of the question. Unable to afford cabins, they spent the night sitting on deck – while Phil, suffering from seasickness, spent most of it throwing up. Running on little more than beer and sandwiches, they arrived in Belgium the next morning, drove straight to the venue, and played.
The Setlist: A Mix of Old and New
The setlist featured songs from Trespass, live favorites, and two brand-new tracks. As was typical for Genesis at the time, the performance started with acoustic material before building up to heavier numbers. Fortunately, a recording of this historic gig exists, allowing us to hear most of the show (though some parts are missing). It also contains the only known live recording of the rare song “The Light”, which features early elements that would later evolve into The Lamb Lies Down on Broadway’s “Lilywhite Lilith.”
Opening with a New Song
The show began with the band’s latest composition, “Happy The Man” – introduced by Peter Gabriel as a song about a man who “eats his fingernails, probably.” Built around a Mike Rutherford riff, the song had a laid-back, folk-rock feel, reminiscent of Lindisfarne. It was an attempt at a radio-friendly single, and in this live version, it was performed at a slightly slower tempo.
Next came “Stagnation” from Trespass – which Gabriel jokingly described as being about “people with bad breath.” This live rendition, enhanced by Phil Collins’ drumming, had a swing that was missing from the studio version.
The Only Recorded Performance of “The Light”
After a few minutes of Peter’s humorous attempts to introduce the band, they launched into “The Light” – a rarity in Genesis’ catalog. The song’s opening bass riff would later be repurposed for “Lilywhite Lilith”, and Steve Hackett’s guitar parts would also find their way into that track. “The Light” then developed into a full-fledged progressive rock piece, featuring an extended instrumental jam between Tony Banks and Hackett. Eventually, the song returned to a section that closely resembled the later Lamb Lies Down classic. Compared to other Genesis compositions from this era, “The Light” stands out as a unique and intriguing experiment.
A Blend of Familiar and Unfinished Material
Next, the band slowed things down with “Twilight Alehouse”, a live staple at the time. The dramatic organ-driven climax showcased Tony Banks’ signature style. Then came another brand-new song: “The Musical Box”, which Peter introduced in both English and French. This early version was slightly different from the one that would appear on Nursery Cryme later that year. There was extra instrumental material before the “And the clock” section, which was repeated twice. Tony’s keyboard solo was extended, while Steve Hackett’s was shorter – unsurprising, as he had only been with the band for two months. Even the song’s now-iconic climax had subtle differences in Gabriel’s vocal delivery.
The band then launched into the Trespass classic “The Knife”, which Peter introduced in French. Tony’s organ led the charge, Mike Rutherford’s bass provided the driving force, and Steve Hackett – though still getting to grips with the song’s solos – delivered a strong performance by the end. Unfortunately, Peter’s flute section in the middle is missing from the recording. The audience, however, responded with enthusiasm, applauding loudly.
For the encore, Genesis performed “Going Out to Get You”, an early track that Peter described as “a very old number about passion.” Tony Banks dominated the piece, and Steve Hackett was barely audible – at times, it even seemed as if he wasn’t playing at all.
A Glimpse Into Genesis’ Creative Process
Listening to this rare recording is fascinating – not just because it includes unreleased songs, but also because it captures the band in the midst of developing their material, both musically and lyrically. Most notably, it features the only known live performance of “The Light”, making it an essential piece of Genesis history.
An Exhausting but Pivotal Moment
The concert was a success and a crucial milestone for Genesis. After the show, the exhausted band made their way back to the UK on the ferry, with Phil Collins limping home, nearly collapsing from sheer fatigue. Despite the rough journey, this first step into the international spotlight marked the beginning of Genesis’ rise as one of progressive rock’s most important bands.
Photo: FOH PA mixing desk 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).
Peter Gabriel’s First Solo Gig
Peter Gabriel’s first performance as a solo artist took place at the Capitol Theatre in Passaic, New Jersey, on either March 2, 3, or 5, 1977.
The Album and the Tour
His debut album, Peter Gabriel, had been released in February 1977 and featured the hit single “Solsbury Hill.” Just like the album, the tour carried the motto: Expect the Unexpected. Gabriel assembled a band of top studio musicians and old friends to bring his new music to life.
One of those musicians was Tony Levin on bass. Having already worked with artists like Paul Simon, Levin joined Gabriel for this tour and has been with him ever since. In fact, he remains the only musician from that first album who still plays with Gabriel today.
The rest of the lineup for the first gig and the initial leg of the tour included Allan Schwartzberg on drums, Larry Fast on synthesizers, Steve Hunter on guitars, Jimmy Maelen on percussion, and Phil Aaberg on keyboards.
A somewhat surprising addition to the tour was Robert Fripp, who had played on the album and joined as a live guitarist under the alias “Dusty Rhodes.” Fripp, known for his distaste for the traditional rock-tour experience, often positioned himself behind the amplifiers or even offstage. He preferred to be introduced as “the completely unknown Dusty Rhodes.”
When Was the First Show?
The exact date of Gabriel’s first solo performance remains uncertain, with sources citing March 2, 3, or 5. Regardless of the precise date, the opening of the show was both deliberate and striking. Gabriel took the stage alone, performing “Here Comes the Flood” with only his voice, piano, and Fripp’s guitar. It was a bold statement – shedding the elaborate masks and costumes of his Genesis days and presenting himself simply as a musician, dressed in jogging clothes.
The full band joined in for the second song, “On the Air,” with its driving synths instantly energizing the crowd. “Moribund the Burgermeister,” which some saw as a callback to his Genesis style, felt a bit rigid in its live rendition. But “Solsbury Hill,” his first solo hit, resonated with the audience, particularly with American fans who had discovered him through the song. Live, the tracks sounded less orchestrated than on the album – leaner, punchier, and more aggressive.
Surprising Cover Songs and a Relaxed Band
Alongside his solo material, Gabriel included a few unexpected cover songs in the set. Marvin Gaye’s “Ain’t That Peculiar” paid tribute to his love of soul music, while The Kinks’ “All Day and All of the Night” was performed with a raw, heavy edge. The mostly American backing band was not only professional but also visibly enjoying themselves – especially during the R&B cover. The atmosphere on stage was relaxed and playful, something that even well-established bands sometimes struggle to achieve live. Gabriel himself seemed to revel in the experience.
The Fans’ Expectations
For the encore, Gabriel returned to the stage in Rael’s signature leather jacket, jeans, and T-shirt to perform “Back in N.Y.C.” from The Lamb Lies Down on Broadway. He was well aware that fans expected both his solo material and some Genesis songs. Throughout the show, some attendees had expressed disappointment at the minimal staging and the exclusive focus on his solo work. However, when he launched into “Back in N.Y.C.,” the audience erupted, leaving them wanting more.
And they got it. Peter Gabriel went on to become a hugely successful solo artist with a unique and ever-evolving career. Looking back today, his time with Genesis is merely a footnote in a career that firmly established him as one of the most distinctive voices in music history.
Photo: Peter Gabriel, Chateau Neuf, Oslo, Norway. Description=Peter Gabriel at Chateau Neuf in Oslo, Norway on August 31st 1978 |Source=http://www.helgeoveras.com/gabriel.shtml |Date=August 31st 1978 |Author=Helge Øverås (https://creativecommons.org/licenses/by/3.0).
The ‘Turn It On Again’ reunion tour
On 11 June 2007, Genesis started their ‘Turn It On Again’ reunion tour in Helsinki. It saw the return of Phil Collins on vocals.
Genesis announced their reunion in 2006
On 7 November 2006, Tony Banks, Mike Rutherford and Phil Collins announced that they were reuniting as Genesis to play a series of shows in Europe in the summer of 2007 and in North America in autumn. Phil Collins had left Genesis in 1996. Although he had appeared with his former band members in the past, this was his official return. The reunion also included Genesis’ long-time live members Chester Thompson on drums and Daryl Stuermer on guitar. Both had not played with the band since 1992.
The first proper gig was planned for 11 June 2007 in Helsinki. With no new album to promote, the band had enough time to go through their material and dust off the old songs. Having not played together for 15 years, rehearsals were a bit more difficult than they all had expected.
Rehearsals for the ‘Turn It On Again’ tour
Tony Banks (keyboards) and Mike Rutherford (guitars, bass) not only had to relearn the songs. They also had to change keys so that Phil Collins, whose voice had dropped over the years, could sing the songs.
He had some trouble relearning some of lyrics. But once he did, he struggled less with them than he had in the past. Songs like ‘Domino’ and ‘Home By The Sea’ with lyrics by Tony Banks were always a challenge for him to sing. (For example lines like ‘Sheets of double glazing’ or ‘Nylon sheets and blankets’). He also listened to live recordings from the past and realized that he had often added some little extras. On this tour he went back to singing the songs the way they were written.
He also had not played Genesis songs on drums for years. On his solo tours, he had done the drum duet with Chester Thompson and played on ‘In The Air Tonight’. But now he had to get himself back in shape and play things like ‘Second Home By The Sea’. Luckily enough, Chester Thompson and Daryl Stuermer were there to back them up and help them out. Daryl had to show them how to play their own songs because he knew and had learned them so well.
But the five of them had played for so long that even after a break of 15 years, the chemistry was still there. Also, they got along much better than ever before. Tony Banks and Mike Rutherford had become looser with age whereas Phil Collins had become a bit more serious. They could talk about things they never dared say to each other 15 years before.
The setlist
And what would Genesis play on this reunion tour? They had plenty of material to choose from. Of course, there some inevitable hits that the fans wanted to hear like ‘Follow You Follow Me’, ‘Invisible Touch’, ‘Mama’ and ‘I Can’t Dance’.
They also played their hit ‘Land Of Confusion’ a bit heavier than usual. It sounded more modern, which was a nod into the direction of the band Disturbed. They had done a metal cover version of the song.
A trip down memory lane on the Genesis reunion tour
Apart from the hits, they also played more ambitious songs from their later period like the already mentioned ‘Home By The Sea’ and ‘Domino’, two of Tony Banks’s favourites. As opener, they decided to do the instrumental intro of ‘Behind The Lines’ from Duke. They added a piece of ‘Duke’s End’ and called the show opener ‘Duke’s Intro’. It was a very strong and powerful opening for the reunion shows and would always make the crowd go wild.
Overall, Phil Collins played much more drums throughout the show than he had in the past. And for ‘I Know What I Like’ he looked at the tambourine dance from 1976 and after a bit of training, was able to do it also on this tour.
Also, they dug out ‘Ripples’ from A Trick Of The Tail (the first album with Phil Collins as lead vocalist from 1976), which they had not played for years. It was a real surprise in the setlist. The same goes for a bit of ‘Duke’s Travels’ that was incorporated into a medley. The setlist was a great mixture of material from all of their history. They played songs from almost every album since 1973. The last song of the set was the Lamb-classic ‘Carpet Crawlers’ from 1974. It was always a very emotional ending for the band and the audiences.
Behind the scenes
The stage set-up for the tour came from acclaimed stage designer Mark Fisher, the lighting design came from Patrick Woodroffe. Behind the band was a huge screen which created a different look and a different setting for each song.
Producer Nick Davis supervised the sound of the band. Also, the band decided to release sound board recordings of each show through an Encore Series.
The first concert in Helsinki
And finally the first gig was played in Helsinki on a warm summer night. The band played flawlessly, the screens showed the right visuals at the right time and the audiences were happy to see Genesis again.
Phil Collins later said that some people expected them to release a new album during this period. But for him, the tour was not only a Genesis reunion tour but also a Genesis farewell tour.
The tour went on until autumn 2007 when the band played North America. After that, it seemed that Genesis had closed the final chapter. When asked what they enjoyed most about the reunion tour, they all agreed that the greatest thing was to be back with old friends and laugh together.
Photo: Genesis, ofwel: Phil Collins, Michael Rutherford, Tony Banks, Chester Thompson en Daryl Stuermer.}} |Source=Maikel Koek, via Wikiportrait |Date= |Author=Maikel Koek |Permission={{Wikiportrait|2008041010026495}} (https://creativecommons.org/licenses/by/3.0).
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!*
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‘We Can’t Dance’ in Tampa – The story of the 1992 tour
Tampa, Florida, 17 May 1992. Genesis leave the stage at the fourth show of their gigantic We Can’t Dance tour after just two songs. They leave behind an almost rioting audience. The band had to cancel the show after ‘Land Of Confusion’ and ‘No Son Of Mine’ due to Phil Collins’ throat problems. Luckily enough, this was just a one-time affair. The We Can’t Dance tour became one of their biggest productions in terms of stage setup and venues.
Let’s take a look back at the massive production of the We Can’t Dance tour.
We Can’t Dance
We Can’t Dance*, the band’s fourteenth studio album, was released in 1991. It was another monumental blockbuster and a huge success all over the world. Despite being in the business for almost 25 years, Genesis still reached top of the charts. In terms of sales, We Can’t Dance was one of their most successful albums. It produced four hit singles: ‘No Son Of Mine’, ‘I Can’t Dance’, ‘Hold On My Heart’ and ‘Jesus He Knows Me.’ All of them were accompanied by elaborate music videos. Especially ‘I Can’t Dance’ and ‘Jesus He Knows Me’ stand out for their high production and sense of humour.
Massive venues and Jumbotrone video screens on the We Can’t Dance tour
Of course, this blockbuster of an album had to be followed by a massive tour. Over 60 concerts were planned for North America and Europe in 1992. The band decided to play stadiums, although they were not too happy to play bigger venues. But the idea of playing three months of stadiums instead of ten months of arenas appealed to them. They did not want to be on tour for too long.
Therefore, the stage set up reached another level on this tour. With new technology available, three Sony Jumbotron video screens were put behind the stage so that everyone in the stadium, right to the back, could witness the action onstage. The band rehearsed in the Goodyear blimp hanger in Houston. It was one of only a few spaces that was large enough to accomodate the new stage set-up.
The setlist
Phil Collins, Mike Rutherford and Tony Banks were of course accompanied by their long-time live members Chester Thompson and Daryl Stuermer. The band rehearsed for a few weeks. The setlist included mainly material from the new album. They added a few tracks from its predecessors Invisible Touch* and Genesis* and the inevitable ‘Turn It On Again’ as an encore. A 20-minute medley was played that included the band’s most prominent material from the 1970’s. It was different to the ‘In The Cage’-medley they had played for 15 years and a welcoming change.
Leaving the stage in Tampa, Florida
They started the tour on 8 May 1992 in Texas. On the fourth night of the tour in Tampa, Phil Collins’ voice gave up. When necessary, he had supported his voice with various medical methods on tour. And he knew that a stadium full of fans could sing the songs word by word and help him out. But on that night he could not continue. The band left the stage after just two songs, ‘Land Of Confusion’ and ‘No Son Of Mine.’
But his voice worked for the rest of the tour. They ended the first leg of the tour with a huge open-air show in Knebworth Park in August that was broadcasted on Premiere. In the autumn of 1992, the band continued their tour and played various cities in their home country. Throughout the 80’s, the had not played that many shows in Great Britain. On this leg of the tour they made up for that. The concerts at Earl’s Court in London were filmed for video and later DVD release: The Way We Walk Live in Concert.
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“The Way We Walk”
The tour also produced a double live album, Live – The Way We Walk (The Long And The Shorts). It was split into The Shorts* and The Longs instead of splitting an entire show in its middle. Some fans did not like this approach, but at this point in Genesis history, it was a wise decision. Many listeners knew them for their single hits. Other fans just liked their long and epic songs. In later releases of the double live album, the songs were put into the right order.
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The tour turned out to be Genesis last with Phil Collins until 2007. It was also the last tour for drummer Chester Thompson and guitarist/bassist Daryl Stuermer until 2007. By the end of 1992, none of them knew. Also, the fans did not know that they had witnessed Genesis for the last time in this incarnation (if they even to to see the 1992 tour). But as we know, the band got together again 15 years later. But that is 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).
Listen to live versions from the 1992 gig at Knebworth on “Genesis – BBC Broadcasts” – Get it here!*
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Live at the Roundhouse 1970
On 11 March 1970, Genesis played one of the biggest gigs of their early career at the Atomic Sunrise Festival at the Roundhouse Club in London. The event featured artists like David Bowie and Hawkwind and was sponsored by Yoko Ono. A few weeks later Genesis signed to the Charisma label.
Genesis in early 1970
At the beginning of 1970, Genesis were writing and rehearsing new music for their second album. Their debut album* had failed to chart and they had quit their contract with producer Jonathan King and the Decca label. The new songs were more adventurous and experimental and far from the pop tunes of their first album. The band consisted of Peter Gabriel (vocals), Tony Banks (keyboards), Ant Phillips (lead guitar), Mike Rutherford (guitar and bass) and John Mayhew (drums).
Genesis opened for David Bowie at the Roundhouse
The band and its members were still very young at the time and far from being famous. So the infamous hippie-festival at the Roundhouse was their biggest gig up that point. Especially as they were booked to open for David Bowie.
Both Tony Banks and Peter Gabriel were huge fans of David Bowie. Space Oddity* had been released the year before and Bowie was a rock star already. In these days, Bowie and his band appeared on stage in a very theatrical way. Gabriel was impressed and a little later, he used costumes and masks onstage himself. His outfits and theatrical performances leaped Genesis on another level in terms of popularity. Tony Banks on the other hand was a bit disappointed that Bowie and his band put so much focus on the visuals instead of the music. Unbeknownst to them, this gig might have been the beginning of a conflict within Genesis. The conflict grew when Peter Gabriel himself started to dress up and the other band members felt that the stage show distracted from the music more and more.
Yoko Ono sponsored the Atomic Sunrise Festival at the Roundhouse
At the festival, the band played songs that would appear on their second album Trespass* later that year. Video snippets exist that show the band performing ‘Looking For Someone’ and ‘The Knife’. Apparently, ‘Twilight Alehouse’ was also played. Ant Phillips jokingly admits that this footage is the only visual proof that he ever performed with Genesis.
Althought the gig was a big one for the band, they were not too happy. Peter Gabriel remembers that there were more people onstage than in front of the stage. Ant Phillips was frightened and nervous. His stage fright was one of the reasons he left the group later that year.
Still, Tony Banks and Ant Phillips were both impressed by the professionality behind the scenes. Every gig of the festival was recorded on 8-track equipment and part of it was filmed. As Yoko Ono sponsored the gig, there might be a chance that the complete film footage still exists in the Apple archive.
A couple of weeks after the gig, Genesis signed their new contract with Charisma and later that year, they released their second album Trespass. Ant Phillips left the same year and a new drummer took over in summer of 1970…but that’s another story.
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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Face Value (1981) – Phil Collins
In February 1981, Phil Collins unveiled his debut solo album, Face Value, marking a significant departure from his role as Genesis’s frontman. The album not only showcased Collins’s personal and musical evolution but also cemented his status as a prominent solo artist in the 1980s.
Genesis and Personal Turmoil
By 1978, Collins had transitioned from Genesis’s drummer to its lead vocalist. The band’s 1978 album, …And Then There Were Three…, featured the hit “Follow You Follow Me,” signaling a shift towards more concise and direct songs. During this period, Collins faced personal challenges; his wife, Andrea, threatened to leave due to his extensive touring commitments. Upon returning from a tour, Collins discovered that Andrea had moved to Canada with their children. Despite efforts to reconcile, including a move to Vancouver, the marriage ended in divorce.
Creation of Face Value
In the aftermath of his divorce, Collins channeled his emotions into music. He set up a home studio in Surrey, equipped with a piano, drum machine, and an 8-track tape recorder. Here, he began crafting demos that delved into his personal experiences. When Genesis regrouped to work on their 1980 album, Duke, Collins presented some of these demos. Two tracks, “Misunderstanding” and “Please Don’t Ask,” were included in the album. Encouraged by the positive reception, Collins decided to pursue a solo project, collaborating with producer Hugh Padgham to develop his demos into a full-length album.
Musical Diversity and Notable Tracks
Face Value is a tapestry of various musical styles, reflecting Collins’s diverse influences. The opening track, “In the Air Tonight,” is renowned for its haunting atmosphere and the iconic drum break that has since become legendary. The song’s lyrics were largely improvised, capturing the raw emotion of the moment.
Another standout track, “I Missed Again,” introduces a brass section featuring the Phenix Horns, known for their work with Earth, Wind & Fire. This collaboration infused the song with a vibrant, funky energy, a sound that would become a hallmark of Collins’s future solo endeavors.
The album also explores a range of genres:
“The Roof Is Leaking”: A track with Delta blues and country influences, adding to the album’s eclectic nature.
“You Know What I Mean”: A poignant ballad showcasing Collins’s vulnerability, accompanied solely by piano and vocals.
“Hand in Hand”: An instrumental piece blending jazz and world music elements, highlighting the talents of the assembled musicians.
Commercial Success and Legacy
Upon its release, Face Value received critical acclaim and achieved significant commercial success. The album topped the UK Albums Chart for three weeks and reached No. 7 on the US Billboard 200. It has since sold over 5 million copies in the US and over 1.5 million in the UK. The success of Face Value not only established Collins as a solo artist but also set the stage for a series of successful albums throughout the 1980s.
In retrospect, Face Value stands as a testament to Phil Collins’s ability to translate personal adversity into a universally relatable and sonically diverse album. Its enduring appeal lies in its raw emotion, innovative production, and the seamless fusion of various musical styles.
Steve Hackett’s First Gig with Genesis: A Nervous Start to a New Era
On January 14, 1971, Genesis played a gig at University College, London, marking the live debut of their new guitarist, Steve Hackett. For Hackett, this night would become a memorable, albeit nerve-wracking, chapter in his career with the band.
Joining Genesis: A Classical Touch
Steve Hackett joined Genesis in late 1970, following an audition that showcased his unique style. Hackett brought a blend of classical, jazz, and blues influences, developed since his childhood in Pimlico. Inspired by The Beatles, Bach, and George Martin’s orchestrations, Hackett’s approach to guitar was more compositional than flashy—something Tony Banks and Peter Gabriel recognized during his audition. “We thought that some of what he did would fit really well,” Banks later recalled, praising Hackett’s classical edge.1
Before the audition, Hackett had advertised in Melody Maker for years and had gained limited recording experience with the band Quiet World. But when he joined Genesis, he knew this was his opportunity to make a lasting impact.
The Big Night: January 14, 1971
By the time Hackett stepped onstage for the first time as a member of Genesis, the band had already begun evolving into a cohesive unit. Phil Collins, who had joined a few months earlier, had quickly become a vital part of their sound. Mike Rutherford, having the dual roles on bass and rhythm guitar, was developing as a rhythm guitarist, while Peter Gabriel and Tony Banks remained the creative core.
The University College gig, however, was not an auspicious start. Hackett was understandably nervous, and the evening presented several challenges. Equipment problems—a recurring issue for Genesis in their early days—plagued the performance. Hackett’s borrowed fuzz box malfunctioned.
“I found his playing a little stiff”, Phil Collins later said, “but I guess that was the Fripp influence. I like Robert, I played with him on his solo album, he was always very good to me, but I don’t think he’s a very intuitive player. He was a kind of sound man without the feeling. I think Steve took a little bit of that into his music. It wasn’t a groove, you know, and as a drummer that was really where I lived.”2
Adding to the chaos on that first night, Collins decided to test the limits of his ability to drum after consuming Newcastle Brown Ale. According to Collins, “I was doing perfect drum fills – three inches to the left of every drum.”3 The resulting performance left the band frazzled.
Misunderstandings and Lessons Learned
Backstage, Hackett misinterpreted a heated discussion among the band members as criticism of his performance. In reality, Banks and Rutherford were admonishing Collins for his ale-induced drumming experiment. Sound mixer Richard MacPhail tried to reassure Hackett after the gig, leading him offstage after saying, “It’s over now, Steve.”4 Despite his doubts, Hackett’s contributions impressed the group, and they encouraged him to stay.
Building Momentum
The difficult debut was only the beginning. Hackett and Rutherford soon developed intricate ideas for their twin twelve-string guitars, which was a hallmark of Genesis’ sound. The band spent the rest of 1971 refining their music, writing and rehearsing material for what would become their first album with Hackett, Nursery Cryme. During the “Six Bob Tour” with Lindisfarne and Van der Graaf Generator, Genesis started gaining traction with audiences, performing in town halls and small venues across Britain.
By mid-1971, Genesis was playing bigger stages, including the Reading Festival and their first overseas gig in Belgium. Hackett’s insistence on acquiring a Mellotron MK II and new equipment pushed the band towards a more sophisticated sound.
A New Genesis
Hackett’s intricate guitar work and compositional mindset enriched Genesis’ music. Though his first gig was rocky, Hackett proved to be a vital addition to the band, helping shape their identity.
While that night at University College on January 14, 1971, may not have gone as planned, it set the stage for the musical evolution to come.
Title photo: Wikimedia Commons, Jeff Wurstner / CC BY (https://creativecommons.org/licenses/by/3.0)
Sources
Fielder, Hugh; Sutcliffe, Phil, The book of Genesis. (London: Sidgewick & Jackson, 1984).
PHIL COLLINS FULL 2-HOUR INTERVIEW: HIS CAREER WITH GENESIS TO 1980.
STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS.
TONY BANKS UNFILTERED: GENESIS KEYBOARD PLAYER & COMPOSER IN CONVERSATION . FULL.. 1 Hour 53 Mins.