Tag: Genesis

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Duke (1980) – Genesis

On 28 March 1980, Duke* was released. On this album, Genesis went back to jamming together instead of bringing in individual songs. Let’s take a look back on the album that produced the instant classic ‘Turn It On Again’.

Phil Collins became a songwriter

Genesis’ tour in 1978 had lasted almost a year and in consequence, Phil Collins’ marriage had fallen apart. Phil asked for a break to save his marriage. Tony Banks and Mike Rutherford agreed and both of them released their first solo records. Going to Canada, where his wife had moved to with their children, Phil Collins tried to save his marriage. He could not and came back to England, sitting alone in his home in Surrey and spending his time writing songs, something he had never done before.

The band started jamming again

In 1979, Genesis came together to write a new album. Tony and Mike came to Phil’s house and were surprised to find that Phil had become a songwriter. They all brought in songs individually into the jam sessions, but more importantly, they went back to just rehearsing and improvising, something they had stopped doing since Peter Gabriel’s departure. The new songs were very strong. They were modern and still typically Genesis.

Turn It On Again

Fans could get a taste when ‘Turn It on Again’ was released as a single in early March 1980. The song became a classic Genesis song. ‘Turn It On Again’ is central to Genesis’ history. It shows how good the three were getting at incorporating complex and challenging musical ideas into pop songs that would be played on the radio. Based on a riff of Mike’s, the song has an odd 13/8 time signature, but listeners do not realize until they start to clap along or tap their toes to it.

The song was played on every tour since its release. It was mostly played as an encore and from 1983 onwards, the band turned it into a medley that incorporated various rock and roll cover songs. They also named a a hit collection after the song (Turn it on again: The Hits*) and when they announced their reunion tour in 2007 they titled it Turn It on Again – The Tour.*

On an album with outstanding songs, this weird, driving number had a special place. The single reached #8 in the U.K. charts and allowed the group to perform on Top of the Pops in person for the first time. The album itself was called Duke. It was released in late March 1980 and it was the band’s first number one album in the U.K.

‘This is the story of Albert’

There is a story behind the album, the main protagonist being Albert, the character on the album cover. The album opens with ‘Behind The Lines’, a grand musical odyssey that starts with an euphoric instrumental passage and then turns into a soulful song. With an opener like this, Genesis proudly demonstrated who they were in 1980. The trio showed again that they were (and are) the musical core of Genesis. They were the ones who had created the most important passages of ‘Supper’s Ready’, the closing section of ‘The Cinema Show’ and the main bulk of the album The Lamb Lies Down On Broadway.*

‘Misunderstanding’ was a hit in the US

But as mentioned, the three of them did also bring in individual songs on Duke. Phil’s songs were the very personal ‘Please don’t ask’ and ‘Misunderstanding’, which was one of the first songs he had ever written all alone for Genesis. It is a sophisitcated pop song with direct, simple lyrics and a great swinging groove. The band sound like they enjoy the new influence. Funnily enough it was this song that became a Top Twenty hit in the US – a hint at Phil’s solo success in the future.

Tony Banks often named Duke one of his favourite Genesis albums and points out the song ‘Duchess’, which for him combines all the best elements of modern Genesis. It was their first song to feature a drum machine (many more would follow) and the song’s story can be seen similar to the band’s own story. It is one of Tony’s favourite Genesis songs and although it sounds very simple, for him it has as much emotion as ‘Supper’s Ready’.

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Listen to brilliant live versions from the Lyceum gigs of the 1980 Duke-tour on “Genesis – BBC Broadcasts” – Get it here!*

Genesis Music on Amazon*

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Phil Collins’ departure from Genesis in 1996

On 28 March 1996, Phil Collins’ departure from Genesis was officially announced in a press release: ‘Genesis end twenty-year experiment, decide to replace Peter Gabriel as vocalist.’ It was the end of an era. Here’s the story of his (temporary) departure.

Phil Collins decided to leave Genesis in 1993

In 1993, Genesis were at their peak. The group’s We Can’t Dance tour in 1992 had been huge. In autumn 1993, they played a concert in Cowdray Ruins, a charity gig with Pink Floyd, Queen and Eric Clapton. Genesis played four songs and joined everybody for the encore. Nobobdy knew that this would be Phil Collins’ last gig with the band for a long time.

By this point, Phil Collins was writing what would become his most personal solo album Both Sides*. On Both Sides, he played all the instruments and produced the album all by himself. Both Sides was similar to his first solo album Face Value and reflected his situation: His marriage with his wife Jill was going to pieces because he had an affair with an old girlfriend from school, Lavinia Lang. His family was about to break once more. Phil felt he could not sing Genesis songs anymore, but wanted to sing about things he could relate to. Also, he was tired of having to wow whole stadiums with the band. He felt that he had come to the end of the road with Genesis.

On his solo album Both Sides, Phil Collins played all the instruments, sang and produced

Some time after the gig at Cowdray Ruins, he told manager Tony Smith about his decision. Smith, being a manager and businessman, advised him to finish his solo album and tour and then think about the matter again. Phil Collins went on a world tour in 1994 and 1995. In Switzerland, he met a young woman named Orianne Cevey, whom he fell in love with. His marriage with Jill being over, he moved to Lake Geneva to live with Orianne. For this decision (and for his music), he was heavily criticized by the British press. In turn, Phil got to hate his public ‘Mr Nice Guy’-image. At this point in his life, there was no space for Genesis anymore.

Tony Banks and Mike Rutherford decided to carry on

The group met in manager Tony Smith’s kitchen in 1996 and Phil told them that he wanted to leave. Tony Banks’ replied with true British understatement ‘It’s a sad day, a very sad day.’ Mike Rutherford was surprised that Phil had stayed that long in Genesis, having enjoyed a successful solo career for 15 years in 1996. Phil’s departure was announced twenty years and two days after his first gig as a vocalist with the band. With him leaving, the band not only lost their superstar singer and entertainer, but also a great composer and drummer.

Mike and Tony decided to carry on and search for a new singer. Phil Collins continued his solo career, but not as successful as in the 1980s. The three of them remained friends. It was not until the early 2000s that they started to appear again as a trio for certain occasions. Finally in 2006, ten years after Phil’s departure, they reunited officially as a group to go on tour. But that is 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).

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Phil Collins’ first show as frontman

In 1975, Peter Gabriel left Genesis. After unsuccessfully auditioning for a new singer, drummer Phil Collins took over and sang on A Trick of the Tail* (1976), the first album after Gabriel’s departure. Still, he did not want to sing on the following tour. This is the story of how he became Genesis frontman.

Phil Collins did not want to be the singer

The album A Trick of the Tail was a huge success, showing that Genesis could survive the loss of their lead singer Peter Gabriel. Phil Collins demonstrated his singing skills and his variety of range on heavy tracks like ‘Dance On A Volcano’ and softer songs like ‘Ripples’.

Purchase A Trick of the Tail here on Amazon*

There was still a problem: Phil Collins did not want to be the singer. He wanted to be the drummer, which for him was the most respectable part of the group. ‘I’ve always felt the singer was the cheapest gig in the band, ’cause all they had to do was look good and wiggle their bum,’ Phil said. ‘I always wanted the most respectable part in the group, which was of course the drummer.’1 When the band planned to tour the new album, he became very reluctant. He agreed to sing if he found someone whom he could trust as a drummer.

His mate Bill Bruford of Yes became drummer for the upcoming Genesis tour and Phil properly became Genesis frontman. Their first gig was in London, Ontario, on 26 March 1976.

Could he replace Peter Gabriel?

Having listened to A Trick of the Tail, the audience knew that Phil Collins could sing. Also, there was no need to worry if he was able to sing the older songs. Peter Gabriel and him not only had similar voices, Phil had also accompanied Peter as a backing vocalist. There was no doubt or problem when Phil Collins approached tracks like ‘The Lamb Lies Down On Broadway’, ‘Firth Of Fifth’ or the epic fan favourite ‘Supper’s Ready’.

Also, the new songs were received very well. On ‘Robbery, Assault & Battery’, Phil showed his acting skills from drama school and brought the Victorian story to life onstage. The instrumental ‘Los Endos’ became even more adventurous than on record when it was played with two drummers.

The addition of Bill Bruford was the right decision at that point. Having played with Yes, he was a well-known drummer in the progressive rock world. Also, to have two drummers onstage was something new for Genesis and added a new dimension to the music. On later tours, they would bring the double-drumming to perfection, when Phil played with Chester Thompson. Whereas Bill and Phil played more against each other, Chester and Phil played with each other.

A happy audience welcomed the ‘new’ singer

The audience wanted this line-up to work and they welcomed the ‘new’ singer enthusiastically because he came from within the group.

They also liked Phil’s down-to-earth approach combined with a bit of Pythonesque humour. In fact, the band seemed more relaxed onstage and the focus was not only on the frontman, but also on the other members. On ‘I Know What I Like’, Phil involved them by putting funny hats on their heads and singing together with Mike Rutherford into the microphone. He also invented his famous tambourine dance.

Whereas Peter was the mysterious traveller, Phil was the bloke next door. He did not tell strange stories but communicated with the audiences directly. Peter Gabriel often stated that he was happy when Phil replaced him. He knew that technically he was a better singer and he also knew that Phil’s communication with the audience would work.

And he was right. Although Phil was nervous on this first show in London, Ontario, this approach worked – the band went on with him as lead singer since then, only with a short interruption in the 1990s when Phil also left the group and Ray Wilson took over. But this is another story.

Title photo: Mike Rutherford and Phil Collins of Genesis in 1977. Source: Wikimedia Commons, Jean-Luc Ourlin from Toronto ontario, Canada / CC BY (https://creativecommons.org/licenses/by/3.0)

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  1. Genesis – A History ↩︎
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The Silent Sun (1968) – Genesis

In February 1968, Genesis’ debut single ‘The Silent Sun’ was released on Decca Records. Peter Gabriel was just 17 when it came out. Let’s take a look at the band’s first single!

Genesis at Charterhouse

Genesis were still at Charterhouse in 1968. Tony Banks, Peter Gabriel, Mike Rutherford and Anthony Phillips had met at the public school and formed the group Genesis to break away from the oppressing school life. Back then, the group consisted of two songwriting pairs: Tony Banks and Peter Gabriel on the one hand and Anthony Phillips and Mike Rutherford on the other. They had recorded some demos while at school and had passed them on to producer Jonathan King. King was an ex-Charterhouse pupil and had become a successful producer and musician (his famous hit being ‘Everyone’s Gone To The Moon’).

King liked the music, in particular Peter Gabriel’s voice. He signed them at Decca Records and decided to produce an entire album with them. But when the band presented their next demos, he was not impressed with what he heard.

Their producer Jonathan King was a Bee Gees fan

Jonathan King wanted to have a potential hit single from his group. Peter and Tony knew that King liked The Bee Gees, so they wrote a Bee-Gees-pastiche called ‘The Silent Sun‘.*

‘I tried my best Robin Gibb impersonation,’ Peter laughs.

Naturally, King liked it, it became their first single and he went on to produce their first album ‘From Genesis to Revelation‘*.

The song is a mixture of folk and pop with Tony Banks’ piano (already) being very dominant. The main focus is on Peter’s voice. The strings were added later in the studio by King. ‘The Silent Sun’ is also one of very few official recordings that feature the group’s original drummer Chris Stewart.

‘’The Silent Sun’ came after we’d been drilled in the art of trying to write short pop songs by Jonathan King, which I resisted,’ Ant laughs. ‘I didn’t like ‘The Silent Sun’ at all.’ He also thinks that it was a good thing the single was not successful: ‘If the single had been successful the group would never have developed its proper style.’

Tony Banks agrees but thinks that the song would have made a great hit single. For Peter Gabriel, one of the most exciting moments in his musical career was seeing the name Genesis in the Record Mirror. Mike Rutherford remembers the excitement hearing ‘The Silent Sun’ for the first time on the radio in Ant’s kitchen.

Reviews

The Decca release list from 2 February 1968 called the single ‘quietly attractive’. The New Musical Express wrote: ‘Competently handled by Genesis, with a beautiful flowing arrangement of violins and cellos. A disc of many facets and great depth, but it might be a bit too complex for the average fan.’

‘The Silent Sun’ failed to chart

Despite their enthusiasm, ‘The Silent Sun’ did not make the charts. The following album From Genesis To Revelation was also a flop and ultimately, the band and King separated ways.

Genesis were able to write and produce more adventurous music and once they were famous, King kept re-releasing his early recordings with the band in different versions over the years.

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Sources

ANTHONY PHILLIPS UNFILTERED: GENESIS C0-FOUNDER IN CONVERSATION.

Decca Press release.

GENESIS REUNION Pt1: PETER GABRIEL GETS BACK WITH TONY BANKS, MIKE RUTHERFORD.

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

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Face Value (1981) – Phil Collins

In February 1981, Phil Collins’ first solo album Face Value was released. It went straight to number 1 in the UK charts and to number 7 in the US. His debut was his gateway into superstardom and includes his signature track ‘In The Air Tonight’. Let’s take a closer look at the album that turned Phil Collins from Genesis front man into one of the biggest solo artists of the 1980s.

Genesis touring life

By the time Phil Collins wrote the songs for what would become Face Value*, he was a broken man. The drummer of Genesis had become the singer of Genesis in 1976. In 1978, the group released the album …And Then There Were Three*, which included their first big hit single ‘Follow You Follow Me’. The group had become a trio: Tony Banks on keyboards, Mike Rutherford on guitar and bass and Phil Collins on drums and vocals. On …And Then There Were Three, they had moved towards shorter, simpler songs with direct lyrics.

Following the album, the band went on a massive tour that also took them to Japan. Banks, Collins and Rutherford were joined by drummer Chester Thompson, who had played with them on the previous tour, and by Daryl Stuermer for the first time , who became their live guitarist and bassist after Steve Hackett had left the band. This five-piece group would be the Genesis (live) line-up until 2007 (with a short interruption in the 1990s, but that is another story).

Before going to Japan, Phil’s wife Andrea told him that she and the kids would leave if he went on that tour. When Phil returned home, he realized that she had made her promise come true. In an attempt to save his marriage, Phil followed his wife and children to Canada in 1979, but things did not work out and he returned to England alone.

A broken marriage

Phil spent his time alone in his house in Surrey and started to write songs to express his feelings. He sat down at the piano and played along to the drum machine while improvising lyrics. Up to that point, he had not been a songwriter in Genesis . When Tony, Mike and Phil got back together to record their 1980 album Duke*, Phil brought in some demos to Tony and Mike’s surprise. They liked his simpler, more direct approach and chose two of his songs for Duke: The swinging ‘Misunderstanding’ (which turned out to be a big hit in America) and the very personal, heartbreaking ballad ‘Please Don’t Ask’.

When band manager Tony Smith came to visit Phil and listened to the other demos, he suggested to put them out as a solo record. Mike and Tony had already released solo albums during his time in Canada in 1979. Phil took his demos to producer Hugh Padgham, whom he knew from working together on Peter Gabriel’s third solo record, and they turned them into an album. The album became hugely successful and is considered one of Phil’s best.

In The Air Tonight

The opening track ‘In The Air Tonight’ with its dark, eery chords set the mood for the album. The song builds up tension over an interesting drum machine rhythm that finally bursts when the real drums come in with the famous fill-in. The lyrics were mostly improvised and the drum fill was pure coincidence. Had they used another take, maybe another drum fill would be considered the most famous drum fill of all time. The song went to no. 2 in the UK charts has always been the highlight in every Phil Collins show.

The Phenix Horns

The next single, ‘I Missed Again’ is a funky, up-beat song that features a brass section: The Phenix Horns, who played with Earth, Wind And Fire. The horn sections would become a trademark of many of Phil’s solo hits over the decade.

Apart from the hits, the album shows Phil playing with different styles. The ballad ‘You Know What I Mean’ is only him on piano and vocals. The instrumental ‘Hand In Hand’ plays with influences from jazz and black music and was a great show opener in later years as it showcased the talent of every musician involved.

Everything that would define the solo artist Phil Collins was born on Face Value and is presented there in its purest and rawest form. Maybe that is why many fans consider it one of Phil’s best albums. And unlike some of his other works, it definitely stands the test of time.

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Genesis Kicks Off the Wind & Wuthering Tour at the Rainbow Theatre on 1 January 1977

On January 1, 1977, Genesis began their highly anticipated Wind & Wuthering tour with a series of three sold-out performances at London’s iconic Rainbow Theatre. These shows marked the beginning of a new chapter for the band, being the first with Chester Thompson as their touring drummer and the last with guitarist Steve Hackett. The stakes were high, and the performances lived up to every expectation, setting the tone for what would become one of the band’s most ambitious tours.

A New Era for Genesis

By the time Genesis took to the stage at the Rainbow, they were riding the wave of their recently released album, Wind & Wuthering. This was their second studio effort since Peter Gabriel’s departure and demonstrated the band’s evolving sound, shaped primarily by Tony Banks and Mike Rutherford. While Phil Collins had already proven himself a formidable frontman on A Trick of the Tail and its subsequent tour, Wind & Wuthering solidified the band’s status as a dominant force in progressive rock.

The Rainbow shows also introduced fans to a new dynamic on stage. Chester Thompson, who had played with Frank Zappa and Weather Report, stepped into the role of live drummer. Despite having just ten days of rehearsals to learn an extensive and complex setlist, Thompson impressed with his technical prowess and adaptability. Though initial reviews were mixed—with some critics finding his style less “exciting” than Bill Bruford’s—his chemistry with Collins and the band grew stronger as the tour progressed.

The Opening Night: 1 January 1977

Genesis opened their first show with “Eleventh Earl of Mar” from the new album, setting the stage with energy and precision. Fans were also treated to other Wind & Wuthering tracks, including the jazzy instrumental “…In That Quiet Earth” and the poignant ballad “Afterglow,” where Collins and Thompson recreated a stunning drum fill inspired by Zappa’s Roxy & Elsewhere. The setlist also revisited classic fan favorites like “Supper’s Ready” and “The Musical Box,” which now had a fresh groove thanks to Thompson’s jazz-rock sensibilities.

The performances weren’t just about the music. Genesis debuted a state-of-the-art stage setup, featuring computer-controlled laser lights and Boeing 747 landing lights, creating a mesmerizing visual spectacle. Despite the rise of punk rock, which critics claimed was overshadowing progressive rock, the demand for Genesis was undeniable—80,000 fans applied for just 8,000 tickets to the Rainbow shows.

Reflections on the Show

Peter Gabriel, who attended the Rainbow performances, reportedly sympathized with Thompson’s challenge of adapting to Genesis’ intricate material on short notice. However, the drummer’s confidence and skill became evident as he added his own flair to the band’s repertoire. Even tracks like “Squonk,” which some felt fell short compared to its studio version, showcased Thompson’s steady hand and growing familiarity with the material.

The new lineup’s energy was palpable. Tony Banks’ epic “One for the Vine” stood shoulder to shoulder with Genesis’ older masterpieces, while lighter moments like “All in a Mouse’s Night” brought humor to the set. The extended version of “I Know What I Like” had the audience grooving, proving that Genesis was still evolving their sound even in live performances.

A Turning Point for Genesis

The three nights at the Rainbow Theatre were a triumphant start to a journey that would take the band across Europe, North America, and South America. It was during this tour that Genesis cemented their reputation as one of the best live acts of the era, a feat recognized when they were voted “Best Live Group” in 1977.

Yet, this tour also marked an ending. Steve Hackett, whose frustrations over his role in the band had been simmering for some time, left after the tour. His departure would transform Genesis into a trio for their subsequent album, …And Then There Were Three…, signaling the end of their progressive rock era and the start of a new phase in their sound.

“Best Live Band” in 1977

The recordings from this tour were later featured on the live album Seconds Out. These concerts captured Genesis at a pivotal moment, balancing the old and the new while navigating internal changes and external pressures. For the fans lucky enough to be there, the Rainbow shows remain legendary—a testament to Genesis’ ability to innovate, adapt, and deliver unforgettable live experiences.

As Chester Thompson would later recall the Rainbow shows: “I remember there was an energy, a buzz unlike anything I felt. It wasn’t a huge venue, but the crowd was really into it. The music for me was again a challenge, because it was just so unfamiliar to me.”1

Indeed, the Rainbow shows of January 1977 were more than just concerts—they were a defining moment in the history of Genesis.

Title photo: Genesis_(the_band). Source: Wikimedia Commons, Jean-Luc / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

Sources

Bowler, Dave; Dray, Bryan (1992): Genesis. A biography. London: Sidgwick & Jackson.

CHESTER THOMPSON FULL INTERVIEW : HOW HE WENT FROM ZAPPA TO DRUMMING WITH GENESIS & PHIL COLLINS.

Frischvers, Richard, ‘Wind & Wuthering’. Circus (31 March 1977), pp. 58–60, https://thegenesisarchive.co.uk/circus-magazine-wind-and-wuthering-feature-31st-march/, archived from the original on 11 October 2015.

Platts, Robin (2007): Genesis. Behind the lines, 1967-2007. Burlington, Ont., Canada: Collectors Guide Pub.

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

  1. CHESTER THOMPSON FULL INTERVIEW : HOW HE WENT FROM ZAPPA TO DRUMMING WITH GENESIS & PHIL COLLINS. ↩︎
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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.

  1. TONY BANKS UNFILTERED: GENESIS KEYBOARD PLAYER & COMPOSER IN CONVERSATION . FULL.. 1 Hour 53 Mins. ↩︎
  2. PHIL COLLINS FULL 2-HOUR INTERVIEW: HIS CAREER WITH GENESIS TO 1980. ↩︎
  3. Fielder 1984: 54. ↩︎
  4. STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS. ↩︎
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The Longs (1993) – Genesis

Released in January 1993, Live – The Way We Walk, Volume Two: The Longs marked the end of an era for Genesis. Not only was it the band’s last release with Phil Collins before his departure, but it also became their final UK number-one album. As the second volume of the The Way We Walk live series, The Longs captured the epic and progressive side of Genesis, contrasting with Volume One: The Shorts, which focused on the band’s chart-topping hits.

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