Tag: Live

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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!*

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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.

Purchase The Way We Walk Live In Concert here at Amazon*

“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.

Purchase “Genesis – The Shorts” here at Amazon*

Purchase “Genesis – The Longs” here at Amazon*

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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Genesis induction into the Rock and Roll Hall of Fame in 2010

On 15 March 2010, Genesis were inducted into the Rock and Roll Hall of Fame. Phil Collins, Mike Rutherford, Tony Banks and Steve Hackett were present alongside live members Chester Thompson and Daryl Stuermer. Peter Gabriel did not attend the event. The band was inducted by Phish frontman Trey Anastasio.

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

Phil Collins had damaged his health on the ‘Turn It On Again’ tour

By the time Genesis were inducted into the Rock and Roll Hall of Fame, they had been in a hiatus for three years. Phil Collins, Mike Rutherford and Tony Banks, along with Daryl Stuermer and Chester Thompson, had last been on their ‘Turn It On Again’ in 2007. The tour had been hugely successful.

On this tour, however, Phil Collins had damaged his health. When playing drums, he felt a numbness in his left arm and his fingers. It turned out that he had damaged the nerves in his neck and his back. Years of drumming had taken its toll. With Phil Collins being unable to play the drums, further Genesis live gigs seemed very 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 join his old bandmates for the induction?

When it was announced that Genesis would finally be inducted into the Rock and Roll Hall of Fame, rumours started to spread again. Would they all attend? Would Peter Gabriel also join his former bandmates? Would they perform together?

The answer was: no. Peter Gabriel was in preparation for a tour and decided not to take part in the ceremony. Also, he had cut most of his ties with Genesis over the years. He had left the group in 1975 when he was 25 and had started a tremendously successful solo career. Going back to Genesis was not something he wanted. To stop all the rumours right away, he did not attend the ceremony. But the other four ‘classic’ members Tony Banks, Mike Rutherford, Phil Collins and Steve Hackett did. They were joined by their families and long-time live members Daryl Stuermer and Chester Thompson. The induction speech was held by Trey Anastastio of Phish.

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

Phish performed two Genesis songs

Phish also performed two Genesis songs: ‘Watcher Of The Skies’ and ‘No Reply At All’. One song from each era, but two very odd choices. It was interesting to observe that they struggled much more with the ‘pop’ song ‘No Reply At All’.

Trey Anastasio gave a wonderful speech. Being a musician who is also into complex music, instead of focussing on the obvious stories and tales, he gave a brief insight into the art behind the albums Trespass*, Selling England By the Pound* and Duke. It was a fitting speech for this evening. Genesis were not inducted because they were superstars, but because they were great musicians and performers.

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

Phish frontman Trey Anastasio held a wonderful induction speech

The four ‘classic’ members went onstage and Mike Rutherford, Phil Collins and Steve Hackett said some nice words (Steve’s speech was a bit embarrasing, to be honest) and Mike mentioned that Peter was in preparation for his orchestra tour.

Phil Collins later admitted that he was happy that Peter had not been there, because there would have been questions about a big reunion. Being inducted into the Rock and Roll Hall of Fame seemed like a cherry on the cake in Genesis’ career. Although it was just a festive occasion, this was to be the last time that Genesis appeared together in public for some years. It was also the last time Chester Thompson appeared with them. Neither the band nor the fans knew at that point.

Trey Anastasio celebrated Genesis in his speech as ‘rebellious, restless and constantly striving for something more.’ This sums up their career perfectly.

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).

The ultimate Genesis live boxset: “Genesis – BBC Broadcasts” – Get it here!*

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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!*

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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.

Continue reading “The Longs (1993) – Genesis”