Tag: Mike Rutherford

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3×3 (EP/1982) – Genesis

In May 1982, Genesis released 3×3, an extended-play featuring three previously unreleased tracks from their 1981 album Abacab.

Three songs from the “Abacab” sessions

Abacab* from 1981 had brought a change in sound and style for Genesis. They had a new producer (Hugh Padgham) and had bought ‘The Farm’ in Surrey, where they had their own studio and could take time to jam for the new record. When they put Abacab together, there was not enough space on the record to include all the songs they liked. So they decided to release an EP with three leftover tracks the following year.

The three tracks were ‘Paperlate’, ‘You Might Recall’ and ‘Me And Virgil’. All of them were written by Tony Banks, Phil Collins and Mike Rutherford together. The EP 3 x 3* was released in May 1982 between two Genesis tours. In the US, they did not release 3×3, only ‘Paperlate’ was released as a regular single with ‘You Might Recall’ as b-side.

The songs

‘Paperlate’ is similar to Abacab‘s ‘No Reply At All.’ It also includes the Earth Wind & Fire horn section with which Phil Collins had worked on his first solo album the year before. The title comes from the song ‘Dancing With The Moonlit Knight’ from the band’s 1973 album Selling England By the Pound*. During a soundcheck of the song in 1978 or 1980, Phil was repeating the phrase ‘Paperlate cried a voice in the crowd…’ over and over again, which inspired the band to write a song around this term.

‘You Might Recall’ is a romantic tune, which resembles some earlier Rutherford compositions like ‘Alone Tonight’. The third track, ‘Me and Virgil’ resembles his ‘Deep In The Motherlode’ (1978) in lyrics. This time it was Phil Collins who wrote a Wild West story with the band trying to create a ‘The Band’-like song. Phil Collins was so unhappy with the song that it was left off the Genesis Archive release in 2000, which featured many non-Album songs on CD for the first time.

The artwork was inspired by The Beatles

Inspired by the Beatles’ EP’s in the 1960’s, Genesis decided to create a cover similar to their Twist And Shout* EP. They also called in Tony Barrow to write the sleeve notes. Barrow had been the Beatles’ publicity man 20 years earlier. He wrote the Genesis sleeve notes in the same style (‘These cheeky chappies from Guildford…’).

One reviewer was not familiar with the Beatles original and misunderstood the design for being serious. But it was another sign of the band’s humour and the EP was a success for them. With ‘Paperlate’ they appeared on ‘Top of the Tops’ once more. The EP went to number 10 in the British charts.

Three Sides Live

In the same year, Genesis also released the successful live album Three Sides Live*. As EP’s rarely charted well in America, they decided to put the 3×3 songs on the fourth side of the live album and not release the EP individually. To complete the fourth side, they added two leftovers from Duke (1980): The Rutherford composition ‘Open Door’ and the Banks composition ‘Evidence Of Autumn.’ The UK on the other hand had a fourth side live.

3×3 was never released as a CD. Instead, ‘Paperlate’ and ‘You Might Recall’ were released on the Genesis Archive 2: 1976-1992* box set from 2000. It features rare and unreleased songs for the first time on CD. All three songs were included in the box set 1976-1982* on CD. Even ‘Me And Virgil’ was remixed for this release.

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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*.

“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.

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).

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Live at the Roundhouse 1970

On 11 March 1970, Genesis played one of their 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 then. 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 the band.

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 parts of it were 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 would sign their new contract with Charisma and later in the year release 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 tour in 2007. The ‘Turn It On Again’ tour had been hugely successful. It was great, no matter if it were the starting point for something new, or if it was a farewell tour.

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?

But 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? And 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. So 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’.

But Trey Anastasio gave a wonderful speech. Being a musician who is also into complex music, he knew what he was talking about. So 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).

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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 a whole 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 could not save his marriage. He came back to England, sat alone in his home in Surrey and spent his time writing songs, something he had never done before.

The band started jamming again

When Genesis came together to write a new album in 1979, they had not worked together for a year. Tony and Mike came to Phil’s house and when they started playing and writing new music, they were surprised to find that Phil had become a songwriter himself. They all brought in songs individually, but more importantly, they went back to just rehearsing and improvising, something they had stopped doing since Peter Gabriel’s departure. The new songs of these sessions 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 for the fans and for the band itself. ‘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 became an instant classic and grew on every tour. 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 is 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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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 acts such as 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 this, he played all the instruments and he 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 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 do his solo album and tour and then think about the matter again. So 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. He flew to England to talk to Mike Rutherford and Tony Banks, his oldest (musical) friends.

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 actually surprised that Phil 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.

But 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 and saw each other every now and then. 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’.

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. In his eyes, the singer was only up front to wiggle his bum and look good. So when the band planned to tour the new album, he became very reluctant. Would he sing? Who would play the drums? Who would be the singer if he played drums? Tony Banks, Mike Rutherford and Steve Hackett already knew the answer and in the end convinced him to become their proper frontman.

Bill Bruford of Yes was going to be the drummer for the tour. With a drummer like him onstage, the band and also the audience knew that Genesis could not fail. Their first gig of the tour 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.But what about the older songs? Could Phil replace Gabriel and sing his songs? Of course he could. Not only had they similar voices, Phil had always accompanied Peter as a backing vocalist. It was no 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: Onstage it was played with two drummers.

The addition of Bruford was the right decision at that point. Having played with Yes, he was a well-known drummer in the progressive rock world and one of the best out there. It was something new for Genesis to hve two drummers onstage and they truly celebrated it. During the instrumental parts, Phil joined Bill and the two drummers 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 was happy. They wanted this line-up to work and they welcomed the ‘new’ singer 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 front man, but also on the other members. On ‘I Know What I Like’, Phil involved them by putting funny hats on their heads and sang together with Mike Rutherford into the microphone. And he invented his famous tambourine dance during the song which even made Tony Banks smile onstage.

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 statedt 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 1990’s 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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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 back then was “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 came with their next demos, he was not impressed with what he heard.

Their producer Jonathan King was a Bee Gees fan

Knowing that he was a Bee Gees fan, Tony Banks and Peter Gabriel then composed “The Silent Sun“*, a Bee Gees-style effort.

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 pure pop and the focus is on Peter and his voice. It is very different from everything they would do later. It is a mixture of folk and pop with Tony Banks’ piano (already) being very dominant. The strings were added later in the studio by King. It is also one of very few official recordings that feature the group’s original drummer Chris Stewart.

Anthony Phillips (considered by the band to be best and main writer at the time) did not like the song. He also did not like the idea of “selling out”, of writing a hit single to be able to release more complex music. The song did get some airplay and the boys and their relatives were very excited about being played on the radio. Mike Rutheford remembers hearing it on the radio in Ant Phillips’s kitchen and being convinced that they would be invited to Top Of The Pops. Peter Gabriel recalls the band going to Carnaby Street to buy outfits for the TV appearance. But the single did not chart and the call to appear on Top Of The Pops never came.

“The Silent Sun” failed to chart

The single was a flop as well as the following album and ultimately, the band and King separated ways. Genesis went on to produce more adventurous music (which they always wanted to do) and once they were famous, King kept re-releasing his early recordings with the band in different versions over the years.

Still, it is it is a good pop tune and a remarkable first single. One might wonder in which direction Genesis would have developed if it had been a success. Imagine this song being played by the band and sung by Phil Collins in the 80’s between “Mama” and “Supper’s Ready”!

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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 with “In The Air Tonight” it includes his signature track. So 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 1980’s.

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 for the first time by Daryl Stuermer, 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 1990’s, but that is another story).

Phil’s wife Andrea told him that if he went on that tour, she and the kids would not be home when he returned. He went and she made her promise come true. In an attempt to save his marriage, Phil followed his family 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. He had not really been a songwriter in Genesis up to that point. So when Tony, Mike and Phil got back together to record their 1980 album “Duke“*, Phil brought in some demos. Tony and Mike were surprised and liked his simpler, more direct approach. They 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. So Phil took his demos to producer Hugh Padgham, whom he knew from working together on a solo record of his old Genesis mate Peter Gabriel, and they turned them into an album. The album became hugely successful and is considered one of Phil’s best (or maybe THE best).

In The Air Tonight

The standout track is of course the opening track “In The Air Tonight”. Its dark, eery chords set the mood for the song and the whole 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 have been considered the most famous drum fill of all time. The song went to no. 2 in the UK charts and is a rock classic today. Live it has been celebrated even more and is presented even more powerful. It reaches another dimension and has always been the highlight in every Phil Collins show.

The Phenix Horns

But the album does not only consist of “In The Air Tonight”. 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. And it all started here on “Face Value”. The album was therefore his gateway to becoming a huge pop star.

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. You couldn’t show your heart on your sleeve much more. And 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 here in its purest and rawest form. Maybe that’s 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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The Rainbow shows in January 1977

Genesis started their “Wind & Wuthering” tour at the Rainbow Theatre in London on 1st January 1977. They played the venue for three nights. Those shows were the first with Chester Thompson on drums. Also, the tour was the last with guitarist Steve Hackett.

Wind And Wuthering

In December 1976, Genesis had released “Wind and Wuthering”, their second album since Peter Gabriel’s departure. The band had become a foursome the year before, drummer Phil Collins had taken over the vocal duties. He had proved that he could fill this role easily on the previous album “A Trick of the Tail” and the following tour in 1976. On this tour they had Bill Bruford of the band Yes on drums. Being a famous “prog rock” drummer, this gave the band and the fans huge confidence. It was a signal that the band was stronger than ever after Gabriel had left them.

So they went in the studio to record their next album “Wind & Wuthering” in 1976. By this point, keyboardist Tony Banks and guitarist/bassist Mike Rutherford were the main songwriters. Phil Collins was still more of a player and arranger. Guitarist Steve Hackett felt that not enough of his material was used. He was frustrated about his role in the group. “Wind & Wuthering” was released in late 1976. The band set out for a huge tour in 1977 that would lead them to South America for the first time.

Their new live drummer

Since Bill Bruford was busy in other projects, Genesis had to find another drummer for the tour. Phil Collins found the perfect candidate in Chester Thompson of Weather Report. Chester had also played with Frank Zappa. Phil had heard him on Zappa’s “Roxy & Elsewhere” and liked his style. So he decided to offer him the job in Genesis. Although he hardly knew the band, Thompson agreed. He came to London for only a few days of rehearsals before the tour started.

The music was totally new to him. He knew a bit of “A Trick Of The Tail” because Weather Report’s bass player Alphonso Johnson (who was friends with Phil Collins) had listened to the record on the last Weather Report tour all the time. But now he, an American jazz drummer, had to learn and rehearse a two and a half hour set of British progressive rock music in ten days. Chester wrote down the music in a little book. He learned it by night and played it the next day at rehearsals. Tony Banks was (of course) very impressed by Chester’s notes and his way of working.

Chester Thompson played with them until 2007

From the moment Phil and he played together, they knew that they had something special going on. The both of them clicked instantly. There is a greater chemistry when they play together than when Phil played with Bill Bruford. Thompson was criticized by some for these first performances at the Rainbow. Music journalist Chris Welch admitted that Thompson was technically better than Collins or Bruford but that he lacked excitement. Peter Gabriel, who was in the audiences at the Rainbow shows, felt a bit sorry for Chester, because he had to learn this kind of music and its feeling in such a short time.

But Chester became much more familiar with the music during the course of the tour and could put his own stamp on the songs. Songs like “Los Endos” or “Wot Gorilla” that were influenced by jazz rock reached another level, especially with two drummers. But also the epic fan favourites benefitted from the new influence. “Supper’s Ready”, “Lilywhite Lilith” and the ending of “The Musical Box” were played with a groove that was missing before. The band and the audiences liked Thompson’s input. The collaboration worked so well that Thompson toured with them until their reunion tour in 2007 (with the exception of the 1998 “Calling All Stations” tour). Unfortunately he was not part of the “The Last Domino?” tour in 2021/2022.

Live at the Rainbow 1977

When Genesis announced the Rainbow shows, 80.000 people applicated for 8000 tickets – despite critics saying that punk killed progressive rock that year. Fans that were lucky enough to see the shows were also suprised by new visiuals. The “Wind & Wuthering” tour introduced a new light show, which included lasers and Boeing 747 landing lights.

The new songs were welcomed by the crowd. Genesis opened the Rainbow show with “Eleventh Earl Of Mar” from the new album. This song was also lifted to another level by Thompson’s playing. The jazzy new instrumental “…In That Quiet Earth” was unbelievably groovy with two drummers. At the end of Tony Banks’ ballad “Afterglow”, Thompson and Collins reproduced a drum fill that Thompson had played with another drummer on the Zappa live album.

“Best Live Band” in 1977

Tony Banks’ epic “One For The Vine” proved to work just as well as “Supper’s Ready” or “The Musical Box”. The quirky “All In A Mouse’s Night” was a humorous moment to relax between the heavy stuff. “Squonk””from “A Trick Of The Tail” suffered a bit in comparison to the album version and is a reference point for the Thompson critics. “I Know What I Like”, originally a rather short single from 1974, became even longer than on the previous tour and had much more groove. For Genesis, the three nights at the Rainbow theatre were highly successful and a strong start for a long and successful tour.

The tour would lead them through Europe, the US and South America. Genesis had reached a new peak in live performances and was voted “Best live group” in 1977. This was captured in the double live album “Seconds Out”. After the tour, guitarist Steve Hackett left the band. The three remaining members Phil Collins, Mike Rutherford and Tony Banks returned to the studio to record their next album.

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