Tag: Peter Gabriel

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The last show of “The Lamb” tour

On 22 May 1975, Genesis played the last show of their ambitious “The Lamb Lies Down On Broadway” tour. It was also their last gig with Peter Gabriel as lead singer.

“The Lamb Lies Down On Broadway”

In 1974, Genesis went into the studio to record the album “The Lamb Lies Down on Broadway*”. It was a double concept album, based on a complex story by lead singer Peter Gabriel about a Puerto Rican boy named Rael. Rael lives in New York City and is sucked into a netherworld, where he encounters strange characters on his adventures.

The story and the American setting were a break from their earlier tales of British myth and fantasy. Previous to the album, the band had toured North America and were trying to become successful in the United States. It was also (after the failed attempt on their first record) their first real “concept album”, a trademark for many progressive rock bands.

There were tensions going on inside the band, when they wrote the ambitious album. Peter Gabriel wrote the lyrics and the story separately, while his bandmates wrote all the music. Only the lyrics for one song, “The Light Dies Down On Broadway”, were written not by Gabriel, but by Tony Banks and Mike Rutherford. Most of the music came from jam sessions by the trio Tony Banks (keyboards), Mike Rutherford (bass and guitars) and Phil Collins (drums). Lead guitarist Steve Hackett did not contribute much to the music.

Tensions within the group

There were two main reasons for the split between Gabriel and the rest of the band that overshadowed the making of the album: For one, William Friedkin, director of “The Exorcist*” was interested in working together with Peter Gabriel on a film script. Peter Gabriel was interested and even thought about leaving the band for this project, but Friedkin backed away when he realized that.

The other reason was that Peter’s wife Jill was pregnant with their first child Anna. She was was born in July ’74 and there were some complications in the aftermath. Gabriel started to alienate from the band during that time. He was the first one to have a child and see that there were other opportunities and possibilites in life besides being in a rock band. His inner conflict is also reflected in the story of “The Lamb Lies Down On Broadway”, for example in the lyrics of “In The Cage”: “Get me out of this cage!”

Up to this day, the album divides fans and critics. Upon its release, “The Lamb Lies Down On Broadway” received decidedly mixed reviews and was a commercial failure. Ticket sales did not go as well as planned and they had to cancel several shows. Nowadays it is looked upon in a hazy retrospective because it is Gabriel’s last work with the group.

The “Lamb” tour

Peter Gabriel was frustrated by the failure in terms of success and sales, especially because it was his story. For the tour, the band decided to play the entire album live, often to an audience who had never heard it because the tour began before the album was released.

Having become famous for his use of masks and costumes, Peter Gabriel wanted to use visual aspects to underline the story of the album. This time he overused them. Again, he wore costumes, the most famous being the “Slippermen” outfit, which covered him from head to toe and did not allow him to get the microphone close enough to his mouth, so his vocals could not be heard clearly. The band did not like this exaggeration and felt that the costumes and the performance had become the focus of the show to the disadvantage of the music.

The spectacular stage show also brought along some problems. There were slides at the back of the stage and they never were in the right order or stopped and did not move on. One night, a dummy of Peter Gabriel, which used to mirror him during one of the songs, was replaced by a naked roadie. And once when there had to be a small explosion for one song, the production manager caused a big explosion, so loud that the band stopped playing in the middle of the song. He poked his head round the curtain and said “Sorry!” to which Phil Collins shouted back: “You’re fired!”

Peter Gabriel decides to leave Genesis

During the course of the tour, Peter Gabriel decided to leave. It was no surprise to manager Tony Smith and the rest of the band. Smith only wanted Gabriel to finish the tour and announce the news afterwards.

Peter Gabriel played his last gig with Genesis at St Etienne in France in May 1975. It was a strange last gig, because St Etienne was meant to be the penultimate date of the tour, but the final date was cancelled just the day before. And so, Gabriel’s time with Genesis was over. He had founded the band in 1967 with Tony Banks, Anthony Phillips and Mike Rutherford. When it was announced publicly, the fans were greatly shocked. Many doubted if Genesis could survive without him but we know they did and so did he.

Photo: Peter Gabriel in 1975. Photographer unknown. https://commons.wikimedia.org/wiki/File: Peter_Gabriel,_April_1975.jpg. Unknown author / CC0 (https://creativecommons.org/licenses/by/3.0).

Listen to recordings from The Lamb tour on “Genesis – BBC Broadcasts” – Get it here!*

Genesis Music on Amazon*

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A Winter’s Tale (1968) – Genesis

On 10 May 1968, Genesis’ second single was released. Like its predecessor and its successor, it flopped. Here’s the tale of ‘A Winter’s Tale’.

In 1968, Genesis were still at school. The four guys from Charterhouse were in their late teens, when producer Jonathan King decided to offer them a record deal. Tony Banks (keyboards), Peter Gabriel (vocals), Anthony Phillips (guitars), Mike Rutherford (guitars and bass) and Chris Stewart (drums) agreed. King decided to produce their first album himself. The name Genesis was chosen for the band, partly because it was also the beginning of King’s career as a producer.

The first singles

The band had started writing pop songs at school, but by the time they got the record deal, they were already moving into a more adventurous direction. Jonathan King preferred the simpler pop songs. So Tony Banks and Peter Gabriel wrote ‘The Silent Sun‘, a Bee-Gees pastiche, which King loved and which became their first single. The song flopped.

A Winter’s Tale

‘A Winter’s Tale‘* was chosen as the band’s second single. It was also written by Tony Banks and Peter Gabriel, just like ‘Silent Sun‘*. Both songs are love songs, but on ‘A Winter’s Tale’ the band sounds much more confident, especially in the chorus. Just like in its predecessor, the song’s focus lies on Peter Gabriel’s voice. The band is buried under the heavy string arrangement. Gabriel’s young, but strong voice already hints at what he was able to do later in their and his career.

The single also flopped

The single got very little airplay and was reviewed only twice. But the reviews were rather enthusiastic and the New Musical Express praised the ‘pulsating crescendo’ and the lyrics. Mike Rutherford remembers in his autobiography, that the band thought about how to get more airplay. Peter Gabriel suggested to hand the single to radio presenter Tony Blackburn personally. Tony Banks was given the task to wait outside Broadcasing House. Since he was nervous, he got a bit aggressive when Blackburn came out, which must have frightened him a bit.

From Genesis to Revelation

After the release of ‘A Winter’s Tale’, drummer Chris Stewart left the group. He was followed by John Silver, who would play the drums on their first album From Genesis to Revelation*, which is very different from everything the band has ever done. The album became a sort of concept album about the history of mankind, but the music was still far from being progressive. To the band’s disappointment, King added a string arrangement in the production which made the whole album sound very soft.

Another single was released, ‘Where The Sour Turns To Sweet‘. After the album and all the single releases failed to chart and the band moved into a different musical direction than King, their ways parted. What is left is is an interesting, strong selection of songs recorded by a band in their late teens. One of the tunes is ‘A Winter’s Tale.’ Interestingly, there is a story about a cover Rita Pavone’s brother did of that song, but that is another tale.

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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!*

Genesis Music on Amazon*

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Live at the Roundhouse 1970

On March 11, 1970, Genesis played one of the most significant gigs of their early career at the Atomic Sunrise Festival at London’s legendary Roundhouse. The event, sponsored by Yoko Ono, featured artists such as David Bowie and Hawkwind. Just weeks later, Genesis signed their first major record deal with Charisma Records.

Genesis in Early 1970

At the start of 1970, Genesis were busy writing and rehearsing new material for their second album. Their debut album had failed to chart, and they had parted ways with producer Jonathan King and Decca Records. Determined to take a new direction, the band moved away from the pop-oriented style of their first record and embraced a more adventurous, experimental sound. At the time, Genesis consisted of: Peter Gabriel (vocals), Tony Banks (keyboards), Ant Phillips (lead guitar), Mike Rutherford (guitar and bass) and John Mayhew (drums).

Opening for David Bowie at the Roundhouse

Still an unknown band, Genesis saw the Atomic Sunrise Festival as a huge opportunity – especially since they were set to open for David Bowie.

Both Tony Banks and Peter Gabriel were big Bowie fans. Space Oddity had been released the previous year, and Bowie was already a rising star. His live shows at the time were highly theatrical, something that fascinated Gabriel. A few years later, Genesis would gain recognition for their elaborate stage performances, partly inspired by Bowie’s dramatic approach.

However, not everyone in the band was equally enthusiastic. While Gabriel was impressed by Bowie’s visuals, Banks felt that the theatrical elements took too much attention away from the music. This difference in perspective would later lead to tensions within Genesis, especially as Gabriel began incorporating costumes and masks into their own performances – something that divided opinions among the band.

The Atomic Sunrise Festival and Yoko Ono’s Involvement

At the Atomic Sunrise Festival, Genesis performed songs that would later appear on their second album, Trespass, including “Looking for Someone” and “The Knife” – both of which were captured in surviving video footage. It is also believed that they played “Twilight Alehouse”. In later interviews, Ant Phillips joked that this footage is the only visual proof that he ever performed with Genesis.

Despite the significance of the gig, the band’s experience was not entirely positive. Gabriel recalled that there were more people on stage than in the audience, and Phillips was so nervous that he could barely play – a stage fright that would later contribute to his decision to leave Genesis.

Still, both Banks and Phillips were impressed by the professionalism behind the scenes. Every performance at the festival was recorded on 8-track equipment, and parts of it were filmed. Since the event was backed by Yoko Ono, there’s a possibility that the full footage still exists somewhere in the Apple Records archives.

A few weeks after the show, Genesis signed with Charisma Records, and by the end of the year, they released Trespass. But changes were already on the horizon – Ant Phillips left the band, and a new drummer joined in the summer of 1970… but that’s a story for another time.

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 (2010)

On March 15, 2010, Genesis was inducted into the Rock and Roll Hall of Fame. Phil Collins, Mike Rutherford, Tony Banks, and Steve Hackett attended the ceremony, accompanied by long-time live members Chester Thompson and Daryl Stuermer. Peter Gabriel, however, chose not to attend. The band was introduced by Phish frontman Trey Anastasio.

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

Phil Collins’ Health Issues Following the ‘Turn It On Again’ Tour

By the time Genesis received this honor, they had already been on hiatus for three years. Their last tour, Turn It On Again, took place in 2007, featuring Collins, Rutherford, and Banks, along with Stuermer and Thompson. The tour was a massive success, but it came at a cost.

During the tour, Phil Collins began experiencing numbness in his left arm and fingers while drumming. It was later revealed that he had suffered severe nerve damage in his neck and back – likely a result of decades of drumming. With his ability to play drums compromised, the prospect of future Genesis live performances seemed highly 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 Reunite with His Former Bandmates?

As news of Genesis’ induction spread, speculation ran wild. Would all former members attend? Would Peter Gabriel make a surprise appearance? Would they even perform together?

The answer was a clear no. Gabriel was preparing for his own tour and opted out of the ceremony. Over the years, he had distanced himself from Genesis, having left the band in 1975 to embark on a highly successful solo career. He had no interest in rekindling the past and, to put an end to the rumors, simply stayed away. However, the other four core members – Banks, Rutherford, Collins, and Hackett – were present, along with their families and longtime touring musicians Stuermer and Thompson.

The induction speech was delivered by Trey Anastasio of Phish.

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

Phish’s Performance: Two Unusual Genesis Songs

Phish performed two Genesis songs that evening: Watcher of the Skies and No Reply at All – one from each era of the band, yet both somewhat unconventional choices. Interestingly, they seemed to struggle more with the ‘pop’ track No Reply at All than with the complex, progressive Watcher of the Skies.

Trey Anastasio’s speech was a highlight of the night. Rather than rehashing well-known Genesis anecdotes, he provided a musician’s perspective on the artistry behind Trespass, Selling England by the Pound, and Duke. His speech was a fitting tribute, emphasizing that Genesis wasn’t being honored merely for their commercial success, but for their musicianship and innovation.

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

A Bittersweet Moment for Genesis Fans

When the four classic members took the stage, Rutherford, Collins, and Hackett each shared a few words. (Hackett’s speech, admittedly, was a bit awkward.) Rutherford acknowledged Gabriel’s absence, explaining that he was busy preparing for an orchestral tour.

Later, Phil Collins admitted he was actually relieved that Gabriel hadn’t attended – otherwise, the night would have been overshadowed by inevitable questions about a possible reunion. The induction felt like a final chapter in Genesis’ long and storied career, a celebration rather than a new beginning.

Unbeknownst to fans at the time, this would be the last public appearance of Genesis for many years – and also the final time Chester Thompson would stand alongside them.

Trey Anastasio summed it up best when he described Genesis as ‘rebellious, restless, and constantly striving for something more.’ Few statements could better encapsulate the essence of their career.

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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Phil Collins’ Departure from Genesis in 1996

On March 28, 1996, Genesis officially announced Phil Collins’ departure in a press release titled: “Genesis end twenty-year experiment, decide to replace Peter Gabriel as vocalist.”

It marked the end of an era. But the story of Phil’s (temporary) exit began long before that.

Phil Collins Had Made Up His Mind in 1993

By 1993, Genesis were at their peak. The massive We Can’t Dance tour had wrapped up the previous year, and in the fall of ’93, the band performed at Cowdray Ruins, a charity concert alongside Pink Floyd, Queen, and Eric Clapton. Genesis played a short set and joined the all-star lineup for the encore. No one realized it would be Phil Collins’ last performance with the band for a long time.

At the time, Phil was already deep into writing what would become his most personal solo album, Both Sides. He played every instrument and produced the album himself, much like he had done on Face Value. The deeply introspective songs reflected his personal turmoil – his marriage to Jill was falling apart due to his affair with childhood sweetheart Lavinia Lang. With his family on the verge of breaking up again, he found it increasingly difficult to sing Genesis songs. He wanted to write and perform music that truly reflected his own emotions.

A New Chapter, a New Life in Switzerland

Sometime after the Cowdray Ruins gig, Phil confided in manager Tony Smith about his desire to leave Genesis. But Smith, ever the businessman, encouraged him to finish his solo album and tour first—then decide.

Phil embarked on the Both Sides world tour in 1994 and 1995, during which he met Orianne Cevey in Switzerland. Falling in love, he decided to leave England and settle in Lake Geneva. The British press harshly criticized him – both for his music and his personal life. He grew to resent his ‘Mr. Nice Guy’ image and felt increasingly distant from Genesis.

Tony Banks and Mike Rutherford Decide to Carry On

In 1996, the band convened in Tony Smith’s kitchen, where Phil finally made it official – he was leaving Genesis.

Tony Banks reacted with typical British understatement: “It’s a sad day, a very sad day.”

Mike Rutherford, on the other hand, was more surprised that Phil had stayed as long as he did given his highly successful solo career.

On March 28, 1996, exactly twenty years and two days after his first show as Genesis’ lead singer, the news went public. With Phil’s departure, Genesis lost not just their frontman and entertainer, but also a brilliant composer and drummer.

Still, Tony and Mike decided to continue, eventually searching for a new singer. Meanwhile, Phil focused on his solo career, though his success never quite reached the heights of the 1980s.

Despite going their separate ways, the three remained close. By the early 2000s, they occasionally reunited for special appearances. Then, a decade after Phil’s departure, Genesis officially came back together for the 2007 Turn It On Again tour.

But that’s 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 Genesis Frontman

In 1975, Peter Gabriel left Genesis, leaving the band without a lead singer. After auditioning several vocalists without success, drummer Phil Collins reluctantly stepped up to take on the role. He sang on A Trick of the Tail (1976), the band’s first album after Gabriel’s departure. But while he handled the studio vocals, he wasn’t eager to become the band’s frontman on tour.

This is the story of how Phil Collins took center stage.

Phil Collins Didn’t Want to Be the Singer

A Trick of the Tail proved that Genesis could continue without Peter Gabriel. The album was a success, and Phil’s vocals shone on both the heavier tracks like Dance on a Volcano and the softer moments of Ripples.

Yet, despite his strong performance, Phil had no desire to be the band’s singer. He saw himself first and foremost as a drummer.

‘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,’ he later admitted. ‘I always wanted the most respectable part in the group, which was of course the drummer.’1

When it came time to tour the album, Phil hesitated. He agreed to take on the lead vocals under one condition: he needed a drummer he could trust. That drummer was his friend Bill Bruford of Yes, who joined Genesis for the tour.

On March 26, 1976, Genesis played their first show with Phil Collins as frontman in London, Ontario.

Could He Replace Peter Gabriel?

Fans knew from the album that Phil could sing, but how would he handle the older material? Fortunately, his voice was naturally similar to Peter Gabriel’s, and he had already sung backing vocals on many classic Genesis tracks. His performances of songs like The Lamb Lies Down on Broadway, Firth of Fifth, and Supper’s Ready proved he was up to the challenge.

The new material was also well received. On Robbery, Assault & Battery, Phil brought the song’s Victorian-era story to life with his acting skills, while the instrumental Los Endos became even more powerful live, thanks to the addition of a second drummer.

Bringing in Bill Bruford was the right move. As a respected figure in progressive rock, his presence reassured fans. His intricate playing added a new dimension to Genesis’ music. While Bruford and Collins played off each other in a more unpredictable way, later drummer Chester Thompson would lock in with Phil to create the band’s signature double-drumming style.

A Warm Welcome for the ‘New’ Singer

Genesis fans wanted this lineup to succeed – and they embraced Phil’s new role. He brought a down-to-earth charm and a touch of Monty Python-style humor to the stage. The band seemed more relaxed, with the spotlight no longer focused solely on the singer.

During I Know What I Like, Phil got the other members involved, playfully placing hats on their heads and sharing a mic with Mike Rutherford. He even debuted his now-famous tambourine dance.

Where Peter Gabriel had been the mysterious storyteller, Phil Collins was the approachable everyman. He didn’t weave surreal tales; he spoke to the audience directly. Even Peter himself later said he was happy that Phil took over, recognizing that Phil was a stronger technical singer and had a natural connection with audiences.

Phil was nervous that first night in London, Ontario, but the show was a success. Genesis continued with him as their frontman for the next two decades – except for a brief period in the ’90s when Ray Wilson took over after Phil’s departure.

But that’s 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)

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

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

Genesis at Charterhouse

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

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

A Producer Who Loved The Bee Gees

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

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

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

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

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

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

Reviews and Reception

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

A Single That Failed but a Band That Flourished

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

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

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Sources

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

Decca Press release.

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

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

  1. GENESIS REUNION 2014: THE THREE. Part ONE. NOW FULL UNCUT VERSION ! + improved audio! ↩︎
  2. ANTHONY PHILLIPS FULL UNCUT INTERVIEW .PT 1:FORMING GENESIS/ EARLY RECORDING/DISCOVERING THEIR SOUND. ↩︎
  3. Decca Press release. ↩︎
  4. Thompson 2005: 17. ↩︎
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Face Value (1981) – Phil Collins

In February 1981, Phil Collins unveiled his debut solo album, Face Value, marking a significant departure from his role as Genesis’s frontman. The album not only showcased Collins’s personal and musical evolution but also cemented his status as a prominent solo artist in the 1980s.

Genesis and Personal Turmoil

By 1978, Collins had transitioned from Genesis’s drummer to its lead vocalist. The band’s 1978 album, …And Then There Were Three…, featured the hit “Follow You Follow Me,” signaling a shift towards more concise and direct songs. During this period, Collins faced personal challenges; his wife, Andrea, threatened to leave due to his extensive touring commitments. Upon returning from a tour, Collins discovered that Andrea had moved to Canada with their children. Despite efforts to reconcile, including a move to Vancouver, the marriage ended in divorce.

Creation of Face Value

In the aftermath of his divorce, Collins channeled his emotions into music. He set up a home studio in Surrey, equipped with a piano, drum machine, and an 8-track tape recorder. Here, he began crafting demos that delved into his personal experiences. When Genesis regrouped to work on their 1980 album, Duke, Collins presented some of these demos. Two tracks, “Misunderstanding” and “Please Don’t Ask,” were included in the album. Encouraged by the positive reception, Collins decided to pursue a solo project, collaborating with producer Hugh Padgham to develop his demos into a full-length album.

Musical Diversity and Notable Tracks

Face Value is a tapestry of various musical styles, reflecting Collins’s diverse influences. The opening track, “In the Air Tonight,” is renowned for its haunting atmosphere and the iconic drum break that has since become legendary. The song’s lyrics were largely improvised, capturing the raw emotion of the moment.

Another standout track, “I Missed Again,” introduces a brass section featuring the Phenix Horns, known for their work with Earth, Wind & Fire. This collaboration infused the song with a vibrant, funky energy, a sound that would become a hallmark of Collins’s future solo endeavors.

The album also explores a range of genres:

“The Roof Is Leaking”: A track with Delta blues and country influences, adding to the album’s eclectic nature.

“You Know What I Mean”: A poignant ballad showcasing Collins’s vulnerability, accompanied solely by piano and vocals.

“Hand in Hand”: An instrumental piece blending jazz and world music elements, highlighting the talents of the assembled musicians.

Commercial Success and Legacy

Upon its release, Face Value received critical acclaim and achieved significant commercial success. The album topped the UK Albums Chart for three weeks and reached No. 7 on the US Billboard 200. It has since sold over 5 million copies in the US and over 1.5 million in the UK. The success of Face Value not only established Collins as a solo artist but also set the stage for a series of successful albums throughout the 1980s.

In retrospect, Face Value stands as a testament to Phil Collins’s ability to translate personal adversity into a universally relatable and sonically diverse album. Its enduring appeal lies in its raw emotion, innovative production, and the seamless fusion of various musical styles.

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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. ↩︎