Genesis (band)
Genesis is a
Grammy Award winning
English progressive rock band formed in
1967. The band's notable former members include
Peter Gabriel and
Phil Collins, both of whom achieved additional success as solo artists and in other ventures. With approximately 150 million albums sold worldwide, Genesis is one of the top 30 highest selling recording artists of all time.
[http://www.atlanticrecords.com/collinsphil/about/] The band is widely known for two distinctly different musical phases. Early on in their career, their complex song structures, elaborate instrumentation, and theatrical
live shows made them one of the most revered bands of the 1970s progressive rock movement. Hallmarks of the band's music during this period included the 23-minute long "
Supper's Ready" and the 1974
concept album,
The Lamb Lies Down on Broadway. In the 1980s and beyond, their music took a distinct turn towards
pop, becoming considerably more
hook-oriented and more accessible to the
musical mainstream. This change of musical direction gave them their first
UK #1 album,
Duke, as well as their only
US #1 single, "
Invisible Touch".
Initially fronted by Peter Gabriel, Genesis has experienced several personnel changes over the years. Collins took over from Gabriel after the latter's departure from the group in 1975. After nearly two decades of being the band's frontman, Collins left the group in 1996 and was replaced by former
Stiltskin singer
Ray Wilson for the 1997 album
Calling All Stations. Wilson was released from the group in 1998 following the disappointing sales of the new album.
["World of Genesis: Ray Wilson Interview"] After three decades of activity, the band announced that it was on an indefinite
hiatus.
The beginning: 1967-1969
The band's origin lies in the late 1960s, when founding members
Peter Gabriel and
Tony Banks were students at
Charterhouse School. The original line-up consisted of Peter Gabriel (vocals),
Anthony Phillips (guitar), Tony Banks (keyboards),
Mike Rutherford (bass & guitar), and
Chris Stewart (drums).
[Welch, Cris. The Complete Guide to the Music of Genesis. London: Omnibus Press. 1995] Genesis recorded its first album,
1969's From Genesis to Revelation, after striking a deal with
Jonathan King, an alum of their school and a songwriter and
producer who had a hit single at the time called "Everyone's Gone to the Moon". King supposedly dubbed the band Genesis because it was the first serious band he had worked with, or the
genesis of his career. As he recalled later — "I named them Genesis because I thought it was a good name...it suggested the beginning of a new sound and a new feeling".
["And The World Was ... GENESIS"] The album was released by
Decca Records. During the sessions, drummer Stewart left the band and was replaced by
John Silver. The band recorded a series of songs reflecting the light pop style of the
Bee Gees, of whom King was very fond, and King assembled these tracks into a pseudo-
concept album, layering on
string arrangements into the music during production. The band's first single, "The Silent Sun" () was released in February 1968. The album sold poorly, and the band, feeling manipulated by King, told him they had broken up in order to get out of their contract with him.
[King, Jonathan. "In the Beginning". From Genesis to Revelation (sleevenotes). 1993 release] To this day, King asserts his responsibility for the band's subsequent success. He holds the rights to the songs on the
From Genesis to Revelation album and has attempted to sell the rights for their re-recording.
Genesis recruited a new drummer,
John Mayhew, playing occasional gigs until landing a new deal with
Charisma Records founder
Tony Stratton-Smith. Through live performances the band became known for hypnotic melodies that were often dark and haunting. Phillips left the band in
1970 after the release of
Trespass because of ill health and
stage fright.
[Ostrich, Michael. "Genesis Frequently Asked Questions List Version 2.6". 21 Dec. 1998] The departure of Phillips traumatised both Banks and Rutherford, as Phillips had been a founding member and a primary force behind the band turning professional. There was also doubt over whether Genesis could go on without him.
[Young, John. "Genesis Look at Themselves" Trouser Press Magazine. March 1982] Eventually, the remaining members renewed their commitment to Genesis, also deciding to fire drummer
John Mayhew in the bargain.
Trespass (1970) set the format for Genesis albums throughout the '70s. The album consisted of lengthy, sometimes operatic pieces and occasional very short, humorous numbers that typified the style of progressive rock of
King Crimson,
Yes, and
Gentle Giant.
Trespass included elaborate arrangements and time signature changes — key elements that continued to be featured in Genesis's subsequent albums.
Trespass featured the nine-minute "The Knife" which Gabriel, a believer in
non-violence after having been influenced by a book on
Gandhi, wrote showing "how all violent revolutions inevitably end up with a dictator in power".
joined Genesis on
4 August 1970 after successfully impressing the other band members with his drumming skills during an audition at Gabriel's parents' house. The band continued as a four-piece before playing a few shows with guitarist
Mick Barnard. As the band felt that Barnard was not up to their caliber of musicianship, they sought a proper replacement for Phillips.
Late in 1970,
Steve Hackett, who performed in the band
Quiet World, placed an advertisement for a band in
Melody Maker. Hackett went to see Genesis in concert and enjoyed the type of music they were playing. The band liked the tone of the advertisement, and after a meeting at his parents' apartment, hired Hackett immediately.
Peter Gabriel-led era: 1970-1974
Collins and Hackett made their studio debut on the album
Nursery Cryme (Originally Released November, 1971), which featured the epic "The Musical Box" () and Collins's first lead vocal performance on "For Absent Friends".
Foxtrot, released in October
1972, contained what many consider to be one of the group's most celebrated works
[Page 21] — the 23-minute "
Supper's Ready" () and the
Arthur C. Clarke-inspired "Watcher of the Skies", that solidified Genesis's reputation as songwriters and performers. Gabriel's flamboyant and theatrical stage presence, which involved numerous costume changes and surreal introductions to each song, made the band one of the most talked-about live acts in the early 70s UK rock scene.
["Some New York Times Reviews '72-'74"] Selling England by the Pound followed in
November 1973 and was well received by critics and fans.
[Malamut, Bruce. "Selling England by the Pound". March 1974] According to one biographical account, Gabriel was very conscious of lyrics and references that might suggest a slant towards American audiences. He was keen to avoid this and insisted that the album carry the title
Selling England by the Pound, also the title of the
Labour Party manifesto at the time.
[Bowler, Dray. "Genesis: A Biography". London: Sidwick & Jackson. 1992] The album contained "Firth of Fifth" () and "I Know What I Like (In Your Wardrobe)", songs that remained part of Genesis's
repertoire in future live performances. During this period, guitarist Hackett became one of the first to use the "
tapping" technique normally credited to
Eddie Van Halen and "
sweep picking" popularized in the 80's by
Yngwie Malmsteen.
[ Alspach, Steve. "Interview with Steve Hackett"] These techniques were used in the song "Dancing with the Moonlit Knight".
Genesis ventured into a more ambitious project with the double disc
concept album The Lamb Lies Down on Broadway () (1974). The album was released
November 18,
1974. The story features the supernatural journey of protagonist
Rael, a
Puerto Rican youth in
New York City, and his journey through a parallel reality. During his adventure, Rael encounters several bizarre characters such as
The Lamia, borrowed from
Greek mythology, and the
Slippermen during some satirically twisted circumstances. Interpretation of the
Lamb remains a matter of speculation as there is no official explanation of its meaning.
Rather than the lengthy tracks featured on prior albums,
The Lamb Lies Down on Broadway collected many shorter tracks connected by a variety of
segues. This change was due to the album's production, as well as the appearance of bolder electronic keyboard sounds and a departure from songs featuring British themes to those that were
American.
The Lamb Lies Down on Broadway strained relations between members of the group, particularly Banks and Gabriel. The other members of Genesis essentially wrote the music to
The Lamb Lies Down on Broadway without Gabriel's participation (except the song "Counting Out Time" written entirely by Gabriel). Gabriel focused on the story and its lyrics separately from his bandmates (with the exception of the song "The Light Dies Down on Broadway" written by Banks & Rutherford). Genesis embarked on a world tour promoting
The Lamb Lies Down on Broadway. Since it was a concept album,
The Lamb Lies Down on Broadway was performed in its entirety. Most shows ended with one or two encore performances of the songs, "Watcher of the Skies", "The Musical Box", or "The Knife". In the end, the band performed
The Lamb Lies Down on Broadway exactly 102 times.
Gabriel announced his departure from Genesis in
August 1975, following the
The Lamb Lies Down on Broadway tour. He felt estranged from the band, and his marriage and birth of his first child added to his personal strain. Gabriel explained his departure in a letter to fans entitled
Out, Angels Out::) and "Entangled". Despite the success of
Trick of the Tail, the group remained concerned with their live shows considering Gabriel's elaborate performances. Collins felt confident that he could handle live vocal duties, but definitely needed another drummer while he sang.
Bill Bruford, drummer for
Yes and
King Crimson, offered to drum while Collins attended to vocal duties — a suggestion that was palatable to the band.
["An interview with Bill Bruford"] Bruford joined on tour in 1976 as drummer. For their tours starting in 1977, the
jazz fusion-trained
Chester Thompson, a veteran of
Weather Report and
Frank Zappa, took over live drumming duties to allow Collins to concentrate on vocals. Collins's approach to live Genesis shows differed from the more theatrical performances of Gabriel, and his interpretations of prior songs were lighter and subtler. Years later, Gabriel told Collins at the 1982
Milton Keynes reunion show that Collins sang the songs
better than Peter, but never
quite like him.
[Genesis. Inside Genesis 1975-1980 Classic Rock Legends, 2004] Also in 1976, Genesis released
Wind & Wuthering — their second album that year. This was the first of two Genesis albums to be recorded at the Relight Studios in
Hilvarenbeek,
Holland.
The album got its name from
Emily Bronte's novel
Wuthering Heights, whose last lines — "how anyone could ever imagine unquiet slumbers for the sleepers in that quiet earth" also inspired the names of the seventh and eighth tracks of the album.
[Page 371] The album featured "Blood on the Rooftops" and "Afterglow" (), as well as the complex multi-part suite "One for the Vine". The animated movie
B.C. Rock featured bits of "Afterglow". The band signed with a new manager
Tony Smith, and all their songs were thereafter published through his company,
Hit & Run Music Publishing.
Hackett's departure
|
Genesis (clockwise): Mike Rutherford, Phil Collins and Tony Banks in May 1980. |
Guitarist Steve Hackett had become increasingly disenchanted with the band by the time
Wind & Wuthering was released.
["Steve Hackett Interview"] Following the departure of Gabriel, he became the first band member to record a solo album. The freedom he experienced during the making of
Voyage of the Acolyte (1975) led him to feel constricted at what he regarded as the confines of Genesis. According to Collins, Hackett wanted a quarter of the
Wind & Wuthering album to be given over to his own material; "a dumb way to work in a band context" claimed Collins.
["Wind & Wuthering 1977 - Genesis Remember"] Genesis tried to placate him by giving extra songwriting credits on the two instrumental tracks "Unquiet Slumbers for the Sleepers..."/"...In That Quiet Earth" (originally intended to be a single track, composition credit to all four band members), but the Hackett-composed "Blood on the Rooftops" was never performed live by the band and his composition "Please Don't Touch" was rejected for inclusion on the LP. Following the release of the
Spot the Pigeon E.P. (1977), consisting of extra tracks from the
Wind & Wuthering sessions, Hackett left the band.
The
Seconds Out live album of the
1977 tour became Hackett's final release with Genesis. Rutherford took over his guitar duties in the studio and would alternate guitar and bass duties with
Daryl Stuermer for live performances. The group continued as a
trio, a fact reflected in the title of their
1978 album
...And Then There Were Three.... This album began another change away from 10-minute-plus progressive epics and towards shorter, more radio-friendly tracks. It yielded their first
American radio hit, "Follow You Follow Me" (). The song's popularity caused
...And Then There Were Three... to be the band's first US Gold selling album.
A change in musical direction
In
1979, Genesis almost lost Collins as he moved to
Vancouver, Canada in an attempt to save his first marriage. However, two months and a divorce later, Collins returned to the UK and immersed himself in
Duke (1980). Collins later claimed that his marriage breakup accelerated his growth as a songwriter, and
Duke became the first Genesis album with which he pulled equal songwriting weight with Banks and Rutherford.
Duke continued the departure from the sounds and concepts that identified Genesis in the 1970s. Lengthy, complex themes and music gave way to shorter, more "accessible" pieces. The use of the
drum machine was a consistent element in forthcoming Genesis albums as well as in Collins's solo albums. The more commercial
Duke was well received by the mainstream media and was Genesis's first UK Number 1 album, and the tracks "Misunderstanding" () and "Turn it on Again" became two of the band's standbys.
Genesis followed
Duke with 1981's
Abacab, which featured
horn and
wind instruments and a collaboration with
Earth, Wind & Fire (EWF) on the track "No Reply at All" (). Much of the rehearsing for
Abacab was done in the newly built Genesis studio —
The Farm, in
Surrey,
England, where all four of Genesis's subsequent albums were recorded.
Abacab also featured a more forceful live drum sound from Collins, including the use of
Gated reverb where the live (or artificially reverberated) sound is relayed through a
noise gate set to rapidly cut off the sound when it reaches a particular threshold volume. This results in a powerful "live" sounding yet very controlled drum sound. This distinctive sound was originally developed at the instigation of Gabriel with Genesis co-producer/engineer
Hugh Padgham when Collins was recording the backing track for "Intruder", the first song on Gabriel's 1980 solo album. This, as well as Padgham's production, had been apparent on
Face Value (1981), Collins' debut solo album. The "gated" drum sound would become an audio trademark of future Genesis and Collins albums.
"Invisible Touch" and "The Way We Walk" tour
will put it right
".["Assorted pieces of insight into Genesis from assorted sources]]]In 1982, the band released the double live album Three Sides Live. The U.S. version of this album had three sides of live material (hence the album's title) plus one side of studio tracks. The studio side included the song "Paperlate" (), again featuring the EWF horn section. In the U.K., the three songs on the "Paperlate" side of the album had previously been released on the EP 3 X 3. This enabled the U.K. version of Three Sides Live
to also contain further live material, albeit from earlier tours. The year was capped with Genesis performing in the company of Gabriel and Hackett under the name "
Six of the best" for a one-off concert at the Milton Keynes bowl (). The concert was hastily put together to help raise money for Gabriel's WOMAD project, which was suffering from considerable financial hardship.["The 1982 Reunion Show Program Book"]
The eponymous Genesis (1983) album (sometimes referred to as "Shapes
" for its game-piece cover) was their third consecutive number 1 album in the UK. The album featured radio friendly pieces such as "Mama" () and "That's All". Genesis
also re-introduced the band's flair for lengthy pieces in "Home by the Sea", which did particularly well in Asia for its use of the pentatonic scale. The album track "Just a Job to Do" became the theme song of the 1985 ABC detective drama The Insiders.
Genesis released their highest selling album, Invisible Touch (1986), at the height of Collins's popularity as a solo artist. The album yielded five US Top 5 singles, "Throwing it All Away", "In Too Deep", "Tonight, Tonight, Tonight", "Land of Confusion" () and "Invisible Touch" (). The title track went to #1 in the United States, the only Genesis song to do so (despite only climbing to #15 in the UK). In 1987, Genesis became the first band to sell out four consecutive nights at Wembley Stadium [The Waiting Room Online. 2005]. Genesis were the first band to use Vari*Lite technology,[Vari-Lite. Vari*Lite] Jumbotron screens and the Prism sound system, all of which are now standard features of arena rock concerts.
Earlier that year, Collins saw a spoof of himself on Spitting Image, a satirical British television show that featured politicians and celebrities in puppet form. Impressed with the representation, Collins and Genesis commissioned the show's creators, Peter Fluck and Roger Law, to work on the video for "Land of Confusion". The video was a sarcastic commentary on The Cold War, played to the perception of each coalition's leaders as being "trigger happy" with the nuclear "button". As well as puppet versions of Banks, Collins and Rutherford, the video also showed Ronald Reagan dressed as Superman. It was nominated for the MTV "Video of the Year", losing to Gabriel's Sledgehammer.
"Tonight, Tonight, Tonight" was used in a Michelob commercial (as was Collins' "In the Air Tonight"), while "In Too Deep" was featured in the film Mona Lisa.[page 307] The instrumental "The Brazilian" was used in the animated movie When the Wind Blows (whose score was written by Roger Waters).
After a hiatus of five years, Genesis reconvened to release We Can't Dance'' in 1991 — Collins's last studio album with the group. The album featured the successful singles "
Jesus He Knows Me", "
I Can't Dance", "
No Son of Mine" (), "
Hold On My Heart", "
Tell Me Why" and "
Never A Time" (US release only) as well as lengthy pieces such as "Driving the Last Spike" and "Fading Lights". The album also included "Since I Lost You", which Collins wrote in memorial of the death of
Eric Clapton's son, Conor. After serving Genesis for over 25 years, Collins left the band in March 1996, stating::
Ray Wilson Era: 1997-1998
Rutherford and Banks elected to go on, and were able to fill in the gaps of missing members. Drumming duties were shared by
Nir Zidkyahu, an
Israeli session drummer who had played with
Hidden Persuaders, and
Nick D'Virgilio from the progressive rock band
Spock's Beard.
The difference in the two play styles was noticeable, as D'Virgilio played softer, simple rhythms in comparison to Zidkyahu's pounding of the
skins. Regular touring guitarist Stuermer was touring, ironically enough, with Collins's solo tour.
Anthony Drennan, who had played with
Paul Brady and
The Corrs, was recruited as a replacement. Finally, Banks and Rutherford replaced Collins with ex-
Stiltskin singer
Ray Wilson. Other considered performers included
Paul Carrack from Rutherford's
Mike and the Mechanics to ex-
Marillion vocalist (and two-time Banks collaborator)
Fish[ Popke, Michael. "Ray Wilson: 'I find George Bush quite frightening and capable of scary things.'". 24 Oct. 2004] to Gabriel.
Kevin Gilbert was offered an audition just before he died tragically.
[Sine, Richard. "All Rocked Out".] According to producer
Nick Davis, the only other serious candidate was David Langdon, who had never sung with a band before; hence Wilson got the job.
["Getting It Done In 5.1"]The album
Calling All Stations (1997) sold well in Europe, with the track "Congo" () peaking at UK# 29. However, the album failed in America without reaching the Billboard Top 50. Genesis cancelled a planned American tour due to the album's commercial failure. Genesis has, for all intents and purposes, disbanded, but many of the members remain in regular contact. The 1970-75 lineup of Banks, Collins, Gabriel, Hackett and Rutherford, recorded a new version of "The Carpet Crawlers" (), done over many separate sessions, for
Turn it on Again: The Hits. Collins, Banks and Rutherford performed an
acoustic rendition of "
I Can't Dance" at the Music Managers Forum in honor of their manager Tony Smith in 2000.
["Genesis: LET THERE BE PHIL"] Most of the original members were involved in the two
Archive boxed-set compilations.
Super Audio CD re-releases of most of Genesis's studio albums have been announced, though they are still being mixed by Nick Davis.
Rumors of a Genesis reunion continue to resurface. In November 2005, Gabriel told the press that "the odds are better than ever before" of a Genesis reunion. Those comments followed reports by Collins that he was open to talks about reuniting. Steve Hackett confirmed that he had received a call from Genesis's management about a possible reunion. However, at the end of November 2005, Genesis's management issued a statement in response to the growing speculation regarding Genesis members' activities saying, "There are no decisions by Genesis to perform anywhere whatsoever at this time. This situation will not alter in the next twelve months."
["Statement from the members of Genesis". 1 Dec. 2005] In an April 2006 radio interview, Collins revealed that the band had discussed new live staging of
The Lamb Lies Down on Broadway during their meeting in November 2005.
["Phil Collins Sheds Light on Possible Genesis Reunion and 2005 Band Meeting". 2006. Worldofgenesis.com. 18 Apr. 2006]According to Rolling Stone magazine (June 15th, 2006) Genesis is now considering reuniting their classic five-man lineup for a tour in the near future.
A wide range of music ranging from
classical music to mainstream rock and
jazz influenced Genesis. Banks drew his influences from
Alan Price of
The Animals, who, according to Banks, was "[t]he first person who made me aware of the organ in a rock context".
["Genesis's Banks — A Current Account". Beat Instrumental. Apr. 1976] Other organists included
Procol Harum's
Matthew Fisher and the 1960s progressive rock band
The Nice. Classical influences include
Rachmaninov,
Ravel,
Mahler and
Shostakovich.
Many of their contemporaries and immediate predecessors —
The Beatles,
The Rolling Stones,
Simon and Garfunkel — affected the band's music. Collins has cited
Buddy Rich and the jazz outfit
The Mahavishnu Orchestra, while Gabriel's early career with Genesis was influenced by the music of
Nina Simone and
King Crimson.
["The Genesis File". Melody Maker. 2006. 16 Dec. 1972] Musical arrangements on the band's first album
From Genesis to Revelation were influenced by the works of The
Moody Blues,
Family, and The
Bee Gees as Jonathan King was a self-professed admirer of their music. Though similar to the extent that both Gabriel and
David Bowie relied on on-stage theatrical performances, neither claimed the other to be an influence.
["Cartoons, Costumes, and the Myths of Genesis". Circus. Dec. 1974] As a group that influenced the growth of the progressive rock genre, Genesis has been cited as an influence for many progressive rock groups such as
Kansas,
Marillion,
Ange and
Goblin. Several Genesis
tribute bands such as
Re-Genesis,
The Musical Box and
In The Cage routinely perform Genesis's older material from the "Peter Gabriel" era. Incidentally, Collins became the first artist to cover a Genesis song — "Behind The Lines", which he included as the third track of
Face Value.
Past members of Genesis have also "covered" Genesis material live on solo shows — Gabriel played "The Lamb Lies Down on Broadway" and "Back in NYC" while Hackett has performed "In That Quiet Earth", "Los Endos", "Horizons"
and "Blood On The Rooftops". Hackett has also performed "I Know What I Like (In Your Wardrobe)" on solo tours and on tour with his short lived supergroup
GTR in 1986. Ray Wilson covered the biggest amount of Genesis Songs during his solo concerts. On his two solo live albums
Live and
Life and Acoustic you can find the Genesis songs "Carpet Crawlers", "Follow you Follow me", "
I Can't Dance", "The Lamb lies down on Broadway", "
No Son of Mine", "Shipwrecked" and "
Mama". Surprisingly he also interpreted two solo career songs of his two predecessors in Genesis as he sang "
In the Air Tonight" (Collins) and "
Biko" (Gabriel).
Jeff Buckley reworked "Back in NYC" on the
posthumously released 1998
Sketches for My Sweetheart the Drunk. The
Swedish death metal band
In Flames covered "
Land of Confusion" on
Trigger (EP), as did
Disturbed on their 2005 album
Ten Thousand Fists. Disco-pop band Alcazar, also from
Sweden, has covered parts of "
Land of Confusion in their song
This is the world we live in".
Genesis's album covers incorporated more complex and intricate art to reflect the themes presented in their albums. Their first album,
From Genesis to Revelation was a plain black album cover with
Genesis written in a green
gothic typeface to the top left of the cover. The album covers of this album have changed with its numerous re-releases. Genesis's three subsequent album covers were developed by popular
Charisma Records graphic artist
Paul Whitehead, who also developed the Charisma "
Mad Hatter" logo. The
Foxtrot album cover is popular among Genesis fans; the front cover depicts a feminine figure in a red dress with the head of a fox. Whitehead stated in an interview that
Jimi Hendrix's "
Foxy Lady" was an inspiration for the character he created.
["Paul Whitehead interview"] After Whitehead moved to
Los Angeles, Genesis signed with the reputed
Hipgnosis, whose artists had created high profile album covers for
Pink Floyd's
Dark Side of the Moon and Led Zeppelin's
Houses of the Holy. Hipgnosis's first Genesis album cover was for
The Lamb, which for the first time in Genesis's history featured a male model. The model, credited simply as "Omar" on the album sleeve, portrayed the
The Lamb protagonist "
Rael".
Through the rest of the 1970s, various Hipgnosis artists, of whom Colin Elgie contributed heavily, designed all Genesis studio albums. The
Trick of the Tail album cover was representative of many of the characters in the album — the robber from "Robbery, Assault and Battery", the beast from the title track and a
metaphoric image of old age reminiscing about youth from the song "Ripples". Beginning with
Duke, Genesis albums featured caricatures designed by Bill Smith Studios. Genesis's highest selling album
Invisible Touch featured the artwork of Assorted Images which had previously designed album covers for
Duran Duran and
Culture Club. The
We Can't Dance cover features the work of Felicity Bowers — the cover is reminiscent of
Wind & Wuthering, and is presented in hazy
watercolour. The
Calling All Stations and the compilation
Turn it on Again: The Hits covers were designed by
Wherefore Art?.
|
"...brush back your hair, and let me get to know your face."Peter Gabriel in costume as an old man. Gabriel's costumes illustrate the band's musical concepts. |
Genesis's progressive rock roots made them unlike many of their
rock contemporaries such as
Led Zeppelin or
Black Sabbath. Indeed, one article in
Q Magazine speaks of a 1977
Ray Lowry cartoon that depicted an arena of "either asleep, moribund,[or] comatose" fans watching Genesis perform live, with the band's name emblazoned on a banner above the stage reading "GENESNOOZE".
[Maconie, Stuart. "Genesis: The Loathed and Loved". Q Magazine. Dec 1994.] Much of the criticism surrounding the band in the 1970s was centred around progressive rock in general, which many dismissed as "intellectual" or "pretentious". Gabriel's theatrics appeared unpalatable to mainstream rock fans as well as many Genesis fans.
[Page 37] This was exemplified during live performances of Gabriel's last Genesis album,
The Lamb, during which he appeared on stage as various characters in his storyline such as the Slipperman. The storyline for
The Lamb, which was independently developed by Gabriel, proved hard to understand and accept and caused friction within the band.
[Page 37] Collins recalled later, "He'd be in a Slipperman costume trying to get a mike anywhere near his throat, and be out of breath - all twisted up. Towards the end I felt the singing wasn't really being heard; the songs weren't really being heard".
Genesis's transition from playing lengthy complex material to more compact, radio friendly material was not well received by many critics; one particular review of
...And Then There Were Three... read, "[i]n short, this contemptible opus is but the palest shadow of the group's earlier accomplishments. Not only is the damage irreversible, it's been widely endorsed:
...And Then There Were Three... is Genesis's first U.S. gold record".
[Bloom, Michael. "And Then There Were Three". RollingStone. 10 Aug. 1978] Collins himself has often been criticized for Genesis's transformation from a progressive rock outfit to a mainstream rock /
pop band, playing much the same type of music that Collins did as a solo artist. "I don't feel we've bastardized the way we were", Collins said in an interview with
Music Express. "On a generous day I'll blame me for the change, but I just think it is us growing up, listening to different things".
["Phil Collins Interviews". Musical Express. 1990]wins
*
1988: - Best Music Video, Short Form ("Land Of Confusion" (
1986))
nominees
*
1985: - Best Rock Vocal Performance By Duo Or Group (
Genesis (
1983))
** - Best Rock Instrumental Performance ("Second Home By The Sea" (
1983))
*
1987: - Best Pop Instrumental Performance ("The Brazilian" (
1986))
*
1992: - Best Pop Vocal Performance By Duo Or Group ("I Can't Dance" (
1991))
wins
*
1993: - Favorite Group (Pop/Rock) (
We Can't Dance (
1991))
nominees
*
1987: - Favorite Group (Pop/Rock) (
Invisible Touch (
1986))
*
1992: - Favorite Album (Adult/Contemporary) (
We Can't Dance (
1991))
** - Favorite Artist (Adult/Contemporary) (
We Can't Dance (
1991))
* Welch, Cris.
The Complete Guide to the Music of Genesis. London: Omnibus Press. 1995
* McMahan, Scott.
"The Genesis Discography — The scattered pages of a book by the sea". January 1998 Ed.
* Eder, Bruce.
"Genesis Biography".
All Music Guide. 2006.
* Mitchell, Paul.
"The Book of Genesis".
Music Scene. Oct. 1973
* Welch, Chris.
"Genesis to Revelation".
Melody Maker. 23 Aug. 1975
* Banks, Collins, Rutherford.
"Genesis Look At Themselves - An Autodiscography".
Trouser Press. March 1982
* Welch, Chris.
"THE BAND WHO WANT TO BE BOOED".
Melody Maker. 23 Sept. 1972
* Genesis.
Inside Genesis 1975-1980 Classic Rock Legends, 2004
* Genesis.
Inside Genesis 1970-1975 Classic Rock Legends, 2005
* Genesis.
Revelations on Broadway.Archive 1967—75, 1998
* Genesis.
Archive #2. 1976—1992. 2001
* Genesis.
Genesis Archive, Vol.1: 1967-1975. 2000
*
Best selling music artists*
List of Rock Instrumentals*
List of Genesis medleys*
Official Genesis homepage*
Official Phil Collins homepage*
Official Peter Gabriel homepage*
Official Steve Hackett homepage *
Official Anthony Phillips homepage*
Official Ray Wilson homepage*
World Of Genesis Up to date news in the world of Genesis.
*
Authorised Genesis links
