Clique no link acima para ouvir a música "Another Record" do álbum Abacab(1981).
Preste atenção na qualidade! Pois esta música é a mesma que está neste post...os dados que você verá no link do 4shared são os mesmos que você verá quando ouvir este som no VUPlayer!
Este é o único blog de rock do Brasil em que o usuário tem a oportunidade de ouvir uma música da discografia que está sendo publicada antes de a baixar, em tempo real!
Só aqui você tem esta opção porque eu realmente banco e garanto a qualidade dos meus arquivos, porque eu os faço um á um, não sou como outros preguiçosos que tem por aí, que baixam discografias prontas de torrents, apagam o nome dos autores originais, colocam o seu nome e sobem para contas anônimas de sites de compartilhamento.
24 músicas de estúdio. Isso é o que há nos 4 cds do álbum Abacab. Baixe agora mesmo este disco, para isso clique no link que aparece nesta mensagem, entre no blog, veja o post até o final e encontre os links para baixar todos estes álbuns.
Neste disco tem versões demo, bonus tracks e o ensaio de estúdio completo que o Genesis realizou antes da gravação final do álbum. A versão mais completa deste álbum magnífico até este momento está a sua disposição apenas neste blog para satisfazer o mais fanático fã do Genesis.
Se esta for a primeira vez que você acessa este blog, leia tudo o que se encontra nesta página. Quando você for acessar outro post, poderá pular o texto a seguir e seguir em frente. È importante que você saiba exatamente porque este blog não segue a linha de tantos outros por aí, porque aqui duas coisas você pode ter a certeza absoluta que encontrará, conteúdo diferenciado e exclusivo e arquivos com a mais alta qualidade sonora da internet. Para tanto, eu disponibilizo o meu próprio player de áudio, totalmente na nossa língua portuguesa para que você obtenha a máxima satisfação ao ouvir estes arquivos de áudio, seja usando headphones ou escutando em um aparelho de som.
A Wikipédia é uma ferramenta de pesquisa maravilhosa, sem dúvida. No entanto, como qualquer outra coisa, precisa se saber como usa-lá.
Por exemplo, se fosse possível utilizá-la para ler qualquer coisa em qualquer idioma, com uma tradução fiel a lingua original, não existiriam páginas específicas em determinadas linguagens, mas sim uma única opção de tradução, em que em um passe de mágica você veria um texto escrito em chinês traduzido fielmente para o russo ou árabe. Provavelmente você continuaria sem entender o que aquilo significava, caso não dominasse integralmente aquele idioma.
Existem alguns assuntos em que você pode encontrar um artigo escrito em inglês que pode ser traduzido para o português com uma tradução ao pé ao letra, porém outros foram feitos utilizando o recurso de copiar e colar apenas.
Isso acontece muito no que diz respeito á biografias de bandas e cantores. Então o que acontece? Alguém vai lá na página da Wikipédia que está em português, copia e cola o texto errado, e coloca isso no seu blog. O motivo para isso é que alguém entrou na página da Wikipédia americana / inglesa, copiou todo o texto, jogou na caixa do Google Tradutor e colou o resultado, cheio de palavras erradas, verbos e etc.
Eu sou da seguinte opnião; quer fazer algo, faça. Mas faça direito. O trabalho é sempre o mesmo, seja para fazer algo certo ou errado. Quando se faz uma coisa mal feita, o prejuízo é dobrado: além disso comprometer o resultado do trabalho, desmonstra desleixo, relaxo e falta de atenção.
Por mim mesmo eu não colocaria a história de nenhum artista aqui. Porque? Porque é um longo texto que tornará os meus posts ainda maiores. Mas eu sei que se eu não fizer isso, alguém vai falar ´O blog do Fulano tem, e este não´.
Então para mim é preferível que se alguém for comparar este meu honesto blog com outro, que seja sempre em um pé de igualdade e nunca abaixo disso. Porque se amanhã alguém decidir fazer algo temático como eu faço hoje, as pessoas iram dizer, ´O blog do outro foi o primeiro a fazer isso´.
A minha vontade de não escrever a história dos artistas aqui, foi baseado principalmente no que eu vejo quando saio na rua; vejo carros que passam com pessoas ouvindo som alto que toca diversas porcarias, menos rock.
Então parece que ou pessoas que gostam de rock não tem carro ou então que estas pessoas jovens já crescem com o mal gosto definido, então porque colocar a história destas bandas e cantores, que já não são novidade para ninguém?
As pessoas mais velhas que já conhecem estes artistas não vão ler aquilo tudo outra vez, ou se forem ler, já perderam o tesão logo no começo, com um texto com erros crasos de português.
Então para satisfazer a todos, e principalmente para continuar fazendo as coisas bem feitas, como devem ser, eu vou colocar a história do Genesis na versão original da página da Wikipédia em inglês. A pessoa que fez esta página buscou as informações corretas e tem mais autoridade para falar deles do que alguma pessoa preguiçosa que não quis se dar ao trabalho árduo de fazer uma tradução digna do nível que eles merecem.
O melhor jeito de se adquirir conhecimento é se buscando as informações direto na fonte, ou então você corre o risco de aprender os que os outros querem que você aprenda e desta maneira em vez de você criar a sua própria opnião você termina por adotar a dos outros e assim pensa com a cabeça deles, e não com a sua.
Partindo disso, você tem três opções: instalar um plugin no Firefox e traduzir esta página em tempo real, copiar este texto longo, jogá-lo no Google Tradutor, salvar o que vier de lá e mais tarde arrumá-lo da forma que você achar melhor ou então copiar este texto, salvá-lo no Bloco de Notas e baixar o tradutor off-line Lingoes que eu disponibilizarei em breve no Painel de Avisos e traduzí-lo no conforto do seu lar, de acordo com a sua disponibilidade de tempo, paciência e disposição.
Isso claro se para você for realmente necessário. Eu leio em inglês e consigo entender o conceito da frase, e isso para mim na maioria das vezes me satisfaz, quando isso não basta, eu traduzo uma palavra que eu não sei o que significa e isso resolve o problema.
Mais para a frente, quando eu tiver tempo, eu pretendo traduzir este texto e republicá-lo em portugues, mas isso é algo sem data definida.
Genesis: História Completa
O Genesis teve diversos line-ups durante a sua existência e eu não consegui encontrar uma foto que tivesse todos os membros reunidos nas primeiras fases. Sempre faltava um ou outro membro, por isso eu resolvi colocar apenas as formações estáveis que são conhecidas de todas as pessoas. Lembrando que Gabriel entrou em 1967, assim como Rutherford e Banks, que permaneceram até o fim (?) como os únicos membros permanentes desde o começo da banda.
Primeira Formação Estável: (1971-1977)
Tony Banks, Peter Gabriel, Mike Rutherford, Steve Hackett e Phil Collins
Tony Banks, Peter Gabriel, Mike Rutherford, Steve Hackett e Phil Collins
Segunda Formação Estável: (1977-1996)
Phil Collins, Mike Rutherford e Tony Banks
Phil Collins, Mike Rutherford e Tony Banks
Terceira Formação Estável: (1996-1998)
Mike Rutherford, Tony Banks e Ray Wilson
Mike Rutherford, Tony Banks e Ray Wilson
Genesis are an English rock band formed at Charterhouse School, Godalming, Surrey in 1967. The most commercially successful and longest-lasting line-up includes keyboardist Tony Banks, bassist/guitarist Mike Rutherford and drummer/singer Phil Collins.
Other important members were the original lead singer Peter Gabriel and guitarist Steve Hackett. The band underwent many changes in musical style over its career, from folk music to progressive rock in the 70s, before moving towards pop at the end of the decade. They have sold 21.5 million RIAA-certified albums in the US and their worldwide sales are estimated to be between 100 million and 150 million.
Formed by five Charterhouse pupils including Banks, Rutherford, Gabriel, and Anthony Phillips, Genesis was named by former pupil Jonathan King who arranged them to record several unsuccessful singles and an album. After splitting with King, the group began touring professionally, signing with Charisma Records.
Following the departure of Phillips, Genesis recruited Collins and Hackett and recorded several progressive rock style albums, with live shows centred around Gabriel theatrical costumes and performances. The group were initially commercially successful in Europe, before entering the UK charts with Foxtrot (1972). They followed this with Selling England by the Pound (1973) and The Lamb Lies Down on Broadway (1974) before Gabriel decided to leave the group.
After an unsuccessful search for a replacement, Collins took over as lead singer, while the group gained popularity in the UK and the US. Following A Trick of the Tail and Wind & Wuthering (both 1976), Hackett left the band, reducing it to a core of Banks, Rutherford, and Collins.
Genesis had their first UK top ten and US top 30 single in 1978 with "Follow You, Follow Me" and the group continued to gain commercial success with Duke (1980), Abacab (1981), and Genesis (1983), reaching a peak with Invisible Touch (1986), which featured five US top five singles.
Its title track reached number one in the US. After the follow up, We Cant Dance (1991) and related tour, Collins left Genesis in 1996 to focus on his solo career. Banks and Rutherford recruited Ray Wilson for Calling All Stations (1997), but a lack of success in the US led to a group hiatus.
Formed by five Charterhouse pupils including Banks, Rutherford, Gabriel, and Anthony Phillips, Genesis was named by former pupil Jonathan King who arranged them to record several unsuccessful singles and an album. After splitting with King, the group began touring professionally, signing with Charisma Records.
Following the departure of Phillips, Genesis recruited Collins and Hackett and recorded several progressive rock style albums, with live shows centred around Gabriel theatrical costumes and performances. The group were initially commercially successful in Europe, before entering the UK charts with Foxtrot (1972). They followed this with Selling England by the Pound (1973) and The Lamb Lies Down on Broadway (1974) before Gabriel decided to leave the group.
After an unsuccessful search for a replacement, Collins took over as lead singer, while the group gained popularity in the UK and the US. Following A Trick of the Tail and Wind & Wuthering (both 1976), Hackett left the band, reducing it to a core of Banks, Rutherford, and Collins.
Genesis had their first UK top ten and US top 30 single in 1978 with "Follow You, Follow Me" and the group continued to gain commercial success with Duke (1980), Abacab (1981), and Genesis (1983), reaching a peak with Invisible Touch (1986), which featured five US top five singles.
Its title track reached number one in the US. After the follow up, We Cant Dance (1991) and related tour, Collins left Genesis in 1996 to focus on his solo career. Banks and Rutherford recruited Ray Wilson for Calling All Stations (1997), but a lack of success in the US led to a group hiatus.
Banks, Rutherford and Collins reunited for the Turn It On Again Tour in 2007, and together with Gabriel and Hackett were interviewed for the BBC documentary Genesis: Together and Apart in 2014.
Their discography includes 15 studio and 6 live albums, 6 of which topped the UK chart. They have won numerous awards and nominations, including a Grammy Award for Best Concept Music Video with "Land of Confusion", and inspired a number of tribute bands recreating Genesis shows from various stages of the band career. In 2010, Genesis were inducted into the Rock and Roll Hall of Fame.
Their discography includes 15 studio and 6 live albums, 6 of which topped the UK chart. They have won numerous awards and nominations, including a Grammy Award for Best Concept Music Video with "Land of Confusion", and inspired a number of tribute bands recreating Genesis shows from various stages of the band career. In 2010, Genesis were inducted into the Rock and Roll Hall of Fame.
1967–1969: Formation, Early Demos, and From Genesis To Revelation
The founding members of Genesis, singer Peter Gabriel, keyboardist Tony Banks, guitarist Anthony Phillips, bassist and guitarist Mike Rutherford, and drummer Chris Stewart, met at Charterhouse School, a private school in Godalming, Surrey.
Banks and Gabriel arrived at the school in September 1963, Rutherford in September 1964, and Phillips in April 1965. The five were members in one of the school two bands; Phillips and Rutherford were in The Anon with singer Richard Macphail, bassist Rivers Jobe, and drummer Rob Tyrell, while Gabriel, Banks, and Stewart made up Garden Wall.
In January 1967, after both groups had split, Phillips and Rutherford continued to write together and proceeded to make a demo tape at a friend home-made studio, inviting Banks, Gabriel, and Stewart to record with them in the process.
The five recorded six songs: "Dont Want You Back", "Try a Little Sadness", "She Is Beautiful", "That Is Me", "Listen on Five", and "Patricia", an instrumental. When they wished to have them professionally recorded they sought Charterhouse alumnus Jonathan King, who seemed a natural choice as their publisher and producer following the success of his 1965 UK top five single, "Everyone Is Gone To The Moon".
Banks and Gabriel arrived at the school in September 1963, Rutherford in September 1964, and Phillips in April 1965. The five were members in one of the school two bands; Phillips and Rutherford were in The Anon with singer Richard Macphail, bassist Rivers Jobe, and drummer Rob Tyrell, while Gabriel, Banks, and Stewart made up Garden Wall.
In January 1967, after both groups had split, Phillips and Rutherford continued to write together and proceeded to make a demo tape at a friend home-made studio, inviting Banks, Gabriel, and Stewart to record with them in the process.
The five recorded six songs: "Dont Want You Back", "Try a Little Sadness", "She Is Beautiful", "That Is Me", "Listen on Five", and "Patricia", an instrumental. When they wished to have them professionally recorded they sought Charterhouse alumnus Jonathan King, who seemed a natural choice as their publisher and producer following the success of his 1965 UK top five single, "Everyone Is Gone To The Moon".
A group friend gave the tape to King who was immediately enthusiastic. Under King direction, the group, aged between 15 and 17, signed a one-year recording contract with Decca Records.
From August to December 1967, the five recorded a selection of potential singles at Regent Sound Studios on Denmark Street, London where they attempted longer and more complex compositions, but King advised them to stick to more straightforward pop.
In response Banks and Gabriel wrote "The Silent Sun", a pastiche of the Bee Gees, one of King favourite bands, which was recorded with orchestral arrangements added by Arthur Greenslade. The group exchanged various names for the band, including King suggestion of Gabriel Angels and Champagne Meadow from Phillips, before taking King suggestion of Genesis, indicating the start of his production career.
King chose "The Silent Sun" as their first single, with "That Is Me" on the B-side, released in February 1968.
It achieved some airplay on BBC Radio One and Radio Caroline but it failed to sell. A second single, "A Winter Tale"/"One-Eyed Hound", followed in May 1968 which also sold little. Three months later, Stewart left the group to continue with his studies. He was replaced by fellow Charterhouse pupil John Silver.
King felt the group would achieve greater success with an album. The result, From Genesis to Revelation, was produced at Regent Sound in ten days during their school summer break in August 1968. King assembled the tracks as a concept album which he produced, while Greenslade added further orchestral arrangements to the songs, something the band were not informed of until the album was released.
Phillips was particularly upset about Greenslade additions. When Decca found an American band already named Genesis, King refused to change his group name. He reached a compromise by removing their name from the album cover, resulting in a minimalist design with the album title printed on a plain black background.
When the album was released in March 1969 it became a commercial failure, because record shops put the album in the "Religious" section upon seeing the cover. Banks recalled the album "after a year or so, had sold 649 copies".
From August to December 1967, the five recorded a selection of potential singles at Regent Sound Studios on Denmark Street, London where they attempted longer and more complex compositions, but King advised them to stick to more straightforward pop.
In response Banks and Gabriel wrote "The Silent Sun", a pastiche of the Bee Gees, one of King favourite bands, which was recorded with orchestral arrangements added by Arthur Greenslade. The group exchanged various names for the band, including King suggestion of Gabriel Angels and Champagne Meadow from Phillips, before taking King suggestion of Genesis, indicating the start of his production career.
King chose "The Silent Sun" as their first single, with "That Is Me" on the B-side, released in February 1968.
It achieved some airplay on BBC Radio One and Radio Caroline but it failed to sell. A second single, "A Winter Tale"/"One-Eyed Hound", followed in May 1968 which also sold little. Three months later, Stewart left the group to continue with his studies. He was replaced by fellow Charterhouse pupil John Silver.
King felt the group would achieve greater success with an album. The result, From Genesis to Revelation, was produced at Regent Sound in ten days during their school summer break in August 1968. King assembled the tracks as a concept album which he produced, while Greenslade added further orchestral arrangements to the songs, something the band were not informed of until the album was released.
Phillips was particularly upset about Greenslade additions. When Decca found an American band already named Genesis, King refused to change his group name. He reached a compromise by removing their name from the album cover, resulting in a minimalist design with the album title printed on a plain black background.
When the album was released in March 1969 it became a commercial failure, because record shops put the album in the "Religious" section upon seeing the cover. Banks recalled the album "after a year or so, had sold 649 copies".
A third single, "Where the Sour Turns to Sweet"/"In Hiding", was released in June 1969. None of the releases were commercially successful and led to the band split with King and Decca. King continues to hold the rights to the album which has seen numerous reissues. In 1974, it peaked the US chart at No. 170.
When the album was recorded, the band went their separate ways for a year; Gabriel and Phillips stayed at Charterhouse to finish exams, Banks enrolled at Sussex University, and Rutherford studied at Farnborough College of Technology.
They regrouped in mid-1969 to discuss their future as their offers in further education would result in the group splitting up. Phillips and Rutherford decided to make music a full-time career as they were starting to write more complex music than their earlier songs with King.
After Banks and Gabriel decided to follow suit, the four returned to Regent Sound in August 1969 and recorded four more demos with Silver: "Family" (later known as "Dusk"), "White Mountain", "Going Out to Get You", and "Pacidy". The tape was rejected by each record label that heard it. Silver then left the group to study leisure management in America. His replacement, drummer and carpenter John Mayhew, was found when Mayhew looked for work and left his phone number "with people all over London".
1969–1970: First Gigs, Signing with Charisma, and Trespass
In late 1969, Genesis retreated to a cottage that Macphail parents owned in Wotton, Surrey to write, rehearse, and develop their stage performance. They adopted a strong working ethic, playing together for as much as eleven hours a day.
Their first live gig as Genesis followed in September 1969 at a teenager birthday. It was the start of a series of live shows in small venues across the UK which included a radio appearance on BBC Night Ride show, on 22 February 1970 and a spot at the Atomic Sunrise Festival held at the Roundhouse in Chalk Farm a month later.
During this time, the band met with various record labels regarding contract offers. Initial discussions with Chris Blackwell of Island and Chris Wright of Chrysalis were unsuccessful. In March 1970, during the band six-week Tuesday night residency at Ronnie Scott Jazz Club in Soho, members of Rare Bird, who Genesis had supported earlier, recommended the band to producer and A&R man John Anthony of Charisma Records.
Anthony attended one of their shows and enjoyed them enough to convince his boss, label owner Tony Stratton-Smith, to watch their next appearance. Stratton-Smith recalled, "Their potential was immediately apparent ... the material was good and their performance was good ... It was a long shot, because they needed time to find their strength ... but I was prepared to make that commitment". Stratton-Smith agreed to a record and management deal within two weeks, paying Genesis an initial sum of £10 a week.
Genesis stayed at Wotton until April 1970, by which time they had enough new material for a second album.
Recording for Trespass began in June at Trident Studios, London with Anthony as producer and David Hentschel hired as assistant engineer. The album included longer and more complex songs than their first with folk and progressive rock elements with various time signature changes, as in the nine-minute song "The Knife".
Trespass is the first in a series of three Genesis album covers designed by Paul Whitehead. He had completed the cover before the band decided to include "The Knife" on the album. Feeling the cover no longer reflected the album overall mood, the band persuaded Whitehead to slash a knife across the canvas and have the result photographed.
Released in October 1970, Trespass reached No. 1 in Belgium in 1971 and No. 98 in the UK in 1984. "The Knife" was released as a single in May 1971. Rolling Stone briefly mentioned the album with a negative view following its 1974 reissue: "It is spotty, poorly defined, at times innately boring".
"That was the closest we came to busting up. For some reason we felt so close that if one left, we thought we could not carry on. Of all the changes we have been through, surviving Ant leaving was the hardest." (Mike Rutherford).
After Trespass was recorded, ill health and developing stage fright caused Phillips to leave Genesis. His last show with the band took place in Haywards Heath on 18 July 1970. He felt the increased number of gigs affected the group creativity and that several songs he wrote were not recorded or performed live.
He had contracted bronchial pneumonia and became isolated from the rest of the band, feeling that it had too many songwriters in it. Banks, Gabriel, and Rutherford saw Phillips as an important member, being the most instrumental in encouraging them to turn professional.
They regarded his exit as the band greatest threat and the most difficult to overcome. Gabriel and Rutherford decided they would continue; Banks agreed on the condition that they find a new drummer that was of equal stature to the rest of the group. Mayhew was therefore fired, though Phillips later thought Mayhew working-class background clashed with the rest of the band which affected his confidence.
Their first live gig as Genesis followed in September 1969 at a teenager birthday. It was the start of a series of live shows in small venues across the UK which included a radio appearance on BBC Night Ride show, on 22 February 1970 and a spot at the Atomic Sunrise Festival held at the Roundhouse in Chalk Farm a month later.
During this time, the band met with various record labels regarding contract offers. Initial discussions with Chris Blackwell of Island and Chris Wright of Chrysalis were unsuccessful. In March 1970, during the band six-week Tuesday night residency at Ronnie Scott Jazz Club in Soho, members of Rare Bird, who Genesis had supported earlier, recommended the band to producer and A&R man John Anthony of Charisma Records.
Anthony attended one of their shows and enjoyed them enough to convince his boss, label owner Tony Stratton-Smith, to watch their next appearance. Stratton-Smith recalled, "Their potential was immediately apparent ... the material was good and their performance was good ... It was a long shot, because they needed time to find their strength ... but I was prepared to make that commitment". Stratton-Smith agreed to a record and management deal within two weeks, paying Genesis an initial sum of £10 a week.
Genesis stayed at Wotton until April 1970, by which time they had enough new material for a second album.
Recording for Trespass began in June at Trident Studios, London with Anthony as producer and David Hentschel hired as assistant engineer. The album included longer and more complex songs than their first with folk and progressive rock elements with various time signature changes, as in the nine-minute song "The Knife".
Trespass is the first in a series of three Genesis album covers designed by Paul Whitehead. He had completed the cover before the band decided to include "The Knife" on the album. Feeling the cover no longer reflected the album overall mood, the band persuaded Whitehead to slash a knife across the canvas and have the result photographed.
Released in October 1970, Trespass reached No. 1 in Belgium in 1971 and No. 98 in the UK in 1984. "The Knife" was released as a single in May 1971. Rolling Stone briefly mentioned the album with a negative view following its 1974 reissue: "It is spotty, poorly defined, at times innately boring".
"That was the closest we came to busting up. For some reason we felt so close that if one left, we thought we could not carry on. Of all the changes we have been through, surviving Ant leaving was the hardest." (Mike Rutherford).
After Trespass was recorded, ill health and developing stage fright caused Phillips to leave Genesis. His last show with the band took place in Haywards Heath on 18 July 1970. He felt the increased number of gigs affected the group creativity and that several songs he wrote were not recorded or performed live.
He had contracted bronchial pneumonia and became isolated from the rest of the band, feeling that it had too many songwriters in it. Banks, Gabriel, and Rutherford saw Phillips as an important member, being the most instrumental in encouraging them to turn professional.
They regarded his exit as the band greatest threat and the most difficult to overcome. Gabriel and Rutherford decided they would continue; Banks agreed on the condition that they find a new drummer that was of equal stature to the rest of the group. Mayhew was therefore fired, though Phillips later thought Mayhew working-class background clashed with the rest of the band which affected his confidence.
1970–1972: Collins and Hackett join and Nursery Cryme
The search for a new guitarist and drummer began with advertisements placed in copies of Melody Maker. The invitation was spotted by drummer Phil Collins, formerly of Flaming Youth who already knew Stratton-Smith. He recalled, "My only knowledge of Genesis was through seeing the ads for their gigs. It seemed like they were constantly working. ... I thought 'At least I am going to be working if I get the gig'."
Roger Taylor, subsequently of Queen, turned down an invitation to audition. Collins went to the audition at Gabriel parents house in Chobham, Surrey with his Flaming Youth band mate, guitarist Ronnie Caryl. As they arrived early, Collins took a swim in the pool and heard what the other drummers were playing.
"They put on 'Trespass', and my initial impression of a very soft and round music, not edgy, with vocal harmonies and I came away thinking Crosby, Stills and Nash". Gabriel and Rutherford noticed the confident way Collins approached and sat at his drum kit and knew he would be the right replacement.
Banks said, "It was a combination of things. He could make it swing a little bit ... he could also tell good jokes and make us laugh ... And he could sing, which was an advantage because Mike and I were not very good at back-up vocals". In August 1970, Collins became the new drummer for Genesis. Caryl audition was unsuccessful; Rutherford thought he was not the player the group were looking for.
After a short holiday, Genesis began to write and rehearse as a four piece band in Farnham, Surrey. The now empty guitar sections in their songs allowed Banks and Rutherford to expand their sound and play what Gabriel described as "interesting chords".
As they had not found a new guitarist, Genesis resumed as a live act with Rutherford adding bass pedals and Banks playing lead guitar lines on a Pianet through a distorted fuzz box amplifier in addition to his keyboard parts, something that he credits in helping him develop his technique.
In November 1970, after a second audition with Caryl fell through, Dave Stopps, owner of Friars club in Aylesbury, suggested they use Mick Barnard of The Farm, who joined the band for their gigs which included Genesis television debut on BBC Disco 2.
After two months of performances, the band found Barnard lacked in expertise and wished to try someone else. In December, Gabriel spotted a Melody Maker advert from Steve Hackett, formerly of Quiet World, who wanted to join a band of "receptive musicians, determined to drive beyond existing stagnant music forms".
Gabriel advised Hackett to become familiar with Trespass and attend their upcoming gig at the Lyceum Theatre in London. Hackett auditioned with the group in a flat in Earls Court and formed an instant rapport with Rutherford through a common interest in inversion chords.
After Hackett joined in January 1971, Stratton-Smith organised a UK tour with Genesis opening for fellow Charisma acts Lindisfarne and Van der Graaf Generator. Their first overseas dates took place in March with gigs in Belgium followed by their first of three consecutive appearances at the annual Reading Festival on 26 June.
Rehearsals for the band third album, Nursery Cryme, took place at Luxford House near Crowborough, East Sussex that Stratton-Smith had owned. Recording began at Trident Studios in August 1971 with Anthony and Hentschel reprising their respective roles as producer and assistant engineer.
The band sound evolved with Hackett more aggressive electric guitar work and Banks adding a Mellotron to his set of keyboards that King Crimson previously owned. The opening track, "The Musical Box", originated when Phillips and Mayhew were in the group.
The band developed the piece further including the addition of new guitar parts from Hackett. The album marks the first instance of Hackett using the tapping technique which is featured on "The Musical Box" and "The Return Of The Giant Hogweed".
Hackett and Collins wrote "For Absent Friends" and marks the first Genesis track with Collins on lead vocals. Whitehead depicted scenes and characters from the lyrics to "The Musical Box" and a Victorian manor house based on Gabriel parent home on the album cover.
Nursery Cryme was released in November 1971 and went on to reach No. 39 in the UK in 1974. Though the group still had a minor cult following at home, they started to achieve commercial and critical success in mainland Europe, with the album reaching No. 4 in the Italian charts.
From November 1971 to August 1972, Genesis toured to support the album which included further visits to Belgium, and Italy for the first time where they played to enthusiastic crowds. They recorded radio sessions for BBC Sounds of the Seventies program in January and March and performed at the Reading Festival that was praised by numerous critics who attended. During the tour Genesis recorded "Happy The Man", a non-album single, with "Seven Stones" from Nursery Cryme on its B-side.
Roger Taylor, subsequently of Queen, turned down an invitation to audition. Collins went to the audition at Gabriel parents house in Chobham, Surrey with his Flaming Youth band mate, guitarist Ronnie Caryl. As they arrived early, Collins took a swim in the pool and heard what the other drummers were playing.
"They put on 'Trespass', and my initial impression of a very soft and round music, not edgy, with vocal harmonies and I came away thinking Crosby, Stills and Nash". Gabriel and Rutherford noticed the confident way Collins approached and sat at his drum kit and knew he would be the right replacement.
Banks said, "It was a combination of things. He could make it swing a little bit ... he could also tell good jokes and make us laugh ... And he could sing, which was an advantage because Mike and I were not very good at back-up vocals". In August 1970, Collins became the new drummer for Genesis. Caryl audition was unsuccessful; Rutherford thought he was not the player the group were looking for.
After a short holiday, Genesis began to write and rehearse as a four piece band in Farnham, Surrey. The now empty guitar sections in their songs allowed Banks and Rutherford to expand their sound and play what Gabriel described as "interesting chords".
As they had not found a new guitarist, Genesis resumed as a live act with Rutherford adding bass pedals and Banks playing lead guitar lines on a Pianet through a distorted fuzz box amplifier in addition to his keyboard parts, something that he credits in helping him develop his technique.
In November 1970, after a second audition with Caryl fell through, Dave Stopps, owner of Friars club in Aylesbury, suggested they use Mick Barnard of The Farm, who joined the band for their gigs which included Genesis television debut on BBC Disco 2.
After two months of performances, the band found Barnard lacked in expertise and wished to try someone else. In December, Gabriel spotted a Melody Maker advert from Steve Hackett, formerly of Quiet World, who wanted to join a band of "receptive musicians, determined to drive beyond existing stagnant music forms".
Gabriel advised Hackett to become familiar with Trespass and attend their upcoming gig at the Lyceum Theatre in London. Hackett auditioned with the group in a flat in Earls Court and formed an instant rapport with Rutherford through a common interest in inversion chords.
After Hackett joined in January 1971, Stratton-Smith organised a UK tour with Genesis opening for fellow Charisma acts Lindisfarne and Van der Graaf Generator. Their first overseas dates took place in March with gigs in Belgium followed by their first of three consecutive appearances at the annual Reading Festival on 26 June.
Rehearsals for the band third album, Nursery Cryme, took place at Luxford House near Crowborough, East Sussex that Stratton-Smith had owned. Recording began at Trident Studios in August 1971 with Anthony and Hentschel reprising their respective roles as producer and assistant engineer.
The band sound evolved with Hackett more aggressive electric guitar work and Banks adding a Mellotron to his set of keyboards that King Crimson previously owned. The opening track, "The Musical Box", originated when Phillips and Mayhew were in the group.
The band developed the piece further including the addition of new guitar parts from Hackett. The album marks the first instance of Hackett using the tapping technique which is featured on "The Musical Box" and "The Return Of The Giant Hogweed".
Hackett and Collins wrote "For Absent Friends" and marks the first Genesis track with Collins on lead vocals. Whitehead depicted scenes and characters from the lyrics to "The Musical Box" and a Victorian manor house based on Gabriel parent home on the album cover.
Nursery Cryme was released in November 1971 and went on to reach No. 39 in the UK in 1974. Though the group still had a minor cult following at home, they started to achieve commercial and critical success in mainland Europe, with the album reaching No. 4 in the Italian charts.
From November 1971 to August 1972, Genesis toured to support the album which included further visits to Belgium, and Italy for the first time where they played to enthusiastic crowds. They recorded radio sessions for BBC Sounds of the Seventies program in January and March and performed at the Reading Festival that was praised by numerous critics who attended. During the tour Genesis recorded "Happy The Man", a non-album single, with "Seven Stones" from Nursery Cryme on its B-side.
1972–1974: Foxtrot and Selling England By The Pound
Following rehearsals in a dance school in Shepherd Bush, Genesis recorded Foxtrot at Island Studios between August and September 1972. During the initial sessions, disagreements among Charisma and Anthony contributed to the end of his association with Genesis.
After two replacement engineers were tried out, the band settled with John Burns and a new producer, Dave Hitchcock. The album features the 23-minute track "Supper Is Ready", a suite of various musical segments. The track included an opening acoustic piece, a Gabriel-penned song called "Willow Farm" and a piece derived from a jam by Banks, Rutherford and Collins called "Apocalypse in 9/8".
Other songs were the science-fiction themed "Watcher of the Skies" and the property development-themed "Get Em Out By Friday". Foxtrot was released in October 1972 and reached No. 12 in the UK. It fared even better in Italy, where it went to No. 1.
Foxtrot was well received from critics. Chris Welch of Melody Maker thought Foxtrot was "a milestone in the group career", "an important point of development in British group music", and that Genesis had reached "a creative peak". Stephen Thomas Erlewine thought Foxtrot marked the first time "Genesis attacked like a rock band, playing with a visceral power".
The Foxtrot tour covered Europe and North America from September 1972 to August 1973. The show at the National Stadium in Dublin on 28 September 1972 marked the debut of Gabriel wearing a costume on stage, something that surprised the other band members as they were kept uninformed.
Originally suggested by Charisma booking agent Paul Conroy, Gabriel went off stage during an instrumental section in "The Musical Box" and reappeared in his wife red dress and a fox head. The incident resulted in front cover reports in the music press, allowing the band to double their performance fee.
In December 1972, Stratton-Smith organised the band first gigs in the US with a show at Brandeis University in Waltham, Massachusetts and Philharmonic Hall in New York City with openers String Driven Thing, in aid of the United Cerebral Palsy Fund.
They were well received despite the band complaining of technical issues. Gabriel costumes expanded in the following months to include fluorescent face paint and a cape fitted with bat wings for "Watcher of the Skies", several guises throughout "Supper Is Ready", and a mask of an old man for "The Musical Box".
An album of recordings from the following UK leg, initially recorded for the American radio program King Biscuit Flower Hour, was released as Genesis Live in July 1973. It reached No. 9 in the UK and No. 105 in the US.
Selling England By The Pound was recorded at Island Studios in August 1973, the second Genesis album that Burns co-produced. Much of it was written at Una Billings School of Dance and Chessington. Gabriel contributed lyrics based on the idea of commercialism and the decline of English culture and the rise in American influences.
Its title refers to a UK Labour Party slogan to make it clear to music critics who may thought Genesis were beginning to "sell out" to America. The lyrics "Firth of Fifth" features an extended electric guitar solo from Hackett. The album cover is a modified version of a painting named The Dream by Betty Swanwick who added a lawn mower to tie the image to the lyrics of "I Know What I Like (In Your Wardrobe)".
Selling England by the Pound was released in October 1973 to a positive critical reception, though slightly more muted than Foxtrot. The album reached No. 3 in the UK and No. 70 in the US. By this time, Genesis had made little effort to organise their finances and were £150,000 in debt.
They hired promoter Tony Smith as their new manager to improve their fortunes and published the band subsequent music though his company, Hit & Run Music Publishing. The Selling England by the Pound tour visited Europe and North America between September 1973 and May 1974. Their six shows in three days at The Roxy in Los Angeles were well received by audiences and critics.
The success of the tour earned the group the "Top Stage Band" title by readers of NME. At its conclusion, Macphail resigned as their tour manager as he wished to pursue other interests. "I Know What I Like (In Your Wardrobe)" was released as a UK single with "Twilight Alehouse", a non-album track recorded in 1972, that reached No. 21 following its release in February 1974. Its success led to an offer for Genesis to appear on BBC national show Top of the Pops; they declined as the group thought it would not suit their image.
After two replacement engineers were tried out, the band settled with John Burns and a new producer, Dave Hitchcock. The album features the 23-minute track "Supper Is Ready", a suite of various musical segments. The track included an opening acoustic piece, a Gabriel-penned song called "Willow Farm" and a piece derived from a jam by Banks, Rutherford and Collins called "Apocalypse in 9/8".
Other songs were the science-fiction themed "Watcher of the Skies" and the property development-themed "Get Em Out By Friday". Foxtrot was released in October 1972 and reached No. 12 in the UK. It fared even better in Italy, where it went to No. 1.
Foxtrot was well received from critics. Chris Welch of Melody Maker thought Foxtrot was "a milestone in the group career", "an important point of development in British group music", and that Genesis had reached "a creative peak". Stephen Thomas Erlewine thought Foxtrot marked the first time "Genesis attacked like a rock band, playing with a visceral power".
The Foxtrot tour covered Europe and North America from September 1972 to August 1973. The show at the National Stadium in Dublin on 28 September 1972 marked the debut of Gabriel wearing a costume on stage, something that surprised the other band members as they were kept uninformed.
Originally suggested by Charisma booking agent Paul Conroy, Gabriel went off stage during an instrumental section in "The Musical Box" and reappeared in his wife red dress and a fox head. The incident resulted in front cover reports in the music press, allowing the band to double their performance fee.
In December 1972, Stratton-Smith organised the band first gigs in the US with a show at Brandeis University in Waltham, Massachusetts and Philharmonic Hall in New York City with openers String Driven Thing, in aid of the United Cerebral Palsy Fund.
They were well received despite the band complaining of technical issues. Gabriel costumes expanded in the following months to include fluorescent face paint and a cape fitted with bat wings for "Watcher of the Skies", several guises throughout "Supper Is Ready", and a mask of an old man for "The Musical Box".
An album of recordings from the following UK leg, initially recorded for the American radio program King Biscuit Flower Hour, was released as Genesis Live in July 1973. It reached No. 9 in the UK and No. 105 in the US.
Selling England By The Pound was recorded at Island Studios in August 1973, the second Genesis album that Burns co-produced. Much of it was written at Una Billings School of Dance and Chessington. Gabriel contributed lyrics based on the idea of commercialism and the decline of English culture and the rise in American influences.
Its title refers to a UK Labour Party slogan to make it clear to music critics who may thought Genesis were beginning to "sell out" to America. The lyrics "Firth of Fifth" features an extended electric guitar solo from Hackett. The album cover is a modified version of a painting named The Dream by Betty Swanwick who added a lawn mower to tie the image to the lyrics of "I Know What I Like (In Your Wardrobe)".
Selling England by the Pound was released in October 1973 to a positive critical reception, though slightly more muted than Foxtrot. The album reached No. 3 in the UK and No. 70 in the US. By this time, Genesis had made little effort to organise their finances and were £150,000 in debt.
They hired promoter Tony Smith as their new manager to improve their fortunes and published the band subsequent music though his company, Hit & Run Music Publishing. The Selling England by the Pound tour visited Europe and North America between September 1973 and May 1974. Their six shows in three days at The Roxy in Los Angeles were well received by audiences and critics.
The success of the tour earned the group the "Top Stage Band" title by readers of NME. At its conclusion, Macphail resigned as their tour manager as he wished to pursue other interests. "I Know What I Like (In Your Wardrobe)" was released as a UK single with "Twilight Alehouse", a non-album track recorded in 1972, that reached No. 21 following its release in February 1974. Its success led to an offer for Genesis to appear on BBC national show Top of the Pops; they declined as the group thought it would not suit their image.
1974–1975: The Lamb Lies Down On Broadway and Gabriel Departure
In June 1974, Genesis started work on their double concept album, The Lamb Lies Down on Broadway. It marked the start of Gabriel increasingly strained relationship on the rest of the group which contributed to his departure. The album was written at Headley Grange in East Hampshire where upon their arrival, the building was in a state left by the previous band with excrement on the floor and rat infestations.
Gabriel objected to Rutherford idea of an album based on The Little Prince by Antoine de Saint-Exupéry, thinking the idea was "too twee". He persuaded the band with a less fantastical and more complicated story involving Rael, a Puerto Rican youth living in New York City who embarks on a spiritual quest to establish his freedom and identity while meeting several bizarre characters on the way.
Gabriel wrote the story with influences from West Side Story, "a kind of punk" twist to Pilgrim Progress, author Carl Jung, and the film El Topo by Alejandro Jodorowsky. Most of the album lyrics were written by Gabriel, leaving much of its music to the rest of the group.
His absence from a considerable amount of writing sessions due to difficulties with his wife first birth was something Rutherford and Banks "were horribly unsupportive" of. Gabriel also left the group when director William Friedkin asked him to write a screenplay, but returned after the project was shelved.
In August 1974, production moved to Glaspant Manor in Carmarthenshire, Wales with Burns, as co-producer, operating Island Studios mobile equipment. Further work and mixing took place at Island where Brian Eno contributed synthesizers and effects that the album sleeve credits as "Enossification".
When Gabriel asked Eno how the band could repay him, Eno said he needed a drummer for his track "Mother Whale Eyeless". Collins said, "I got sent upstairs as payment". Gabriel was pleased with Eno work but Banks was less enthusiastic.
The Lamb Lies Down on Broadway was released in November 1974 and reached No. 10 in the UK and No. 41 in the US.
"Counting Out Time" and "The Carpet Crawlers" were released as singles in 1974 and 1975, respectively. Its sleeve is the first of four Genesis albums designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. From November 1974 to May 1975, Genesis completed 102 dates across North America and Europe as part of The Lamb Lies Down on Broadway tour.
Their set included The Lamb... performed in its entirety with an encore, a decision that was not supported by the entire band considering most of the audience were not yet familiar with the large amount of new material. The stage show involved new, more elaborate costumes worn by Gabriel, three backdrop screens that displayed 1,450 slides from eight projectors, and a laser lighting display. Music critics often focused their reviews on Gabriel theatrics and took the band musical performance as secondary which irritated the rest of the band.
During their stay in Cleveland during the tour, Gabriel told the band he would leave at its conclusion. He wrote a statement regarding his departure to the English press that was published in August 1975 titled "Out, Angels Out", explaining he had become disillusioned with the music industry and wanted to spend extended time with his family.
Banks later stated, "Pete was also getting too big for the group. He was being portrayed as if he was 'the man' and it really was not like that. It was a very difficult thing to accommodate. So it was actually a bit of a relief."
Gabriel objected to Rutherford idea of an album based on The Little Prince by Antoine de Saint-Exupéry, thinking the idea was "too twee". He persuaded the band with a less fantastical and more complicated story involving Rael, a Puerto Rican youth living in New York City who embarks on a spiritual quest to establish his freedom and identity while meeting several bizarre characters on the way.
Gabriel wrote the story with influences from West Side Story, "a kind of punk" twist to Pilgrim Progress, author Carl Jung, and the film El Topo by Alejandro Jodorowsky. Most of the album lyrics were written by Gabriel, leaving much of its music to the rest of the group.
His absence from a considerable amount of writing sessions due to difficulties with his wife first birth was something Rutherford and Banks "were horribly unsupportive" of. Gabriel also left the group when director William Friedkin asked him to write a screenplay, but returned after the project was shelved.
In August 1974, production moved to Glaspant Manor in Carmarthenshire, Wales with Burns, as co-producer, operating Island Studios mobile equipment. Further work and mixing took place at Island where Brian Eno contributed synthesizers and effects that the album sleeve credits as "Enossification".
When Gabriel asked Eno how the band could repay him, Eno said he needed a drummer for his track "Mother Whale Eyeless". Collins said, "I got sent upstairs as payment". Gabriel was pleased with Eno work but Banks was less enthusiastic.
The Lamb Lies Down on Broadway was released in November 1974 and reached No. 10 in the UK and No. 41 in the US.
"Counting Out Time" and "The Carpet Crawlers" were released as singles in 1974 and 1975, respectively. Its sleeve is the first of four Genesis albums designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. From November 1974 to May 1975, Genesis completed 102 dates across North America and Europe as part of The Lamb Lies Down on Broadway tour.
Their set included The Lamb... performed in its entirety with an encore, a decision that was not supported by the entire band considering most of the audience were not yet familiar with the large amount of new material. The stage show involved new, more elaborate costumes worn by Gabriel, three backdrop screens that displayed 1,450 slides from eight projectors, and a laser lighting display. Music critics often focused their reviews on Gabriel theatrics and took the band musical performance as secondary which irritated the rest of the band.
During their stay in Cleveland during the tour, Gabriel told the band he would leave at its conclusion. He wrote a statement regarding his departure to the English press that was published in August 1975 titled "Out, Angels Out", explaining he had become disillusioned with the music industry and wanted to spend extended time with his family.
Banks later stated, "Pete was also getting too big for the group. He was being portrayed as if he was 'the man' and it really was not like that. It was a very difficult thing to accommodate. So it was actually a bit of a relief."
1975–1977: Collins on lead vocals, A Trick Of The Tail, Wind & Wuthering and Hackett Departure
Following the Lamb tour, Hackett recorded his first solo album Voyage Of The Acolyte as he felt unsure that Genesis would survive following Gabriel departure. He reconvened with the remaining group members in London in July 1975.
Collins idea of continuing as an instrumental group was quickly rejected by the group as they thought it would become boring. Rehearsals for A Trick Of The Tail took place in Acton where material was quickly written and with little effort; most of "Dance on a Volcano" and "Squonk" was put together in the first three days.
Recording began in October 1975 at Trident Studios with Hentschel as producer. As a replacement singer had not been found, the band decided to record the album without vocals and audition singers as they went. They placed an anonymous advertisement in Melody Maker for "a singer for a Genesis-type group" which received around 400 replies.
Collins proceeded to teach selected applicants the songs; Mick Strickland was invited into the studio to sing, but the backing tracks were in a key outside of his natural range and the band decided not to work with him. Having failed to find a suitable vocalist, Collins went in the studio and attempted to sing "Squonk". His performance was well received by the band, and they decided that he should be their new lead vocalist. Collins then sang on the remaining tracks.
"My real worry was actually what to say to the audience, because Peter had always had this offbeat charisma that gave the band a strange aura. I was much more friendly and approachable ... I spent more time ... worrying about what to say between songs than I did about what I was going to do once the songs started." (Phil Collins).
A Trick Of The Tail was released in February 1976 and was a commercial and critical success for the band. The album reached No. 3 in the UK and No. 31 in the US. The title track was released as a single, though it did not chart.
In June, the album was certified Gold by the British Phonographic Institute for selling over 100,000 copies which helped the band clear the £400,000 of debt they owed when Gabriel left. For the first time in their career Genesis filmed promotional videos for their songs, including "A Trick of the Tail" and "Robbery, Assault and Battery".
Before the upcoming tour, Collins sought a drummer he felt comfortable about playing drums while he sang; he chose Bill Bruford who offered to do the job. From March to July 1976, Genesis performed across North America and Europe with the A Trick Of The Tail tour, to enthusiastic crowds.
Collins adopted a more humorous rapport with the audience, unlike Gabriel theatrical approach, which was successful. The shows in Glasgow and Stafford were filmed for their concert film Genesis: In Concert, released in cinemas in February 1977 as a double bill with White Rock.
In September 1976, Genesis relocated to Relight Studios in Hilvarenbeek, The Netherlands with Hentschel to record Wind & Wuthering. It was put together in a short amount of time and a considerable amount of material was written beforehand, of which the most suitable songs were picked for development.
Rutherford spoke of the band conscious effort to distance themselves from songs inspired by fantasy, something that their past albums "were full of". The band spent roughly six weeks writing the album with a basic form of each track put down in twelve days.
Additional recording and production work was done at Trident Studios that October. Hackett, having already released a solo album, enjoyed the greater amount of control over the recording process that working within a group could not provide.
He felt his songs, including "Please Dont Touch" which he later released on his second album Please Dont Touch!, were rejected from the final track order in favour of material that Banks, in particular, had put forward. Collins spoke of the situation, "We just wanted to use what we agreed was the strongest material, irrespective of who wrote it".
Wind & Wuthering was released in December 1976 and reached No. 6 the UK and No. 26 in the US. Rutherford track, "Your Own Special Way", became the its sole single and went to No. 43 in the UK. Its B-side is "It Is Yourself", originally intended for A Trick Of The Tail.
Prior to the 1977 tour Bruford declined an offer to return as second drummer, leaving Collins searching for a replacement. He heard American drummer Chester Thompson, of Frank Zappa band and Weather Report, play a drum passage on "More Trouble Every Day" from Zappa live album Roxy & Elsewhere.
Collins said, "It floored me completely ... I had never met him. I rang him up and said, 'Hi Chester, I have heard your stuff, would you like to play with Genesis?' ... He did not even audition!" Genesis toured Wind & Wuthering from January to July 1977 across Europe, North America, and for the first time, Brazil.
The stage show cost £400,000 which featured a new PA system, lasers and smoke, and lighting supplied from two rows of Boeing 747 aircraft landing lights. Touring began on 1 January with three sold-out shows at the Rainbow Theatre in London, where 80,000 applications were made for the 8,000 available tickets.
They returned to London for three nights at Earls Court, then the largest arena in Britain, supported by Richie Havens. The band growing popularity in North America led to television appearances and concerts organised in larger venues than previous tours, including Madison Square Garden in New York City.
Their Brazilian dates were attended by over 150,000 people and a proposed 100,000-person gig was cancelled over rioting fears. An armed bodyguard accompanied each member throughout their stay.
In May 1977 Genesis released Spot the Pigeon, an extended play of three tracks left off Wind & Wuthering. It peaked at No. 14 on the UK singles chart. It was the final Genesis release before Hackett left the group. He had been writing more material on his own and found it increasingly difficult to contribute more of his ideas within a group context.
He wished to embark on a solo career and "take the risk in order to find out just how good I was on my own". News of Hackett departure coincided with the band double live album Seconds Out, recorded in Paris on the A Trick Of The Tail and Wind & Wuthering tours and released in October 1977. It reached No. 4 in the UK and No. 47 in the US.
Collins idea of continuing as an instrumental group was quickly rejected by the group as they thought it would become boring. Rehearsals for A Trick Of The Tail took place in Acton where material was quickly written and with little effort; most of "Dance on a Volcano" and "Squonk" was put together in the first three days.
Recording began in October 1975 at Trident Studios with Hentschel as producer. As a replacement singer had not been found, the band decided to record the album without vocals and audition singers as they went. They placed an anonymous advertisement in Melody Maker for "a singer for a Genesis-type group" which received around 400 replies.
Collins proceeded to teach selected applicants the songs; Mick Strickland was invited into the studio to sing, but the backing tracks were in a key outside of his natural range and the band decided not to work with him. Having failed to find a suitable vocalist, Collins went in the studio and attempted to sing "Squonk". His performance was well received by the band, and they decided that he should be their new lead vocalist. Collins then sang on the remaining tracks.
"My real worry was actually what to say to the audience, because Peter had always had this offbeat charisma that gave the band a strange aura. I was much more friendly and approachable ... I spent more time ... worrying about what to say between songs than I did about what I was going to do once the songs started." (Phil Collins).
A Trick Of The Tail was released in February 1976 and was a commercial and critical success for the band. The album reached No. 3 in the UK and No. 31 in the US. The title track was released as a single, though it did not chart.
In June, the album was certified Gold by the British Phonographic Institute for selling over 100,000 copies which helped the band clear the £400,000 of debt they owed when Gabriel left. For the first time in their career Genesis filmed promotional videos for their songs, including "A Trick of the Tail" and "Robbery, Assault and Battery".
Before the upcoming tour, Collins sought a drummer he felt comfortable about playing drums while he sang; he chose Bill Bruford who offered to do the job. From March to July 1976, Genesis performed across North America and Europe with the A Trick Of The Tail tour, to enthusiastic crowds.
Collins adopted a more humorous rapport with the audience, unlike Gabriel theatrical approach, which was successful. The shows in Glasgow and Stafford were filmed for their concert film Genesis: In Concert, released in cinemas in February 1977 as a double bill with White Rock.
In September 1976, Genesis relocated to Relight Studios in Hilvarenbeek, The Netherlands with Hentschel to record Wind & Wuthering. It was put together in a short amount of time and a considerable amount of material was written beforehand, of which the most suitable songs were picked for development.
Rutherford spoke of the band conscious effort to distance themselves from songs inspired by fantasy, something that their past albums "were full of". The band spent roughly six weeks writing the album with a basic form of each track put down in twelve days.
Additional recording and production work was done at Trident Studios that October. Hackett, having already released a solo album, enjoyed the greater amount of control over the recording process that working within a group could not provide.
He felt his songs, including "Please Dont Touch" which he later released on his second album Please Dont Touch!, were rejected from the final track order in favour of material that Banks, in particular, had put forward. Collins spoke of the situation, "We just wanted to use what we agreed was the strongest material, irrespective of who wrote it".
Wind & Wuthering was released in December 1976 and reached No. 6 the UK and No. 26 in the US. Rutherford track, "Your Own Special Way", became the its sole single and went to No. 43 in the UK. Its B-side is "It Is Yourself", originally intended for A Trick Of The Tail.
Prior to the 1977 tour Bruford declined an offer to return as second drummer, leaving Collins searching for a replacement. He heard American drummer Chester Thompson, of Frank Zappa band and Weather Report, play a drum passage on "More Trouble Every Day" from Zappa live album Roxy & Elsewhere.
Collins said, "It floored me completely ... I had never met him. I rang him up and said, 'Hi Chester, I have heard your stuff, would you like to play with Genesis?' ... He did not even audition!" Genesis toured Wind & Wuthering from January to July 1977 across Europe, North America, and for the first time, Brazil.
The stage show cost £400,000 which featured a new PA system, lasers and smoke, and lighting supplied from two rows of Boeing 747 aircraft landing lights. Touring began on 1 January with three sold-out shows at the Rainbow Theatre in London, where 80,000 applications were made for the 8,000 available tickets.
They returned to London for three nights at Earls Court, then the largest arena in Britain, supported by Richie Havens. The band growing popularity in North America led to television appearances and concerts organised in larger venues than previous tours, including Madison Square Garden in New York City.
Their Brazilian dates were attended by over 150,000 people and a proposed 100,000-person gig was cancelled over rioting fears. An armed bodyguard accompanied each member throughout their stay.
In May 1977 Genesis released Spot the Pigeon, an extended play of three tracks left off Wind & Wuthering. It peaked at No. 14 on the UK singles chart. It was the final Genesis release before Hackett left the group. He had been writing more material on his own and found it increasingly difficult to contribute more of his ideas within a group context.
He wished to embark on a solo career and "take the risk in order to find out just how good I was on my own". News of Hackett departure coincided with the band double live album Seconds Out, recorded in Paris on the A Trick Of The Tail and Wind & Wuthering tours and released in October 1977. It reached No. 4 in the UK and No. 47 in the US.
1977–1983: ...And Then There Were Three..., Duke, and Abacab
By the time Seconds Out was released, Banks, Rutherford, and Collins had already recorded ...And Then There Were Three..., the first Genesis album recorded as a trio, in September 1977 at Relight Studios with Hentschel as producer.
It was then mixed at Trident Studios in London. The album is a collection of shorter songs in order to put across more musical ideas. Most of its eleven songs were written individually with Banks contributing four, Rutherford three, Collins and Banks one, and the remaining three written collectively.
Their new material signalled a change in the band sound with songs becoming more pop-oriented and commercially accessible, including the group-written track "Follow You Follow Me". Collins recalled it was the only song on the album written from scratch during rehearsals.
Rutherford felt comfortable taking on lead guitar duties in addition to his usual rhythm and bass roles. Collins later saw the album as "a very vocal, solid album" that lacked more rhythmic tracks like "Los Endos" or songs from Wind & Wuthering, as coming up with ideas on the drums while living in his flat in Ealing with his family was difficult.
...And Then There Were Three... was released in March 1978. It received some mixed reviews from critics at the time owing to the album only containing short songs, which excited new fans but disillusioned those who had been used to the band previous work.
Chris Welch wrote a positive review in Melody Maker, citing a "remarkably powerful" album. It was a commercial success and peaked at No. 3 in the UK and No. 14 in the US. "Follow You, Follow Me" was released as its lead single and reached No. 7 in the UK and No. 23 in the US, their highest charting single in both countries since their formation.
Its success introduced the band to a new audience, including a larger female interest, helped by its music video airing on Top of the Pops. Its success caused some fans to accuse the group of selling out to more commercial music. A follow up single, "Many, Too Many", was less successful as it had already appeared on the album.
In the search for a new touring guitarist, Rutherford tried out Alphonso Johnson of Weather Report but he was a primarily a bassist and could not play Hackett lead guitar parts comfortably. Johnson then suggested American guitarist Daryl Stuermer of Jean-Luc Ponty jazz fusion group who was more comfortable with various guitar styles.
During Stuermer rehearsal in New York City, Rutherford was satisfied with his performance after they played through "Down & Out" and "Squonk". When Stuermer was chosen, he familiarised himself with a list of 26 songs he was asked to learn by going through five per day.
The ...And Then There Were Three... tour ran from March to December 1978 and visited North America, Europe, and for the first time, Japan. It cost an estimated £2 million to stage which included the sound system, light and laser displays, and additional effects from six computer-controlled mirrors, all of which took eight hours to set up and five to dismantle.
One of their shows featured a guest appearance from Gabriel, who sang "I Know What I Like (In Your Wardrobe)". In June, Genesis headlined the year Knebworth Festival, their only UK show that year, which disappointed some British fans.
In December 1978, Genesis began a period of inactivity as Collins marriage was at risk of collapse after touring had made him frequently absent from his wife and children. Following a meeting with Banks, Rutherford and Smith, Collins went to Vancouver, British Columbia, Canada to try and rebuild the family.
He explained: "I was never going to leave the band. It was just that if I was going to be living in Vancouver then we have had to organise ourselves differently." Banks and Rutherford decided to put Genesis on an extended break and make their respective debut solo albums, A Curious Feeling and Smallcreep Day, at Polar Studios in Stockholm, Sweden.
In April 1979, Collins returned to the UK after his attempt to save his marriage failed. With time to spare before working on a new Genesis album, Collins performed with Brand X and started writing his first solo album, Face Value, at his home in Shalford, Surrey.
"Basically, we reached the point ... where we either became a caricature of ourselves and settled into a rut, or we changed. There was no doubt in our minds that change was the answer." (Mike Rutherford on the band change in direction).
In 1979, Banks and Rutherford moved into Collins home in Shalford to write and rehearse material for Duke. The three found the writing process easier and less complicated than ...And Then There Were Three.... Rutherford reasoned this as they were "getting back to the basic stage of ideas being worked on jointly".
Banks put it down to their break in activity, resulting in "good ideas ... which has not happened for some time". Duke continued the band transition into writing shorter songs with each member contributing two songs for the group to develop.
Banks put forward "Heathaze" and "Cul-de-Sac", Rutherford used "Man Of Our Times" and "Alone Tonight", and Collins had "Misunderstanding" and "Please Dont Ask". All three wrote the remaining five tracks including "Duchess", the first Genesis song that uses a drum machine, specifically a Roland CR-78 imported from Japan.
In its original form, the album was to contain a 30-minute track based on a fictional character named Albert, but the idea was cancelled to avoid comparisons to "Supper Is Ready" from Foxtrot. In November, the band recorded Duke at Polar Studios with Hentschel reprising his role as producer, and included a cover from French illustrator Lionel Koechlin, featuring the character Albert.
Released in March 1980, Duke was the band biggest commercial success at the time of release, spending two weeks at No. 1 in the UK and peaking at No. 11 in the US. The album spawned three singles; "Turn It On Again" went to No. 8 in the UK, "Misunderstanding" reached No. 14 in the US, and "Duchess" peaked at No. 46 in the UK. Duke was supported with a UK and North American tour from April to June 1980 which began with a 40-date tour of the UK where all 106,000 tickets were sold within hours of going on sale.
In November 1980 Genesis bought Fisher Lane Farm, a farmhouse with an adjoining cowshed near Chiddingfold, Surrey, as their new rehearsal and recording facility. The building was remodelled into a studio in four months before recording for Abacab began in March 1981.
The new environment had a productive effect on the writing process as the band wrote enough for a double album, but they discarded one hour worth of songs that sounded too similar to their past albums. Banks said a conscious effort was made to keep melodies as simple as possible which signalled further changes in their direction.
The shift was underlined in its production when Hentschel, their producer and engineer since 1975, was replaced by Hugh Padgham after Collins liked his production on Face Value and Gabriel third solo album. Production duties were solely credited the band for the first time with Padgham as their engineer. The album is formed of group written material with an individual song from each member. "No Reply At All" features the Phenix Horns, the horn section of American band Earth, Wind & Fire.
Abacab was released in September 1981 and reached No. 1 in the UK and No. 7 in the US. Three singles from the album entered the top forty in both countries; "Abacab" reached No. 9 in the UK and No. 26 in the US, "No Reply At All" reached No. 29 in the US, and "Keep It Dark", a European only single, went to No. 33 in the UK.
Abacab was supported with a tour of Europe and North America from September to December 1981, ending with shows at Wembley Arena and the NEC Birmingham. The tour marked the band first use of the Vari-Lite, a computer-controlled intelligent lighting system.
Following a demonstration at The Farm, the band and Smith showed an immediate interest in the technology and became shareholders of the company. In May 1982, three tracks recorded during the Abacab sessions – "Paperlate", "You Might Recall", and "Me & Virgil" – were released as an extended play in Europe titled 3x3 which peaked at No. 10 in the UK. Its cover is a homage to the Twist and Shout EP by The Beatles with sleeve notes written by their former publicist Tony Barrow.
In June 1982, Genesis released the double live album Three Sides Live in two different versions. The North American edition contains three sides of live recordings with the fourth comprising the 3×3 tracks and two from the Duke sessions.
The European release contains a fourth side of extra live tracks. The album coincided with the home video release of the Three Sides Live concert film recorded in 1981. A tour of North America and Europe followed that ran from August to September 1982, featuring guest appearances from Bill Bruford and the Phenix Horns.
On 2 October, Genesis headlined a one-off concert with Gabriel at the Milton Keynes Bowl under the name Six of the Best. The concert was organised to raise money for Gabriel World of Music, Arts and Dance project which was, by that point, in considerable debt. Hackett, who flew in from abroad, arrived in time to perform the last two songs.
It was then mixed at Trident Studios in London. The album is a collection of shorter songs in order to put across more musical ideas. Most of its eleven songs were written individually with Banks contributing four, Rutherford three, Collins and Banks one, and the remaining three written collectively.
Their new material signalled a change in the band sound with songs becoming more pop-oriented and commercially accessible, including the group-written track "Follow You Follow Me". Collins recalled it was the only song on the album written from scratch during rehearsals.
Rutherford felt comfortable taking on lead guitar duties in addition to his usual rhythm and bass roles. Collins later saw the album as "a very vocal, solid album" that lacked more rhythmic tracks like "Los Endos" or songs from Wind & Wuthering, as coming up with ideas on the drums while living in his flat in Ealing with his family was difficult.
...And Then There Were Three... was released in March 1978. It received some mixed reviews from critics at the time owing to the album only containing short songs, which excited new fans but disillusioned those who had been used to the band previous work.
Chris Welch wrote a positive review in Melody Maker, citing a "remarkably powerful" album. It was a commercial success and peaked at No. 3 in the UK and No. 14 in the US. "Follow You, Follow Me" was released as its lead single and reached No. 7 in the UK and No. 23 in the US, their highest charting single in both countries since their formation.
Its success introduced the band to a new audience, including a larger female interest, helped by its music video airing on Top of the Pops. Its success caused some fans to accuse the group of selling out to more commercial music. A follow up single, "Many, Too Many", was less successful as it had already appeared on the album.
In the search for a new touring guitarist, Rutherford tried out Alphonso Johnson of Weather Report but he was a primarily a bassist and could not play Hackett lead guitar parts comfortably. Johnson then suggested American guitarist Daryl Stuermer of Jean-Luc Ponty jazz fusion group who was more comfortable with various guitar styles.
During Stuermer rehearsal in New York City, Rutherford was satisfied with his performance after they played through "Down & Out" and "Squonk". When Stuermer was chosen, he familiarised himself with a list of 26 songs he was asked to learn by going through five per day.
The ...And Then There Were Three... tour ran from March to December 1978 and visited North America, Europe, and for the first time, Japan. It cost an estimated £2 million to stage which included the sound system, light and laser displays, and additional effects from six computer-controlled mirrors, all of which took eight hours to set up and five to dismantle.
One of their shows featured a guest appearance from Gabriel, who sang "I Know What I Like (In Your Wardrobe)". In June, Genesis headlined the year Knebworth Festival, their only UK show that year, which disappointed some British fans.
In December 1978, Genesis began a period of inactivity as Collins marriage was at risk of collapse after touring had made him frequently absent from his wife and children. Following a meeting with Banks, Rutherford and Smith, Collins went to Vancouver, British Columbia, Canada to try and rebuild the family.
He explained: "I was never going to leave the band. It was just that if I was going to be living in Vancouver then we have had to organise ourselves differently." Banks and Rutherford decided to put Genesis on an extended break and make their respective debut solo albums, A Curious Feeling and Smallcreep Day, at Polar Studios in Stockholm, Sweden.
In April 1979, Collins returned to the UK after his attempt to save his marriage failed. With time to spare before working on a new Genesis album, Collins performed with Brand X and started writing his first solo album, Face Value, at his home in Shalford, Surrey.
"Basically, we reached the point ... where we either became a caricature of ourselves and settled into a rut, or we changed. There was no doubt in our minds that change was the answer." (Mike Rutherford on the band change in direction).
In 1979, Banks and Rutherford moved into Collins home in Shalford to write and rehearse material for Duke. The three found the writing process easier and less complicated than ...And Then There Were Three.... Rutherford reasoned this as they were "getting back to the basic stage of ideas being worked on jointly".
Banks put it down to their break in activity, resulting in "good ideas ... which has not happened for some time". Duke continued the band transition into writing shorter songs with each member contributing two songs for the group to develop.
Banks put forward "Heathaze" and "Cul-de-Sac", Rutherford used "Man Of Our Times" and "Alone Tonight", and Collins had "Misunderstanding" and "Please Dont Ask". All three wrote the remaining five tracks including "Duchess", the first Genesis song that uses a drum machine, specifically a Roland CR-78 imported from Japan.
In its original form, the album was to contain a 30-minute track based on a fictional character named Albert, but the idea was cancelled to avoid comparisons to "Supper Is Ready" from Foxtrot. In November, the band recorded Duke at Polar Studios with Hentschel reprising his role as producer, and included a cover from French illustrator Lionel Koechlin, featuring the character Albert.
Released in March 1980, Duke was the band biggest commercial success at the time of release, spending two weeks at No. 1 in the UK and peaking at No. 11 in the US. The album spawned three singles; "Turn It On Again" went to No. 8 in the UK, "Misunderstanding" reached No. 14 in the US, and "Duchess" peaked at No. 46 in the UK. Duke was supported with a UK and North American tour from April to June 1980 which began with a 40-date tour of the UK where all 106,000 tickets were sold within hours of going on sale.
In November 1980 Genesis bought Fisher Lane Farm, a farmhouse with an adjoining cowshed near Chiddingfold, Surrey, as their new rehearsal and recording facility. The building was remodelled into a studio in four months before recording for Abacab began in March 1981.
The new environment had a productive effect on the writing process as the band wrote enough for a double album, but they discarded one hour worth of songs that sounded too similar to their past albums. Banks said a conscious effort was made to keep melodies as simple as possible which signalled further changes in their direction.
The shift was underlined in its production when Hentschel, their producer and engineer since 1975, was replaced by Hugh Padgham after Collins liked his production on Face Value and Gabriel third solo album. Production duties were solely credited the band for the first time with Padgham as their engineer. The album is formed of group written material with an individual song from each member. "No Reply At All" features the Phenix Horns, the horn section of American band Earth, Wind & Fire.
Abacab was released in September 1981 and reached No. 1 in the UK and No. 7 in the US. Three singles from the album entered the top forty in both countries; "Abacab" reached No. 9 in the UK and No. 26 in the US, "No Reply At All" reached No. 29 in the US, and "Keep It Dark", a European only single, went to No. 33 in the UK.
Abacab was supported with a tour of Europe and North America from September to December 1981, ending with shows at Wembley Arena and the NEC Birmingham. The tour marked the band first use of the Vari-Lite, a computer-controlled intelligent lighting system.
Following a demonstration at The Farm, the band and Smith showed an immediate interest in the technology and became shareholders of the company. In May 1982, three tracks recorded during the Abacab sessions – "Paperlate", "You Might Recall", and "Me & Virgil" – were released as an extended play in Europe titled 3x3 which peaked at No. 10 in the UK. Its cover is a homage to the Twist and Shout EP by The Beatles with sleeve notes written by their former publicist Tony Barrow.
In June 1982, Genesis released the double live album Three Sides Live in two different versions. The North American edition contains three sides of live recordings with the fourth comprising the 3×3 tracks and two from the Duke sessions.
The European release contains a fourth side of extra live tracks. The album coincided with the home video release of the Three Sides Live concert film recorded in 1981. A tour of North America and Europe followed that ran from August to September 1982, featuring guest appearances from Bill Bruford and the Phenix Horns.
On 2 October, Genesis headlined a one-off concert with Gabriel at the Milton Keynes Bowl under the name Six of the Best. The concert was organised to raise money for Gabriel World of Music, Arts and Dance project which was, by that point, in considerable debt. Hackett, who flew in from abroad, arrived in time to perform the last two songs.
1983–1996: Genesis, Invisible Touch, We Cant Dance, and Collins Departure
Work on the twelfth Genesis album, Genesis, began in March 1983 with Padgham returning as engineer. It is the first album written, recorded, and mixed at the remodelled studio at The Farm. Banks remembered the band were scarce for new musical ideas which "felt at times as though we were stretching the material as far as we could".
"Mama" concerns a man obsession with a prostitute at a Cuban brothel. It originated from a beat Rutherford came up with on a LinnDrum machine that was fed through his guitar amplifier and an echo gate. Collins laugh on the track originated from "The Message" by Grandmaster Flash and the Furious Five.
Released in October 1983, Genesis went to No. 1 in the UK and peaked at No. 9 in the US, where it reached Platinum by December that year and went on to sell over four million copies. Three tracks were released as singles; "Mama" reached No. 4 in the UK, their highest charting UK single to date, and "That Is All" reached No. 6 in the U.S. The Mama Tour ran from late 1983 through to 1984, covering North America and five UK shows in Birmingham. The latter shows were filmed and released as Genesis Live – The Mama Tour.
In February 1984, Genesis took a break in activity to allow each member to continue with their solo careers.
Rutherford formed his group Mike + The Mechanics, Banks worked on his solo album Soundtracks, and Collins released No Jacket Required which achieved worldwide success and increased his popularity as a result. The music press took note that Collins success as a solo artist made him more popular than Genesis.
Before the release of No Jacket Required, Collins insisted that he would not leave the band. "The next one to leave the band will finish it," Collins told Rolling Stone magazine in May 1985. "I feel happier with what were doing now, because I feel it is closer to me. I wont be the one."
Collins added, "Poor old Genesis does get in the way sometimes. I still wont leave the group, but I imagine it will end by mutual consent." In June, Collins spoke of the band intention to start work on a new album that year, ending rumours to a false announcement that aired on BBC Radio 1 suggesting Genesis had split.
Genesis reconvened at The Farm in October 1985 to start work on Invisible Touch which lasted for six months. They continued their method of song writing used on Genesis by developing material from group improvisations. Banks remembered the time as a strong period creatively for the band, with ideas "flowing out of us".
"Invisible Touch" was developed in such a way, when the group were working on "The Last Domino", the second part of "Domino". During the session, Rutherford began to play an improvised guitar riff to which Collins replied with an off-the-cuff lyric – "She seems to have an invisible touch" – which became the song chorus hook.
Following its release in June 1986, the album spent three weeks at No. 1 in the UK and reached No. 3 in the US. Despite the mixed reviews, Invisible Touch was a commercial success, becoming the best selling Genesis album in the US, selling over 6 million copies there.
The album five singles – "Invisible Touch", "Throwing It All Away", "Land Of Confusion", "In Too Deep", and "Tonight, Tonight, Tonight" – entered the top five on the US singles chart between 1986 and 1987 with "Invisible Touch" topping the chart for one week.
Genesis became the first group and foreign act to achieve this feat, equalling the five singles record set by Michael Jackson, Janet Jackson, and Madonna. Genesis commissioned the creators of the satirical British television show Spitting Image, Peter Fluck and Roger Law, to make puppets of them in the style of the show for the video of "Land of Confusion".
"Nearly 300,000 people at Wembley ... I thought at the time, and I still think now, that moment was the peak of our career." (Tony Banks)
The Invisible Touch Tour was the band largest world tour in its history which included 112 dates from September 1986 to July 1987. Genesis received some criticism in their decision to have Michelob beer as a sponsor. The tour concluded with four consecutive sold out shows at Wembley Stadium in London.
The shows were released in 1988 as The Invisible Touch Tour. When the tour ended, Genesis took a five-year break while each member committed to their solo projects. They performed twice during this time; on 14 May 1988, they performed a 20-minute set at the Atlantic Records 40th Anniversary concert at Madison Square Garden. This was followed by a set at a charity gig at the 1990 Knebworth Festival in June, headlined by Pink Floyd.
In 1991 Genesis recorded their fourteenth album, We Cant Dance, from March to September with their new engineer and co-producer, Nick Davis. The band took advantage of the increased capacity the CD offered and released over 71 minutes of new music across 12 tracks.
Collins wrote the lyrics to "Since I Lost You" for his friend Eric Clapton following the death of Clapton four-year-old son Conor. Following the release of We Cant Dance in November 1991, the album went to No. 1 in the UK for one week and No. 4 in the US, where it went on to sell over 4 million copies. The album spawned several hit singles; "No Son Of Mine" went to No. 6 in the UK and "I Cant Dance" reached No. 7 in the UK and the US. In 1993, We Cant Dance was nominated for a Brit Award for Best British Album.
The We Cant Dance tour visited North America and Europe from May to November 1992 with each concert attended by an average of 56,000 people. The tour spawned two live albums; The Way We Walk, Volume One: The Shorts reached No. 3 in the UK and The Way We Walk, Volume Two: The Longs went to No. 1 in the UK.
Following the tour, the band took a break in activity. Banks, Rutherford, and Collins performed at Cowdray Castle, Midhurst in September 1993 for a money raising event with Pink Floyd touring guitarist Tim Renwick and drummer Gary Wallis and Queen drummer Roger Taylor. Rutherford also played bass on Pink Floyd set at the same concert.
In March 1996, Collins announced his departure from Genesis. He "felt it time to change direction in my musical life. For me now, it will be music for movies, some jazz projects, and of course my solo career."
"Mama" concerns a man obsession with a prostitute at a Cuban brothel. It originated from a beat Rutherford came up with on a LinnDrum machine that was fed through his guitar amplifier and an echo gate. Collins laugh on the track originated from "The Message" by Grandmaster Flash and the Furious Five.
Released in October 1983, Genesis went to No. 1 in the UK and peaked at No. 9 in the US, where it reached Platinum by December that year and went on to sell over four million copies. Three tracks were released as singles; "Mama" reached No. 4 in the UK, their highest charting UK single to date, and "That Is All" reached No. 6 in the U.S. The Mama Tour ran from late 1983 through to 1984, covering North America and five UK shows in Birmingham. The latter shows were filmed and released as Genesis Live – The Mama Tour.
In February 1984, Genesis took a break in activity to allow each member to continue with their solo careers.
Rutherford formed his group Mike + The Mechanics, Banks worked on his solo album Soundtracks, and Collins released No Jacket Required which achieved worldwide success and increased his popularity as a result. The music press took note that Collins success as a solo artist made him more popular than Genesis.
Before the release of No Jacket Required, Collins insisted that he would not leave the band. "The next one to leave the band will finish it," Collins told Rolling Stone magazine in May 1985. "I feel happier with what were doing now, because I feel it is closer to me. I wont be the one."
Collins added, "Poor old Genesis does get in the way sometimes. I still wont leave the group, but I imagine it will end by mutual consent." In June, Collins spoke of the band intention to start work on a new album that year, ending rumours to a false announcement that aired on BBC Radio 1 suggesting Genesis had split.
Genesis reconvened at The Farm in October 1985 to start work on Invisible Touch which lasted for six months. They continued their method of song writing used on Genesis by developing material from group improvisations. Banks remembered the time as a strong period creatively for the band, with ideas "flowing out of us".
"Invisible Touch" was developed in such a way, when the group were working on "The Last Domino", the second part of "Domino". During the session, Rutherford began to play an improvised guitar riff to which Collins replied with an off-the-cuff lyric – "She seems to have an invisible touch" – which became the song chorus hook.
Following its release in June 1986, the album spent three weeks at No. 1 in the UK and reached No. 3 in the US. Despite the mixed reviews, Invisible Touch was a commercial success, becoming the best selling Genesis album in the US, selling over 6 million copies there.
The album five singles – "Invisible Touch", "Throwing It All Away", "Land Of Confusion", "In Too Deep", and "Tonight, Tonight, Tonight" – entered the top five on the US singles chart between 1986 and 1987 with "Invisible Touch" topping the chart for one week.
Genesis became the first group and foreign act to achieve this feat, equalling the five singles record set by Michael Jackson, Janet Jackson, and Madonna. Genesis commissioned the creators of the satirical British television show Spitting Image, Peter Fluck and Roger Law, to make puppets of them in the style of the show for the video of "Land of Confusion".
"Nearly 300,000 people at Wembley ... I thought at the time, and I still think now, that moment was the peak of our career." (Tony Banks)
The Invisible Touch Tour was the band largest world tour in its history which included 112 dates from September 1986 to July 1987. Genesis received some criticism in their decision to have Michelob beer as a sponsor. The tour concluded with four consecutive sold out shows at Wembley Stadium in London.
The shows were released in 1988 as The Invisible Touch Tour. When the tour ended, Genesis took a five-year break while each member committed to their solo projects. They performed twice during this time; on 14 May 1988, they performed a 20-minute set at the Atlantic Records 40th Anniversary concert at Madison Square Garden. This was followed by a set at a charity gig at the 1990 Knebworth Festival in June, headlined by Pink Floyd.
In 1991 Genesis recorded their fourteenth album, We Cant Dance, from March to September with their new engineer and co-producer, Nick Davis. The band took advantage of the increased capacity the CD offered and released over 71 minutes of new music across 12 tracks.
Collins wrote the lyrics to "Since I Lost You" for his friend Eric Clapton following the death of Clapton four-year-old son Conor. Following the release of We Cant Dance in November 1991, the album went to No. 1 in the UK for one week and No. 4 in the US, where it went on to sell over 4 million copies. The album spawned several hit singles; "No Son Of Mine" went to No. 6 in the UK and "I Cant Dance" reached No. 7 in the UK and the US. In 1993, We Cant Dance was nominated for a Brit Award for Best British Album.
The We Cant Dance tour visited North America and Europe from May to November 1992 with each concert attended by an average of 56,000 people. The tour spawned two live albums; The Way We Walk, Volume One: The Shorts reached No. 3 in the UK and The Way We Walk, Volume Two: The Longs went to No. 1 in the UK.
Following the tour, the band took a break in activity. Banks, Rutherford, and Collins performed at Cowdray Castle, Midhurst in September 1993 for a money raising event with Pink Floyd touring guitarist Tim Renwick and drummer Gary Wallis and Queen drummer Roger Taylor. Rutherford also played bass on Pink Floyd set at the same concert.
In March 1996, Collins announced his departure from Genesis. He "felt it time to change direction in my musical life. For me now, it will be music for movies, some jazz projects, and of course my solo career."
1996–2006: Wilson on lead vocals, Calling All Stations, and hiatus
Shortly after Banks and Rutherford decided to continue Genesis in 1996, they went to The Farm to start writing Calling All Stations. Rutherford initially found the sessions difficult as he saw Collins as "the guy in the middle" who made Banks and himself work better.
Their best ideas developed in this period were put forward while they auditioned new singers, including Francis Dunnery and Nick Van Eede. The two main contenders, David Longdon and Scottish singer Ray Wilson of Stiltskin, auditioned throughout 1996 which involved singing along to Genesis tracks with the lead vocals removed.
Wilson was announced as the new Genesis singer in June 1997. Though much of the album was already written by the time he joined, Banks was pleased with his contributions to the album which included writing the lyrics to "Small Talk" and riffs on "Not About Us" and "There Must Be Some Other Way". Banks and Rutherford opted for two drummers on Calling All Stations – Israeli session musician Nir Zidkyahu and Nick D'Virgilio of Spock Beard.
Calling All Stations was released in September 1997. It was a success in Europe, where it reached No. 2 in the UK, but the album peaked at No. 54 in the US, their lowest charting album there since Selling England by the Pound.
A single from the album, "Congo" reached the top 30 in the UK and Genesis completed a European tour from January to May 1998, adding Zidkyahu on drums and Irish guitarist Anthony Drennan. A North American tour was planned but was cancelled following its poor commercial response and lack of ticket sales, which led to Banks and Rutherford announcing in 2000 that the group would no longer be recording and touring.
In 1998, Banks, Collins, Gabriel, Hackett, Phillips, Rutherford, and Silver gathered for a photo session and dinner to celebrate the release of the four-disc box set, Genesis Archive 1967–75. The set features "Supper Is Ready" and "It" with new overdubs by Gabriel and Hackett.
In 1999, Banks, Collins, Rutherford, Hackett, and Gabriel released a new version of "The Carpet Crawlers" for the compilation album Turn It On Again: The Hits. On 21 September 2000, Collins, Banks, Rutherford reunited at the Music Managers Forum, in honour of their manager Tony Smith. Gabriel attended the ceremony but chose not to perform.
In 2004, Genesis released Platinum Collection, a three-disc box set of songs covering the band career that reached No. 21 in the UK.
Their best ideas developed in this period were put forward while they auditioned new singers, including Francis Dunnery and Nick Van Eede. The two main contenders, David Longdon and Scottish singer Ray Wilson of Stiltskin, auditioned throughout 1996 which involved singing along to Genesis tracks with the lead vocals removed.
Wilson was announced as the new Genesis singer in June 1997. Though much of the album was already written by the time he joined, Banks was pleased with his contributions to the album which included writing the lyrics to "Small Talk" and riffs on "Not About Us" and "There Must Be Some Other Way". Banks and Rutherford opted for two drummers on Calling All Stations – Israeli session musician Nir Zidkyahu and Nick D'Virgilio of Spock Beard.
Calling All Stations was released in September 1997. It was a success in Europe, where it reached No. 2 in the UK, but the album peaked at No. 54 in the US, their lowest charting album there since Selling England by the Pound.
A single from the album, "Congo" reached the top 30 in the UK and Genesis completed a European tour from January to May 1998, adding Zidkyahu on drums and Irish guitarist Anthony Drennan. A North American tour was planned but was cancelled following its poor commercial response and lack of ticket sales, which led to Banks and Rutherford announcing in 2000 that the group would no longer be recording and touring.
In 1998, Banks, Collins, Gabriel, Hackett, Phillips, Rutherford, and Silver gathered for a photo session and dinner to celebrate the release of the four-disc box set, Genesis Archive 1967–75. The set features "Supper Is Ready" and "It" with new overdubs by Gabriel and Hackett.
In 1999, Banks, Collins, Rutherford, Hackett, and Gabriel released a new version of "The Carpet Crawlers" for the compilation album Turn It On Again: The Hits. On 21 September 2000, Collins, Banks, Rutherford reunited at the Music Managers Forum, in honour of their manager Tony Smith. Gabriel attended the ceremony but chose not to perform.
In 2004, Genesis released Platinum Collection, a three-disc box set of songs covering the band career that reached No. 21 in the UK.
2006–present: 2007 Tour, Reunion Speculations, and BBC documentary
In a press conference held in London in November 2006, Banks, Rutherford, and Collins announced their reunion for the Turn It On Again Tour, their first with Collins in fifteen years. They revealed the initial plan of touring The Lamb Lies Down on Broadway with Gabriel and Hackett.
The five met in Glasgow in November 2004 to discuss the idea further, but it never developed further as Gabriel was unable to commit due to other projects. Instead, Banks, Rutherford and Collins decided to proceed with Thompson and Stuermer returning on drums and guitar, respectively. In March 2007, a press conference was held in New York City to announce the North American leg.
The Turn It On Again Tour featured a stage designed by architect Mark Fisher with a lighting display by Patrick Woodroffe, included a 55-metre long LED backdrop formed of 9 million LED lights. The European leg saw close to 400,000 tickets sold in 40 minutes for shows in Germany and the Netherlands.
On 7 July, the band played at the Live Earth concert in London at Wembley Stadium. The European leg ended with a free concert on 14 July at the Circus Maximus in Rome in front of around half a million people. It was filmed for DVD that was released the following year as When in Rome 2007. A live album formed of recordings from various European dates was released in 2007 as Live Over Europe 2007.
In 2007, the band studio albums from Trespass to Calling All Stations were digitally remastered by Nick Davis across three box sets: Genesis 1976–1982, Genesis 1983–1998, and Genesis 1970–1975. Each album is presented as a two-disc set containing a CD/Super Audio CD of a new stereo mix and a DVD with a 5.1 surround sound mix and bonus features including previously unreleased live performances, interviews, and concert programs. Two DVD box sets followed, Genesis Live 1973–2007 and Genesis Movie Box 1981–2007, in 2009.
Since 2011, Genesis have expressed mixed opinions about a reunion. Collins retired from the music industry as an active musician that year in favour of family commitments and has stated he can no longer play the drums due to medical issues. Hackett has said "I would say it is possible, but highly improbable. I have always been open to it. I am not the guy who says no."
Gabriel addressed the possibility of a reunion: "I never say never. It really did not happen last time. I think there is a small chance, but I dont think it is very high." In 2014, Collins reiterated, "Have people thought it through? It is not as if you are going to get Peter as the singer, me as the drummer. I cant play any more, so it is never going to happen," adding it would not be likely for Gabriel to perform songs Collins originally sang lead on.
In 2014 Gabriel, Banks, Rutherford, Collins and Hackett reunited for Genesis: Together and Apart, a BBC documentary about the band history and the various solo albums the members have released. Although he participated in the documentary and promoted it, Hackett was critical following its broadcast, claiming that it was biased and did not give him editorial involvement, adding that it ignored his solo work despite him speaking at length about it.
The documentary does not feature Wilson time in Genesis. Hackett remains cynical about a Genesis reunion, saying: "Look at the documentary and you will get an idea of the priorities that come across."
In 2015, Collins announced an end to his retirement, and speculated a reunion with Banks and Rutherford would be possible, a view which Banks endorsed. In 2017, Hackett asked Gabriel on his opinions of a possible reunion, adding: "I am trying my best, believe me. I wont say any more because I dont want to raise expectations."
The five met in Glasgow in November 2004 to discuss the idea further, but it never developed further as Gabriel was unable to commit due to other projects. Instead, Banks, Rutherford and Collins decided to proceed with Thompson and Stuermer returning on drums and guitar, respectively. In March 2007, a press conference was held in New York City to announce the North American leg.
The Turn It On Again Tour featured a stage designed by architect Mark Fisher with a lighting display by Patrick Woodroffe, included a 55-metre long LED backdrop formed of 9 million LED lights. The European leg saw close to 400,000 tickets sold in 40 minutes for shows in Germany and the Netherlands.
On 7 July, the band played at the Live Earth concert in London at Wembley Stadium. The European leg ended with a free concert on 14 July at the Circus Maximus in Rome in front of around half a million people. It was filmed for DVD that was released the following year as When in Rome 2007. A live album formed of recordings from various European dates was released in 2007 as Live Over Europe 2007.
In 2007, the band studio albums from Trespass to Calling All Stations were digitally remastered by Nick Davis across three box sets: Genesis 1976–1982, Genesis 1983–1998, and Genesis 1970–1975. Each album is presented as a two-disc set containing a CD/Super Audio CD of a new stereo mix and a DVD with a 5.1 surround sound mix and bonus features including previously unreleased live performances, interviews, and concert programs. Two DVD box sets followed, Genesis Live 1973–2007 and Genesis Movie Box 1981–2007, in 2009.
Since 2011, Genesis have expressed mixed opinions about a reunion. Collins retired from the music industry as an active musician that year in favour of family commitments and has stated he can no longer play the drums due to medical issues. Hackett has said "I would say it is possible, but highly improbable. I have always been open to it. I am not the guy who says no."
Gabriel addressed the possibility of a reunion: "I never say never. It really did not happen last time. I think there is a small chance, but I dont think it is very high." In 2014, Collins reiterated, "Have people thought it through? It is not as if you are going to get Peter as the singer, me as the drummer. I cant play any more, so it is never going to happen," adding it would not be likely for Gabriel to perform songs Collins originally sang lead on.
In 2014 Gabriel, Banks, Rutherford, Collins and Hackett reunited for Genesis: Together and Apart, a BBC documentary about the band history and the various solo albums the members have released. Although he participated in the documentary and promoted it, Hackett was critical following its broadcast, claiming that it was biased and did not give him editorial involvement, adding that it ignored his solo work despite him speaking at length about it.
The documentary does not feature Wilson time in Genesis. Hackett remains cynical about a Genesis reunion, saying: "Look at the documentary and you will get an idea of the priorities that come across."
In 2015, Collins announced an end to his retirement, and speculated a reunion with Banks and Rutherford would be possible, a view which Banks endorsed. In 2017, Hackett asked Gabriel on his opinions of a possible reunion, adding: "I am trying my best, believe me. I wont say any more because I dont want to raise expectations."
Musical Style
Genesis identify first and foremost as songwriters. Any instruments featured on any of the recordings were used because they helped serve the song. Rutherford later said "Were much more concerned with feel." Though styles changed dramatically over the group career, they were always built on musical contrasts and the willingness to experiment.
Members of the original line-up were exposed to classical and church music as well as rock artists of the 60s, particularly the Beatles. Gabriel vocal style was influenced by Otis Redding and other Stax artists. In their early years, Genesis music combined elements of the pop, folk, and psychedelic genres.
Several songs developed during Phillips time in the band originated on 12-string guitars, often with unconventional tunings. By the 70s, the group began to include fantasy and surreal elements in their lyrics, such as "The Musical Box". Nursery Cryme marks the first time electric instruments were used more extensively. A Trick Of The Tail marked a return to the band roots with acoustic passages and songs inspired by fantasy.
Early lyrics drew from psychedelia, fantasy, mythological figures, and fairytale themes. Gabriel emerged as one of the band main lyricists who often incorporated puns and double entendres in his lines and track titles and addressed various themes including social commentary.
Selling England By The Pound contains references to English culture of the time including "Aisle of Plenty", where four British supermarket chains are referenced to reflect the album theme of commercialism. Literary sources are used as inspiration for many Genesis tracks; "The Cinema Show" is based on T. S. Eliot poem The Waste Land, and Arthur C. Clarke novel Childhood End inspired the lyrics to "Watcher of the Skies".
By the time the group had slimmed down to the trio of Banks, Rutherford and Collins, they had decided to change lyrical styles, dealing more with everyday matters which connected with female fans. Collins songs, in particular, were personal in nature. However, the group still featured humour in songs such as "Illegal Alien", and dealt with serious themes such as politics on "Land of Confusion" and commercialisation on "I Cant Dance".
Banks has said that a common way of developing songs throughout the band career was for Collins to play the rhythm, Rutherford to set up a groove and riffs, and for him to add the harmonies and melodies on top. He cites the "Apocalypse in 9/8" section of "Supper Is Ready", "The Cinema Show" and "Domino" as examples of this, and says the restrictions it gave him allowed the group to produce straightforward pop songs such as "Invisible Touch" and "Land of Confusion" in later years.
Banks used a number of keyboards during Genesis career, continually trying out new models, though he used the piano regularly throughout the group lifetime. In the 70s, he frequently used the Hammond organ, Hohner Pianet, Mellotron, RMI Electronic Piano and ARP Pro Soloist.
In the 80s, he used the Sequential Circuits Prophet 5 and Prophet 10, the ARP Quadra and various Korg synthesizers. For the Turn It On Again tour in 2007, his main board was a Korg Oasys. As both a guitarist and bassist, Rutherford regularly swapped between the two roles, and his trademark instrument with Genesis, particularly through the 70s, was a double neck guitar. In the 80s and beyond, he favoured the Eric Clapton Stratocaster.
Members of the original line-up were exposed to classical and church music as well as rock artists of the 60s, particularly the Beatles. Gabriel vocal style was influenced by Otis Redding and other Stax artists. In their early years, Genesis music combined elements of the pop, folk, and psychedelic genres.
Several songs developed during Phillips time in the band originated on 12-string guitars, often with unconventional tunings. By the 70s, the group began to include fantasy and surreal elements in their lyrics, such as "The Musical Box". Nursery Cryme marks the first time electric instruments were used more extensively. A Trick Of The Tail marked a return to the band roots with acoustic passages and songs inspired by fantasy.
Early lyrics drew from psychedelia, fantasy, mythological figures, and fairytale themes. Gabriel emerged as one of the band main lyricists who often incorporated puns and double entendres in his lines and track titles and addressed various themes including social commentary.
Selling England By The Pound contains references to English culture of the time including "Aisle of Plenty", where four British supermarket chains are referenced to reflect the album theme of commercialism. Literary sources are used as inspiration for many Genesis tracks; "The Cinema Show" is based on T. S. Eliot poem The Waste Land, and Arthur C. Clarke novel Childhood End inspired the lyrics to "Watcher of the Skies".
By the time the group had slimmed down to the trio of Banks, Rutherford and Collins, they had decided to change lyrical styles, dealing more with everyday matters which connected with female fans. Collins songs, in particular, were personal in nature. However, the group still featured humour in songs such as "Illegal Alien", and dealt with serious themes such as politics on "Land of Confusion" and commercialisation on "I Cant Dance".
Banks has said that a common way of developing songs throughout the band career was for Collins to play the rhythm, Rutherford to set up a groove and riffs, and for him to add the harmonies and melodies on top. He cites the "Apocalypse in 9/8" section of "Supper Is Ready", "The Cinema Show" and "Domino" as examples of this, and says the restrictions it gave him allowed the group to produce straightforward pop songs such as "Invisible Touch" and "Land of Confusion" in later years.
Banks used a number of keyboards during Genesis career, continually trying out new models, though he used the piano regularly throughout the group lifetime. In the 70s, he frequently used the Hammond organ, Hohner Pianet, Mellotron, RMI Electronic Piano and ARP Pro Soloist.
In the 80s, he used the Sequential Circuits Prophet 5 and Prophet 10, the ARP Quadra and various Korg synthesizers. For the Turn It On Again tour in 2007, his main board was a Korg Oasys. As both a guitarist and bassist, Rutherford regularly swapped between the two roles, and his trademark instrument with Genesis, particularly through the 70s, was a double neck guitar. In the 80s and beyond, he favoured the Eric Clapton Stratocaster.
Legacy
"Genesis has had a hard time getting respect. In the early 70s ... it attracted an avid cult following but was largely ignored by the rock press and public at large ... Even in the early 80s ... the press was unimpressed, dismissing the group as easy-listening lightweights ... All of which, to be honest, has been grossly unfair to the group." (Music critic J. D. Considine)
Genesis have been estimated to have sold between 100–150 million albums worldwide. Their total certified album sales include 21.5 million in the US, 7.2 million in the UK, 5.6 million in Germany, and 3.4 million in France.
Genesis have been awarded with eleven Gold and four Multi-Platinum albums in the UK, while in the US they have seven Gold, two Platinum, and four Multi-Platinum albums.
In March 2010, Genesis were inducted into the Rock and Roll Hall of Fame by Phish guitarist Trey Anastasio.
The band awards include a Silver Clef Award for outstanding contributions to British music at its second annual ceremony in 1977. In 1988, the band received one of the only two Grammy Awards issued for the short-lived Best Concept Music Video category for "Land of Confusion".
In September 2012, a Lifetime Achievement Award was given to the band at the inaugural Progressive Music Awards.
In 2004, Q ranked Genesis as the seventeenth-biggest band in a list compiled based on album sales, time spent on the UK charts, and largest audience for a headlining show. Genesis were honoured at the second VH1 Rock Honors in May 2007, which featured Banks, Rutherford and Collins. In 2008, the band received a Lifetime Achievement Award at the MOJO Awards in 2008.
Genesis were targets for criticism throughout the 70s from those who disliked progressive rock. Influential BBC DJ John Peel championed the band in their early years and they performed three sessions for him between 1970 and 1972, but he "grew disillusioned with their later excesses".
Some regarded the group as overtly middle class, paying particular attention to the founding members private education, and claimed rock music was being taken away from the working class, whom they regarded as its core audience.
Likening his background to that of the punk artist Joe Strummer, who had become a "people hero" musician, Gabriel stated in 2013, "To this day, we have never outgrown the snotty rich-kid thing ... we were always very straight about where we came from, and we were middle-class, not aristocratic".
Gabriel theatrics were unpalatable to some of the mainstream rock audience, resulting in a cult following rather than that of a mainstream rock band.
At their commercial peak in the 80s, the music of Genesis faced the accusation of being "flabbergastingly insignificant" by leading American music critic Robert Hilburn, and it has been described as "barely distinguishable" from Collins solo work.
According to Rolling Stone Erik Hedegaard, Collins in particular was blamed by those who accused the band of selling out. Retrospectively, The New Rolling Stone Album Guide critic J. D. Considine documented how the band had been "largely ignored" by the music press and public in their earliest years, before being "derided as middlebrow throwbacks still in thrall to the pomposities of art rock" in the late 70s and then dismissed as "easy-listening lightweights" in the 80s.
He argued this was unfair, as the band had made their "share of mediocre albums" but no bad ones. Q reviewer Andy Fyfe wrote in 2007 that "little of the band output has aged well" and "transcends in the way real classics do", suggesting they would "remain perennial whipping boys for decades to come."
However, The Daily Telegraph chief rock music critic Neil McCormick has said that Genesis were "a daring and groundbreaking band (certainly in their early career)", described Collins as "an outstanding drummer" and stated that "after Gabriel left, he stepped up to prove himself a charismatic frontman with a very distinctive vocal character".
Journalists have reported that fans preferring one era of the band strongly dislike others. Rock author Colin McGuire has described the arguments from fans of the Gabriel era as "they sold out and became too corporate when Collins stepped into the spotlight", while fans of the Collins era argue "the Gabriel years were boring and hard to stomach".
He concluded both eras of the band should be judged on their own merits. The band themselves have been aware of these divides; press interviews for Abacab explicitly stated that fans of Foxtrot might not like the album, but should keep an open mind.
Genesis have been estimated to have sold between 100–150 million albums worldwide. Their total certified album sales include 21.5 million in the US, 7.2 million in the UK, 5.6 million in Germany, and 3.4 million in France.
Genesis have been awarded with eleven Gold and four Multi-Platinum albums in the UK, while in the US they have seven Gold, two Platinum, and four Multi-Platinum albums.
In March 2010, Genesis were inducted into the Rock and Roll Hall of Fame by Phish guitarist Trey Anastasio.
The band awards include a Silver Clef Award for outstanding contributions to British music at its second annual ceremony in 1977. In 1988, the band received one of the only two Grammy Awards issued for the short-lived Best Concept Music Video category for "Land of Confusion".
In September 2012, a Lifetime Achievement Award was given to the band at the inaugural Progressive Music Awards.
In 2004, Q ranked Genesis as the seventeenth-biggest band in a list compiled based on album sales, time spent on the UK charts, and largest audience for a headlining show. Genesis were honoured at the second VH1 Rock Honors in May 2007, which featured Banks, Rutherford and Collins. In 2008, the band received a Lifetime Achievement Award at the MOJO Awards in 2008.
Genesis were targets for criticism throughout the 70s from those who disliked progressive rock. Influential BBC DJ John Peel championed the band in their early years and they performed three sessions for him between 1970 and 1972, but he "grew disillusioned with their later excesses".
Some regarded the group as overtly middle class, paying particular attention to the founding members private education, and claimed rock music was being taken away from the working class, whom they regarded as its core audience.
Likening his background to that of the punk artist Joe Strummer, who had become a "people hero" musician, Gabriel stated in 2013, "To this day, we have never outgrown the snotty rich-kid thing ... we were always very straight about where we came from, and we were middle-class, not aristocratic".
Gabriel theatrics were unpalatable to some of the mainstream rock audience, resulting in a cult following rather than that of a mainstream rock band.
At their commercial peak in the 80s, the music of Genesis faced the accusation of being "flabbergastingly insignificant" by leading American music critic Robert Hilburn, and it has been described as "barely distinguishable" from Collins solo work.
According to Rolling Stone Erik Hedegaard, Collins in particular was blamed by those who accused the band of selling out. Retrospectively, The New Rolling Stone Album Guide critic J. D. Considine documented how the band had been "largely ignored" by the music press and public in their earliest years, before being "derided as middlebrow throwbacks still in thrall to the pomposities of art rock" in the late 70s and then dismissed as "easy-listening lightweights" in the 80s.
He argued this was unfair, as the band had made their "share of mediocre albums" but no bad ones. Q reviewer Andy Fyfe wrote in 2007 that "little of the band output has aged well" and "transcends in the way real classics do", suggesting they would "remain perennial whipping boys for decades to come."
However, The Daily Telegraph chief rock music critic Neil McCormick has said that Genesis were "a daring and groundbreaking band (certainly in their early career)", described Collins as "an outstanding drummer" and stated that "after Gabriel left, he stepped up to prove himself a charismatic frontman with a very distinctive vocal character".
Journalists have reported that fans preferring one era of the band strongly dislike others. Rock author Colin McGuire has described the arguments from fans of the Gabriel era as "they sold out and became too corporate when Collins stepped into the spotlight", while fans of the Collins era argue "the Gabriel years were boring and hard to stomach".
He concluded both eras of the band should be judged on their own merits. The band themselves have been aware of these divides; press interviews for Abacab explicitly stated that fans of Foxtrot might not like the album, but should keep an open mind.
Influence
Genesis have been cited as a principal influence on the neo-progressive rock subgenre that emerged in the 80s, featuring bands including Marillion, and Pallas. Steve Hackett work in Genesis influenced guitarists such as Brian May of Queen, Alex Lifeson of Rush, and Eddie Van Halen of Van Halen.
Genesis were also an influence on post-punk artists such as Simple Minds and Will Sergeant, guitarist of Echo & the Bunnymen, as well as the electronic new wave band The Human League. Trey Anastasio of Phish said "It is impossible to overstate what impact this band and musical philosophy had on me as a young musician. I am forever in their debt."
Mostly Autumn "fuse the music of Genesis and Pink Floyd" in their sound. The alternative rock band Elbow acknowledge Genesis as an influence, such as on their breakthrough song "Newborn".
There are a number of Genesis tribute bands, including ReGenesis who focus on the group 70s repertoire, and Mama, who cover all eras of the band. The most successful act has been the Canadian-French band The Musical Box that have been officially endorsed by the band and had Hackett and Collins perform as guests with them.
Gabriel has taken his children to see the Musical Box, so "they could see what their father did back then", while Hackett has said "They not only manage to sound, but look virtually identical".
Genesis were also an influence on post-punk artists such as Simple Minds and Will Sergeant, guitarist of Echo & the Bunnymen, as well as the electronic new wave band The Human League. Trey Anastasio of Phish said "It is impossible to overstate what impact this band and musical philosophy had on me as a young musician. I am forever in their debt."
Mostly Autumn "fuse the music of Genesis and Pink Floyd" in their sound. The alternative rock band Elbow acknowledge Genesis as an influence, such as on their breakthrough song "Newborn".
There are a number of Genesis tribute bands, including ReGenesis who focus on the group 70s repertoire, and Mama, who cover all eras of the band. The most successful act has been the Canadian-French band The Musical Box that have been officially endorsed by the band and had Hackett and Collins perform as guests with them.
Gabriel has taken his children to see the Musical Box, so "they could see what their father did back then", while Hackett has said "They not only manage to sound, but look virtually identical".
Informação Complementar:
Se você tem um conhecimento médio acerca de bitrates de arquivos de áudio, pode ser que estas taxas baixíssimas tenham deixado você com um frio na espinha ou então com a impressão de que estes arquivos não tem a mínima qualidade.
Bom, eu vou te dizer o porque destas taxas, mas antes eu preciso dizer algumas coisas que talvez você não saiba, se não tiver lido o texto da página inicial ainda ou então se tiver vindo parar aqui por meio de um link direto que eu coloquei em algum lugar da internet.
Eu trabalho com tratamento de áudio desde 2010 e paralelamente a isso eu estudo linguagens de programação de computador desde esta mesma época.
Eu não baixo os arquivos que eu posto aqui de outros blogs, ou seja, eu não pego arquivos mastigados de outro lugar, os converto e coloco na minha conta.
O que eu faço é baixar os arquivos em estado bruto, em suas versões originais, e então eu processo este material e deixo a extensão exatamente como ela veio, a diferença é que eu tenho todos os recursos, meios necessários e também conhecimento para deixar estes arquivos com bitrates abaixo de 100 kbps e ainda preservar a qualidade que eles tinham antes de eu manipulá-los.
Por exemplo, você já deve ter lido que um arquivo mp3 pode ser reduzido em até 90% do seu tamanho original.
Eu era um fã incondicional de mp3 por causa disso, e desde 2010 eu colecionava discografias inteiras em mp3 de 128 kbps. Se o arquivo que eu baixava vinha em um bitrate maior, eu o deixava com 128 kbps.
Eu criei este blog em 2013 e o deixei ocioso até o ano de 2016, quando comecei as primeiras postagens, todas em mp3 de 128 kbps.
Este ano, eu fiz uma experiência sem nenhum compromisso e o resultado me surpreendeu, e desde então eu vi que além de eu não precisar continuar só ouvindo arquivos em mp3 eu também podia ouvir as minhas coleções em outros formatos e taxas de bitrates mais baixas e o que é melhor, sem perder em nada no quesito qualidade.
E isso ainda não é tudo. Por exemplo, você já deve ter ouvido algum arquivo em formato wav na sua vida e sabe que estes arquivos costumam ser pesados, porque um arquivo wav tem uma taxa entre 1411 e 1536 kbps.
Com este bitrate, uma música de apenas 5 minutos tem o tamanho de 54,93 mb, praticamente maior do que um álbum inteiro em mp3 de 128 kbps.
Aqui há muitos arquivos no formato wav que eu baixei com esta taxa, e que na maior parte das vezes são álbuns que tem 700 mb ou mais, se forem albuns duplos ou bootlegs então, 1,5 Gb de tamanho no mínimo, se não mais.
Pois bem. Eu consigo uma taxa de compressão, no caso dos arquivos wav de mais de 96,5%, ou seja, maior ainda do que a compressão que o mp3 suporta, e como eu não converto este arquivo, ele não perde absolutamente nada de sua qualidade.
Este é o detalhe que muitas pessoas desconhecem; se você pega um arquivo de uma extensão com um bitrate alto e o converte para outra extensão com um bitrate menor, você destrói o arquivo por completo, porque uma vez que você muda a extensão do mesmo você também altera todas as freqüências dele, e tudo se perde.
No meu blog, o que eu publico em wav estava originalmente em wav; em ogg estava em ogg, e quando é alguma coisa mais rara que eu só encontrei em mp3 eu publico aquilo que eu já tinha. A única exceção são os arquivos que eu posto em wma.
Estes arquivos estavam em outros formatos, como por exemplo m4a, e após alguns testes eu verifiquei que eles ficavam com uma qualidade muito boa nesta extensão. Não deve ser uma mera coincidência, pois há um outro detalhe que agora você deve observar bem; ambos os formatos wav e wma são específicos do sistema Windows e por isso mesmo eles costumam parecer que tem uma qualidade muito superior aos outros formatos, pois o sistema em si já está preparado desde o começo para reproduzí-los.
Sempre que possível neste blog eu tentarei postar o mínimo possível em mp3, não porque eu tenha mudado a minha opnião sobre o mp3, mas sim porque eu descobri que arquivos em ogg apesar de ter um bitrate variável na maioria das vezes tem uma qualidade maior do que arquivos de mp3 de 128 kbps de bitrate constante.
Mas claro que isso não é um desejo meu exclusivamente; há muitos álbuns que ainda não foram remasterizados ou que são muito dificeis de serem encontrados, então neste caso eu vou postar o que eu já tenho em mp3 de 128 kbps mesmo.
Pelo conhecimento que eu tenho eu não posso cometer a leviandade de baixar um arquivo em outra extensão e tentar convertê-la já que eu sei que fazendo isso eu estou estragando o arquivo por inteiro.
Você deve saber; uma música no formato mp3 de 128 kbps tem cerca de 1 mb por minuto, e há pequenas variações de ordem técnica que modificam o tamanho de acordo com o tempo da música, que como você também sabe, varia muito.
Então o que eu faço é usar o conhecimento que eu tenho de acordo com o material que eu possuo e com isso eu chego no resultado que eu pretendo. Logo, estas taxas baixas de bitrates são um mero detalhe, porque como eu não converto os arquivos que eu trabalho, eu mantenho intacta a qualidade dos mesmos, uma vez que eu não mexo na sua origem.
Para exemplificar isso melhor, é como se eu pegasse uma imagem de alta resolução e utilizasse um programa apenas para reduzir o tamanho dela. Como a imagem tem um tamanho grande, eu consigo manter a qualidade dela, se eu apenas reduzir a sua resolução.
Basicamente é isso o que eu faço com os arquivos que eu publico aqui; reduzo o tamanho deles, para ficar mais fácil para mim fazer o upload deles, já que neste momento não tenho internet de cabo na minha casa. Isso também te ajuda, porque você tem arquivos de tamanho reduzido, consegue baixá-los mais rápido, não ocupa muito espaço em seu hd e o que é melhor, você não perde absolutamente nada em qualidade.
Por isso se esta for a sua primeira vez neste blog, não se impressione com estas taxas de bitrates, aparentemente insignificantes, pois elas não significam, em hipótese alguma que estes arquivos tem pouca ou nenhuma qualidade.
Quando você for ouvir o primeiro álbum, seja ele em qual formato for, se possível use um headphone e se ele estiver muito gasto, pressione-o levemente entre os seus ouvidos, e perceba com que riqueza de detalhes você conseguirá ouvir todas as notas da música, independente delas serem graves, médias ou agudas.
Tenho a certeza de que você se convencerá do que estou dizendo; taxa de bitrate não significa qualidade. Qualidade se consegue sabendo processar um arquivo de áudio não o convertendo para outra extensão. Um dia eu não sabia disso, mas graças a Deus eu aprendi. E agora eu estou descartando todas as discografias que eu tinha em mp3 de 128 kbps e estou as refazendo do zero, com todos os álbuns remasterizados e publicando no blog.
O que você baixar aqui, é exatamente o arquivo que eu tenho e escuto no meu computador.
Agora, para encerrar este assunto, preciso dizer que para que você usufrua da qualidade máxima destes arquivos, você precisa ouví-los com o player de áudio que eu disponibilizo na coluna lateral á esquerda. Este player foi reconstruído por mim para refletir com 100% de exatidão as alterações que eu fiz e faço nos meu arquivos, e de todos os players que eu testei, este foi o único que alcançou a qualidade que eu buscava. Leia o tutorial, extraia para a pasta de sua preferência em seu computador, mescle as informações de registro em seu pc e descubra uma nova experiência em ouvir música como você nunca sonhou.
Obrigado por ter lido todas estas linhas. Fazer as coisas bem feitas dá muito trabalho, mas também vale muito a pena.
A segunda parte desta discografia (que compõe todos os álbuns ao vivo) está sendo preparada para ser publicada em breve. Por último, virão os bootlegs. Caso aconteça um milagre, serão postados juntos.
Meu comentário:
Eu costumo começar os meus comentários escrevendo sobre como eu conheci ou comecei a ouvir o artista que estou postando, mas agora, neste caso, preciso fazer diferente.
Eu sei que para muitas pessoas, o último álbum de estúdio do Genesis, com o desconhecido Ray Wilson, é como se fosse o St. Anger do Metallica ou o Carnival Of Souls do Kiss, ou seja, um álbum complemente dispensável.
A função deste blog também é tentar fazer com que as pessoas revejam os seus pontos de vista em relação a alguns albuns que tem algum valor, além daquela primeira má impressão quando se o ouviu.
Por exemplo, quando eu ouvi este álbum, há muitos anos atrás, a impressão que eu tive quando terminei de escutá-lo foi ´Bom, esta música chamada Congo até que é legalzinha´. Passou muitos anos e este álbum permaneceu em vários computadores que eu tive, sem eu ter ouvido de novo.
Há alguns meses atrás, quando eu o baixei outra vez, desta vez na versão remasterizada, eu fui ouví-lo de novo, da mesma forma que eu faço quando vou conhecer uma mulher pela primeira vez; sem nenhum tipo de julgamento pré concebido.
E mais uma vez a mágica aconteceu; redescobri que este disco definitivamente não é de todo ruim, e não é mesmo!
Falando primeiramente do álbum como foi lançado: as 5 primeiras músicas, na minha opnião, são simplesmente expetaculares. Se eu pudesse compará-las com mulheres, eu diria que são como aquelas mulheres que você encontra na rua pela primeira vez na vida e que você se sente tão atraído por elas que dá vontade de você as abordá-las e dizer a elas, que você tem a certeza que elas são as mulheres da sua vida (e isso porque você nem sequer sabe como elas se chamam).
Eu sempre elejo uma música de cada álbum de cada banda que eu curto como a minha favorita, e no caso deste disco, não tenho dúvida: esta música atende pelo nome de "There Must Be Some Other Way". Não vou tentar explicar porque ela está colocada como a quarta música e não a primeira porque algumas coisas não dá para se explicar com palavras.
Infelizmente não há registros oficiais desta música sendo executada ao vivo, aliás, não existe nenhuma versão ao vivo oficial de nenhuma destas músicas, parece até que Rutherford e Banks se envergonharam de ter feito este disco, que para mim...é um dos melhores da carreira do Genesis!
Talvez você ainda não tenha entendido. As últimas oito músicas deste álbum saíram todas como Lado B nos singles que o grupo lançou. E acredite você (caso ainda não tenha as ouvido antes deste post ter sido publicado) são oito músicas MARAVILHOSAS, INACREDITÀVEIS, INESQUECÍVEIS, ESTUPENDAS, MAGNIFÍCAS, ESPETACULARES!!!
Então de 19 faixas, temos 13 músicas absurdamente excelentes, que merecem ser ouvidas pelo menos uma vez por semana, deste álbum imcompreendido. Foram usados dois bateristas na gravação deste disco, ambos desconhecidos assim como o vocalista, no entanto os dois conseguiram mostrar que tem talento.
Poucas vezes eu tive tanta dificuldade para montar a ordem das músicas como no caso destas faixas que ficaram de fora do álbum, porque eu as adoro, uma mais do que a outra! Eu acho que o que houve foi que por alguma razão os caras erraram na hora de selecionar as músicas que fariam parte do disco e as que saíriam como lado b, porque eu tenho certeza que se estas oito músicas tivessem entrado no álbum, o disco teria sido um sucesso total, porque estas faixas são perfeitas, uma melhor que a outra.
Conjecturas á parte, eu creio que se isso tivesse acontecido, o Genesis teria entrando em uma terceira fase de longa duração, sem dúvidas!
Esta é a vantagem de se ter um blog feito por alguém que é fã dos artistas que são postados; de repente estas faixas, que podem ser qualificadas como um disco á parte, podem fazer com que muita gente mude de opnião e veja este disco com outros olhos, porque efetivamente havia feito um julgamento parcial, já que não tinha ouvido todas as músicas que este time havia gravado.
Esta é a minha opnião. Eu não me obrigo a gostar de música alguma, de qualquer banda ou cantor que seja, é sempre a música que me conquista, como aquela mulher que de alguma forma consegue mexer comigo e despertar o meu interesse nela.
Eu não tinha encontrado estas músicas em outro site ou blog nacional, porque como eu já disse, no Brasil quase tudo é feito pela metade ou mal feito. Por isso que aqui eu só postarei material de quem eu curto, porque isso me permite fazer um trabalho próximo da perfeição. Se eu puder conciliar a quantidade com a qualidade ótimo, agora se a quantidade for prejudicar o meu trabalho, ela será deixada em segundo plano, sem qualquer dúvida.
Agora eu preciso falar sobre uma outra coisa, que eu já tinha escrito aqui, em parte.
Tinha uma música do Metallica que eu era indiferente. Esta música chama-se The Shortest Straw, do álbum And Justice For All.
Há meses atrás quando eu tinha baixado o álbum de novo, em versão remasterizada, eu comecei a re-enxergar esta música com outros olhos. Algum tempo depois, eu ouvi esta música em uma versão ao vivo e aí definitivamente eu passei a gostar dela.
Eu atribuo esta mudança de opnião, entre outras coisas, ao fato de ter ouvido esta música em uma versão que eu pude perceber todas as notas musicais que a compõe, o que não seria possível se eu tivesse continuado a escutá-la em sua versão antiga.
Eu já estou percebendo uma grande diferença entre ouvir uma música na sua versão antiga e em versão remasterizada, além do prazer de se ouvir uma música retornar, esta impressão e sensação de prazer é amplificada, e muito.
Eu já tenho dezenas de discografias prontas, no entanto, a maioria ainda é no formato antigo, e eu estou refazendo todas do zero, para poder publicá-las. Não adiantaria eu publicar o que eu já tenho, apenas por já estar pronto e depois ter de refazer todo o serviço de novo.
Mesmo porque existem algumas obras que ainda não foram remasterizadas, quase sempre são catálogos com poucos álbuns, em breve eu começarei a colocar estes discos aqui. Ms eu posso dizer que quando você ouvir um álbum remixado e compará-lo com a versão antiga, você não vai mais querer trocá-lo pelo outro.
Porque a riqueza de detalhes em notas, timbres e freqüências é tão grande e tão absurda que chega mesmo a ser possível você passar a gostar de uma música que antes não chamava a sua atenção.
Em breve eu publicarei um post de um artista que falará por si mesmo. É com certeza uma das melhores remasterizações da história, e eu consegui deixar o som absurdamente alto e com uma riqueza de detalhes tão grande que eu ouvindo com um fone de ouvido que eu comprei em 2012 e que aparentemente saiu de linha, parece que eu estou ouvindo com som surround e cercado de caixas acusticas por todos os lados.
Você já pode ter uma idéia aproximada disso, basta ouvir estes arquivos apenas com o player de áudio que eu disponibilizo aqui mesmo, e se o seu fone de ouvido não for tão bom ou tão novo, pressioná-lo levemente entre as orelhas para ter um efeito SUPER BASS simulado, que realce aqueles sons de fundo, perceptíveis apenas em aparelhos de som com mais de 5 caixas acústicas divididas por canais (ou seja, aparelho de som PROFISSIONAL).
Agora, finalmente escreverei como conheci o Genesis.
No começo dos anos 90 eu conheci um cara que era um ano mais velho que eu e que era na verdade amigo do meu irmão e que por tabela virou meu amigo.
Eu sempre digo no começo dos anos 90 porque eu nasci no meio da década de 70 e logo nesta época eu estava iniciando todas as minhas descobertas, inclusive as experiências musicais (apesar que eu já gostava de rock desde 1984).
Mas como eu escrevia, este cara gostava do Genesis, que até então se eu já tinha escutado eu não me lembrava, pois de 1989 para baixo eu só ouvia música no rádio.
Mas tinha um detalhe: este cara só gostava do Genesis, a partir da fase do Phil Collins. Ele disse, por outras palavras, que achava que o que Peter Gabriel fazia era muito forçado, dissimulado, talvez mesmo verdadeiramente falso.
Eu não tive como rebater isso naquele tempo, mesmo porque eu não conhecia nada do Genesis, e felizmente e como não poderia deixar de ser, isso não me influenciou nem um pouco.
Antes de 1997 eu já tinha ouvido alguma coisa antiga do Genesis com Gabriel e eu gostei muito.
Eu tinha comprado um álbum de vinil do Foxtrot usado e eu gostei de Watcher Of The Skies logo na introdução e quando a música acabou já era uma das minhas favoritas - logo na primeira vez que eu a escutava.
Eu também achei o contexto da capa uma coisa muito louca, aquele efeito tridimensional chamava muito a atenção e eu achava - e continuo achando que aquela cabeça no corpo da mulher é, definitivamente, uma cabeça de gato.
Eu comprei outros vinis do Genesis ainda, mas definitivamente eu me tornei fã deles em 1997, quando aluguei o cd deles ao vivo de 73 (sim, você não leu errado, se você tem 20 anos ou menos, fique sabendo que existiram locadoras de cd de áudio - aliás, eu já tratei disso ná Página Inicial).
Eu normalmente não gosto de ouvir albuns ao vivo se eu não conheço toda a obra da banda feita no estúdio, porque no álbum ao vivo é difícil (pelo menos na minha opnião) ter uma visão precisa da música, muitas vezes a versão ao vivo é mais rápida, e não dá para ouvir o ritmo com a exatidão e precisão que a versão de estúdio proporciona.
Logo a música pode até ter um ritmo envolvente, que se perde em parte quando é executada ao vivo. Por isso, na minha opnião o melhor jeito de se conhecer o trabalho de uma banda é começar pelos álbuns de estúdio.
Eu alugava 4 ou 5 cinco cds de uma vez, e naquele dia eu precisava pegar mais 1 cd para devolvê-los só na outra semana e acabei pegando este ao vivo.
Eu não conhecia The Return Of The Giant Hogweed e muito menos The Knife, mas eu as ouvi pela primeira vez e "pirei" nelas na mesma hora! Sem dúvidas, muito melhores que em suas versões de estúdio, muito mais pesadas.
The Return... na versão de estúdio, parece mesmo ser outra versão. Infelizmente o Genesis não se preocupou em manter as músicas mais antigas - os primeiros hits - nos setlists das futuras tours. Uma falha para mim imperdoável foi terem abolido The Knife definitivamente do "cardápio". Esta música deveria ter se tornado a faixa de encerramento de todas as tours desde que foi lançada, pois é uma música maravilhosa, do tipo que você ouve 20 vezes seguidas e não se satisfaz.
Agora voltando a aquele amigo, que achava que Gabriel forçava a barra sem necessidade, há anos não o vejo e não sei se ele mudou de opnião. Naquele tempo não havia internet e talvez por isso fosse difícil para ele entender a atitude de Gabriel. Aliás, eu li em algum lugar que o próprio fazia isso por timidez - ora, você é tímido e tenta resolver o seu problema chamando a atenção? Fazendo algo que as pessoas vão realmente prestar atenção em você?
Isso é difícil de entender. Alías, o conceito do Genesis no palco é outra história, uma mistura de representação misturada com música, uma outra espécie de teatro.
Por exemplo, na época do Peter, havia muita piada entre uma música e outra em um certo periodo. Eu tenho um bootleg em que é praticamente uma música seguida por uma piada, do começo ao fim. Toda a platéia se acabando de dar risadas.
Pensando hoje em dia, quando você vai em um show, você não espera ouvir piadas, uma ou outra pode até ser que você ouça, mas uma piada a cada música, como acontecia nos shows antigos do Genesis, é totalmente fora da curva, ainda mais se pensarmos que ele fazia isso há quase 50 anos atrás.
E certamente Gabriel sabia o que fazia. Não é nenhum mistério que a risada traz uma sensação de bem estar, e se a pessoa se sente bem, ela se torna mais maleável (flexível?) disposta a ver certas coisas com outros olhos.
O segredo de muitos sujeitos metidos a Don Juan não é nenhum bicho de sete cabeças; para conquistar uma mulher, é suficiente saber fazê-la rir. No entanto, é necessário saber dizer coisas que sejam ao mesmo tempo, inteligentes e engraçadas, o que não é muito fácil para quem não tem muita prática ou é pouco inteligente.
As histórias que Gabriel contava nos anos 70 deveriam ser deste tipo, pois ele dizia duas ou três palavras e as pessoas gargalhavam. Afinal as melhores piadas são aquelas que você começa a rir já na metade, quando o seu cérebro antevê a situação antes que a pessoa acabe de contar. Normalmente este tipo de riso é aquele tipo incontrolável que é impossível de segurar.
Por esta e outras que eu sou meio (uns 51%) mais conservador do que liberal, que eu acho que as melhores coisas estão mesmo no passado e não que estão por vir. Eu já ouvi centenas de bootlegs e não me lembro de ter visto algo parecido com isso (ou talvez ainda não tenha ouvido os bootlegs certos, quem sabe?) normalmente, em um dado momento, geralmente o vocalista faz alguma graça, mas não é algo constante como era nos shows do Genesis.
E diga-se de passagem, isso é algo que não cabe em um show ao vivo oficial, porque neste caso o tempo não pode ser desperdiçado. Por isso é que aqui haverá fartura de bootlegs e será a regra, não a excessão, como é em outros lugares.
Agora, para finalizar, reafirmo que sou fã do Genesis, sem exceção. Conheci os primeiros álbuns solos de Peter Gabriel ainda em 1997 e os curti muito também. Phil Collins eu ainda não ouvi tudo, porque eu o considerava e continuo o achando comercial demais em sua carreira solo. E claro, eu tinha um certo preconceito por causa disso.
Mas é possível não gostar de um hino como I Wish It Would Rain Down? Essa música é simplesmente um tesão!
Por isso, Peter Gabriel e Phil Collins, estarão por aqui também, com certeza. Não porque ambos vem de uma banda que eu curto, mas sim porque a música que eles fazem mexem comigo. Pois a proposta deste blog é exatamente esta; compartilhar aquilo que eu gosto e que eu conheço. Nada mais além disso.
Ouça o álbum Calling All Stations a partir de Anything Now e faça de conta que este disco é um álbum solo de Ray Wilson - alguém que você não pode julgar por não conhecer os seus trabalhos anteriores. Depois, se quiser, vá pela ordem da minha preferência. Quando terminar, dê a sua opnião. Publicarei com extrema satisfação.
Um grande abraço.
Eu sei que para muitas pessoas, o último álbum de estúdio do Genesis, com o desconhecido Ray Wilson, é como se fosse o St. Anger do Metallica ou o Carnival Of Souls do Kiss, ou seja, um álbum complemente dispensável.
A função deste blog também é tentar fazer com que as pessoas revejam os seus pontos de vista em relação a alguns albuns que tem algum valor, além daquela primeira má impressão quando se o ouviu.
Por exemplo, quando eu ouvi este álbum, há muitos anos atrás, a impressão que eu tive quando terminei de escutá-lo foi ´Bom, esta música chamada Congo até que é legalzinha´. Passou muitos anos e este álbum permaneceu em vários computadores que eu tive, sem eu ter ouvido de novo.
Há alguns meses atrás, quando eu o baixei outra vez, desta vez na versão remasterizada, eu fui ouví-lo de novo, da mesma forma que eu faço quando vou conhecer uma mulher pela primeira vez; sem nenhum tipo de julgamento pré concebido.
E mais uma vez a mágica aconteceu; redescobri que este disco definitivamente não é de todo ruim, e não é mesmo!
Falando primeiramente do álbum como foi lançado: as 5 primeiras músicas, na minha opnião, são simplesmente expetaculares. Se eu pudesse compará-las com mulheres, eu diria que são como aquelas mulheres que você encontra na rua pela primeira vez na vida e que você se sente tão atraído por elas que dá vontade de você as abordá-las e dizer a elas, que você tem a certeza que elas são as mulheres da sua vida (e isso porque você nem sequer sabe como elas se chamam).
Eu sempre elejo uma música de cada álbum de cada banda que eu curto como a minha favorita, e no caso deste disco, não tenho dúvida: esta música atende pelo nome de "There Must Be Some Other Way". Não vou tentar explicar porque ela está colocada como a quarta música e não a primeira porque algumas coisas não dá para se explicar com palavras.
Infelizmente não há registros oficiais desta música sendo executada ao vivo, aliás, não existe nenhuma versão ao vivo oficial de nenhuma destas músicas, parece até que Rutherford e Banks se envergonharam de ter feito este disco, que para mim...é um dos melhores da carreira do Genesis!
Talvez você ainda não tenha entendido. As últimas oito músicas deste álbum saíram todas como Lado B nos singles que o grupo lançou. E acredite você (caso ainda não tenha as ouvido antes deste post ter sido publicado) são oito músicas MARAVILHOSAS, INACREDITÀVEIS, INESQUECÍVEIS, ESTUPENDAS, MAGNIFÍCAS, ESPETACULARES!!!
Então de 19 faixas, temos 13 músicas absurdamente excelentes, que merecem ser ouvidas pelo menos uma vez por semana, deste álbum imcompreendido. Foram usados dois bateristas na gravação deste disco, ambos desconhecidos assim como o vocalista, no entanto os dois conseguiram mostrar que tem talento.
Poucas vezes eu tive tanta dificuldade para montar a ordem das músicas como no caso destas faixas que ficaram de fora do álbum, porque eu as adoro, uma mais do que a outra! Eu acho que o que houve foi que por alguma razão os caras erraram na hora de selecionar as músicas que fariam parte do disco e as que saíriam como lado b, porque eu tenho certeza que se estas oito músicas tivessem entrado no álbum, o disco teria sido um sucesso total, porque estas faixas são perfeitas, uma melhor que a outra.
Conjecturas á parte, eu creio que se isso tivesse acontecido, o Genesis teria entrando em uma terceira fase de longa duração, sem dúvidas!
Esta é a vantagem de se ter um blog feito por alguém que é fã dos artistas que são postados; de repente estas faixas, que podem ser qualificadas como um disco á parte, podem fazer com que muita gente mude de opnião e veja este disco com outros olhos, porque efetivamente havia feito um julgamento parcial, já que não tinha ouvido todas as músicas que este time havia gravado.
Esta é a minha opnião. Eu não me obrigo a gostar de música alguma, de qualquer banda ou cantor que seja, é sempre a música que me conquista, como aquela mulher que de alguma forma consegue mexer comigo e despertar o meu interesse nela.
Eu não tinha encontrado estas músicas em outro site ou blog nacional, porque como eu já disse, no Brasil quase tudo é feito pela metade ou mal feito. Por isso que aqui eu só postarei material de quem eu curto, porque isso me permite fazer um trabalho próximo da perfeição. Se eu puder conciliar a quantidade com a qualidade ótimo, agora se a quantidade for prejudicar o meu trabalho, ela será deixada em segundo plano, sem qualquer dúvida.
Agora eu preciso falar sobre uma outra coisa, que eu já tinha escrito aqui, em parte.
Tinha uma música do Metallica que eu era indiferente. Esta música chama-se The Shortest Straw, do álbum And Justice For All.
Há meses atrás quando eu tinha baixado o álbum de novo, em versão remasterizada, eu comecei a re-enxergar esta música com outros olhos. Algum tempo depois, eu ouvi esta música em uma versão ao vivo e aí definitivamente eu passei a gostar dela.
Eu atribuo esta mudança de opnião, entre outras coisas, ao fato de ter ouvido esta música em uma versão que eu pude perceber todas as notas musicais que a compõe, o que não seria possível se eu tivesse continuado a escutá-la em sua versão antiga.
Eu já estou percebendo uma grande diferença entre ouvir uma música na sua versão antiga e em versão remasterizada, além do prazer de se ouvir uma música retornar, esta impressão e sensação de prazer é amplificada, e muito.
Eu já tenho dezenas de discografias prontas, no entanto, a maioria ainda é no formato antigo, e eu estou refazendo todas do zero, para poder publicá-las. Não adiantaria eu publicar o que eu já tenho, apenas por já estar pronto e depois ter de refazer todo o serviço de novo.
Mesmo porque existem algumas obras que ainda não foram remasterizadas, quase sempre são catálogos com poucos álbuns, em breve eu começarei a colocar estes discos aqui. Ms eu posso dizer que quando você ouvir um álbum remixado e compará-lo com a versão antiga, você não vai mais querer trocá-lo pelo outro.
Porque a riqueza de detalhes em notas, timbres e freqüências é tão grande e tão absurda que chega mesmo a ser possível você passar a gostar de uma música que antes não chamava a sua atenção.
Em breve eu publicarei um post de um artista que falará por si mesmo. É com certeza uma das melhores remasterizações da história, e eu consegui deixar o som absurdamente alto e com uma riqueza de detalhes tão grande que eu ouvindo com um fone de ouvido que eu comprei em 2012 e que aparentemente saiu de linha, parece que eu estou ouvindo com som surround e cercado de caixas acusticas por todos os lados.
Você já pode ter uma idéia aproximada disso, basta ouvir estes arquivos apenas com o player de áudio que eu disponibilizo aqui mesmo, e se o seu fone de ouvido não for tão bom ou tão novo, pressioná-lo levemente entre as orelhas para ter um efeito SUPER BASS simulado, que realce aqueles sons de fundo, perceptíveis apenas em aparelhos de som com mais de 5 caixas acústicas divididas por canais (ou seja, aparelho de som PROFISSIONAL).
Agora, finalmente escreverei como conheci o Genesis.
No começo dos anos 90 eu conheci um cara que era um ano mais velho que eu e que era na verdade amigo do meu irmão e que por tabela virou meu amigo.
Eu sempre digo no começo dos anos 90 porque eu nasci no meio da década de 70 e logo nesta época eu estava iniciando todas as minhas descobertas, inclusive as experiências musicais (apesar que eu já gostava de rock desde 1984).
Mas como eu escrevia, este cara gostava do Genesis, que até então se eu já tinha escutado eu não me lembrava, pois de 1989 para baixo eu só ouvia música no rádio.
Mas tinha um detalhe: este cara só gostava do Genesis, a partir da fase do Phil Collins. Ele disse, por outras palavras, que achava que o que Peter Gabriel fazia era muito forçado, dissimulado, talvez mesmo verdadeiramente falso.
Eu não tive como rebater isso naquele tempo, mesmo porque eu não conhecia nada do Genesis, e felizmente e como não poderia deixar de ser, isso não me influenciou nem um pouco.
Antes de 1997 eu já tinha ouvido alguma coisa antiga do Genesis com Gabriel e eu gostei muito.
Eu tinha comprado um álbum de vinil do Foxtrot usado e eu gostei de Watcher Of The Skies logo na introdução e quando a música acabou já era uma das minhas favoritas - logo na primeira vez que eu a escutava.
Eu também achei o contexto da capa uma coisa muito louca, aquele efeito tridimensional chamava muito a atenção e eu achava - e continuo achando que aquela cabeça no corpo da mulher é, definitivamente, uma cabeça de gato.
Eu comprei outros vinis do Genesis ainda, mas definitivamente eu me tornei fã deles em 1997, quando aluguei o cd deles ao vivo de 73 (sim, você não leu errado, se você tem 20 anos ou menos, fique sabendo que existiram locadoras de cd de áudio - aliás, eu já tratei disso ná Página Inicial).
Eu normalmente não gosto de ouvir albuns ao vivo se eu não conheço toda a obra da banda feita no estúdio, porque no álbum ao vivo é difícil (pelo menos na minha opnião) ter uma visão precisa da música, muitas vezes a versão ao vivo é mais rápida, e não dá para ouvir o ritmo com a exatidão e precisão que a versão de estúdio proporciona.
Logo a música pode até ter um ritmo envolvente, que se perde em parte quando é executada ao vivo. Por isso, na minha opnião o melhor jeito de se conhecer o trabalho de uma banda é começar pelos álbuns de estúdio.
Eu alugava 4 ou 5 cinco cds de uma vez, e naquele dia eu precisava pegar mais 1 cd para devolvê-los só na outra semana e acabei pegando este ao vivo.
Eu não conhecia The Return Of The Giant Hogweed e muito menos The Knife, mas eu as ouvi pela primeira vez e "pirei" nelas na mesma hora! Sem dúvidas, muito melhores que em suas versões de estúdio, muito mais pesadas.
The Return... na versão de estúdio, parece mesmo ser outra versão. Infelizmente o Genesis não se preocupou em manter as músicas mais antigas - os primeiros hits - nos setlists das futuras tours. Uma falha para mim imperdoável foi terem abolido The Knife definitivamente do "cardápio". Esta música deveria ter se tornado a faixa de encerramento de todas as tours desde que foi lançada, pois é uma música maravilhosa, do tipo que você ouve 20 vezes seguidas e não se satisfaz.
Agora voltando a aquele amigo, que achava que Gabriel forçava a barra sem necessidade, há anos não o vejo e não sei se ele mudou de opnião. Naquele tempo não havia internet e talvez por isso fosse difícil para ele entender a atitude de Gabriel. Aliás, eu li em algum lugar que o próprio fazia isso por timidez - ora, você é tímido e tenta resolver o seu problema chamando a atenção? Fazendo algo que as pessoas vão realmente prestar atenção em você?
Isso é difícil de entender. Alías, o conceito do Genesis no palco é outra história, uma mistura de representação misturada com música, uma outra espécie de teatro.
Por exemplo, na época do Peter, havia muita piada entre uma música e outra em um certo periodo. Eu tenho um bootleg em que é praticamente uma música seguida por uma piada, do começo ao fim. Toda a platéia se acabando de dar risadas.
Pensando hoje em dia, quando você vai em um show, você não espera ouvir piadas, uma ou outra pode até ser que você ouça, mas uma piada a cada música, como acontecia nos shows antigos do Genesis, é totalmente fora da curva, ainda mais se pensarmos que ele fazia isso há quase 50 anos atrás.
E certamente Gabriel sabia o que fazia. Não é nenhum mistério que a risada traz uma sensação de bem estar, e se a pessoa se sente bem, ela se torna mais maleável (flexível?) disposta a ver certas coisas com outros olhos.
O segredo de muitos sujeitos metidos a Don Juan não é nenhum bicho de sete cabeças; para conquistar uma mulher, é suficiente saber fazê-la rir. No entanto, é necessário saber dizer coisas que sejam ao mesmo tempo, inteligentes e engraçadas, o que não é muito fácil para quem não tem muita prática ou é pouco inteligente.
As histórias que Gabriel contava nos anos 70 deveriam ser deste tipo, pois ele dizia duas ou três palavras e as pessoas gargalhavam. Afinal as melhores piadas são aquelas que você começa a rir já na metade, quando o seu cérebro antevê a situação antes que a pessoa acabe de contar. Normalmente este tipo de riso é aquele tipo incontrolável que é impossível de segurar.
Por esta e outras que eu sou meio (uns 51%) mais conservador do que liberal, que eu acho que as melhores coisas estão mesmo no passado e não que estão por vir. Eu já ouvi centenas de bootlegs e não me lembro de ter visto algo parecido com isso (ou talvez ainda não tenha ouvido os bootlegs certos, quem sabe?) normalmente, em um dado momento, geralmente o vocalista faz alguma graça, mas não é algo constante como era nos shows do Genesis.
E diga-se de passagem, isso é algo que não cabe em um show ao vivo oficial, porque neste caso o tempo não pode ser desperdiçado. Por isso é que aqui haverá fartura de bootlegs e será a regra, não a excessão, como é em outros lugares.
Agora, para finalizar, reafirmo que sou fã do Genesis, sem exceção. Conheci os primeiros álbuns solos de Peter Gabriel ainda em 1997 e os curti muito também. Phil Collins eu ainda não ouvi tudo, porque eu o considerava e continuo o achando comercial demais em sua carreira solo. E claro, eu tinha um certo preconceito por causa disso.
Mas é possível não gostar de um hino como I Wish It Would Rain Down? Essa música é simplesmente um tesão!
Por isso, Peter Gabriel e Phil Collins, estarão por aqui também, com certeza. Não porque ambos vem de uma banda que eu curto, mas sim porque a música que eles fazem mexem comigo. Pois a proposta deste blog é exatamente esta; compartilhar aquilo que eu gosto e que eu conheço. Nada mais além disso.
Ouça o álbum Calling All Stations a partir de Anything Now e faça de conta que este disco é um álbum solo de Ray Wilson - alguém que você não pode julgar por não conhecer os seus trabalhos anteriores. Depois, se quiser, vá pela ordem da minha preferência. Quando terminar, dê a sua opnião. Publicarei com extrema satisfação.
Um grande abraço.
Observação:
No painel lateral você vê o Genesis marcado como tendo 32 álbuns, e aqui você se depara com 21. Esta diferença é muito fácil de ser compreendida: eu considero cada pasta como um álbum.
O álbum Abacab, por exemplo, eu considero como sendo um Box Set (4 discos) devido a quantidade de músicas e os tipos de arquivos deste álbum, que se fossem publicados individualmente, poderiam sem problema ser classificados como 4 álbuns distintos.
Embora eles estejam mesclados com os respectivos álbuns, devem ser considerados como álbuns á parte. Eu os juntei porque como é óbvio, muitos destes álbuns não tem uma capa, exatamente por nunca terem sido lançados oficialmente, embora tenham surgido como músicas soltas na internet.
O álbum Abacab, por exemplo, eu considero como sendo um Box Set (4 discos) devido a quantidade de músicas e os tipos de arquivos deste álbum, que se fossem publicados individualmente, poderiam sem problema ser classificados como 4 álbuns distintos.
Embora eles estejam mesclados com os respectivos álbuns, devem ser considerados como álbuns á parte. Eu os juntei porque como é óbvio, muitos destes álbuns não tem uma capa, exatamente por nunca terem sido lançados oficialmente, embora tenham surgido como músicas soltas na internet.
https://www.4shared.com/rar/0uYVuKxUei/Artist34part1.html
ResponderExcluirhttps://www.4shared.com/rar/N59mq1E9ca/Artist34part2.html
https://www.4shared.com/rar/9A6MYs1vei/Artist34part3.html
https://www.4shared.com/rar/5RiBKtsIei/Artist34part4.html
https://www.4shared.com/rar/2AyOKIvsei/Artist34part5.html
https://www.4shared.com/rar/aHLYBhiGca/Artist34part6.html
https://www.4shared.com/rar/M7xZbmOPca/Artist34part7.html
A senha de extração é o nome por extenso do blog, com todos os pontos e barras.
Por uma razão que eu desconheço, ás vezes o endereço do blog aparece como http e outras como https. Para todos os casos, você deve digitar a senha sempre como http que a extração será feita sem nenhum erro. Mesmo porque depois que eu compacto as pastas, antes do upload eu sempre testo no meu computador para ver se está tudo ok.
ResponderExcluirCompressed folders pass = http://therockandrollparadise.blogspot.com.br/
ResponderExcluirFantástico. Parabéns!!!!
ResponderExcluirObrigado amigo! Em breve vou fazer a segunda parte desta discografia, com todos os álbuns ao vivo, e com mais uma surpresa, aguarde!
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