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Genesis is a Grammy Award winning English progressive rock band formed in 1967. The band's notable former members include Peter Gabriel and Phil Collins, both of who achieved additional success as solo artists and in other ventures. With approximately 150 million albums sold worldwide, Genesis is one of the top 30 highest selling recording artists of all time. The band is widely known for two distinctly different musical phases. Early on in their career, their complex song structures, elaborate instrumentation, and theatrical live shows made them one of the most revered bands of the 1970s progressive rock movement. Hallmarks of the band's music during this period included the 23-minute long "Supper's Ready" and the 1974 concept album, The Lamb Lies Down on Broadway. In the 1980s and beyond, their music took a distinct turn towards pop, becoming considerably more hook-oriented and more accessible to the musical mainstream. This change of musical direction gave them their first UK #1 album, Duke, as well as their first and only US #1 single, "Invisible Touch".

Initially led by Peter Gabriel, Genesis has experienced several personnel changes over the years. Collins took over from Gabriel after the latter's departure from the group in 1975. After nearly two decades of being the band's frontman, Collins left the group in 1996 and was replaced by former Stiltskin singer Ray Wilson for the 1997 album Calling All Stations. Wilson was released from the group in 1998 following the disappointing sales of the new album. After three decades of activity, the band announced that it was on an indefinite hiatus.

The beginning

The band's origin lies in the late 1960s, when founding members Peter Gabriel and Tony Banks were students at Charterhouse School. The original line-up consisted of Peter Gabriel (vocals), Anthony Phillips (guitar), Tony Banks (keyboards), Mike Rutherford (bass), and Chris Stewart (drums). Genesis recorded its first album, 1969's From Genesis to Revelation, after striking a deal with Jonathan King, a songwriter and producer who had a hit single at the time called "Everyone's Gone to the Moon". King supposedly dubbed the band Genesis because it was the first serious band he had worked with, or the genesis of his career. As he recalled later — "I named them Genesis because I thought it was a good name ... it suggested the beginning of a new sound and a new feeling".

The album was released by Decca Records. During the sessions, drummer Stewart left the band and was replaced by John Silver. The band recorded a series of songs reflecting the light pop style of the Bee Gees, of whom King was very fond, and King assembled these tracks into a pseudo-concept album, layering on string arrangements into the music during production. The band's first single, "The Silent Sun" (Audio file "Genesis SilentSun.ogg" not found) was released in February 1968. The album sold poorly, and the band, feeling manipulated by King, told him they had broken up in order to get out of their contract with him. To this day, King asserts his responsibility for the band's subsequent success. He holds the rights to the songs on the From Genesis to Revelation (1968) album and has attempted to sell the rights for their re-recording. Template:Genesis timeline Genesis recruited a new drummer, John Mayhew, playing occasional gigs until landing a new deal with Charisma Records founder Tony Stratton-Smith. Through live performances the band became known for hypnotic melodies that were often dark and haunting. Phillips left the band in 1970 after the release of Trespass because of ill health and stage fright. The departure of Phillips traumatized both Banks and Rutherford, as Phillips had been a founding member and a primary force behind the band becoming turning professional. There was also doubt over whether Genesis could go on without him.

Eventually, the remaining members rallied and renewed their commitment to Genesis, also deciding to fire drummer John Mayhew in the bargain. Trespass (1970) set the format for Genesis albums throughout the '70s. The album consisted of lengthy, sometimes operatic pieces and occasional very short, humorous numbers that typified the style of progressive rock of King Crimson, Yes, and Gentle Giant. Trespass included elaborate arrangements and time signature changes with displays of virtuosity. The album featured the 9 minute "The Knife" which Gabriel, a believer in non-violence after having been influenced by a book on Gandhi, wrote showing "how all violent revolutions inevitably end up with a dictator in power".

Phil Collins joined Genesis on 4 August 1970. The band continued as a four-piece before playing a few shows with guitarist Mick Barnard. As the band noticed that Barnard was not up to their caliber of musicianship, they sought a proper replacement for Phillips. Late in 1970, Steve Hackett, who performed in the band Quiet World, placed an advertisement for a band in Melody Maker. Hackett went to see Genesis in concert and enjoyed the type of music they were playing. The band liked the tone of the advertisement, and after a meeting at his parents' apartment, hired Hackett immediately.

The "Peter Gabriel" era

Nursery Cryme (1971), featuring the first appearance of Collins and Hackett, featured the epic "The Musical Box" (Audio file "Genesis TheMusicalBox.ogg" not found) and Collins' vocal debut on "For Absent Friends". 1972's Foxtrot, which featured the 23-minute magnum opus "Supper's Ready" (Audio file "Genesis SuppersReady.ogg" not found) and the Arthur C. Clarke-inspired "Watcher of the Skies", solidified Genesis’s reputation as songwriters and performers. Gabriel's flamboyant and theatrical stage presence, which involved numerous costume changes and surreal introductions to each song, made the band one of the most talked-about live acts in early-'70s UK rock music.

Selling England by the Pound followed in 1973 and was well received by critics and fans. According to one biographical account, Gabriel was very conscious of lyrics and references that might suggest a slant towards American audiences. He was keen to avoid this and insisted that the album carry the title Selling England by the Pound, also the title of the Labour Party manifesto at the time. The album contained "Firth of Fifth" (Audio file "Genesis FirthOfFifth.ogg" not found) and "I Know What I Like (In Your Wardrobe)" among other staples in future live performances. During this period, guitarist Hackett became one of the first to use the "tapping" technique normally credited to Eddie Van Halen and "sweep picking" popularized in the 80's by Yngwie Malmsteen. These techniques were used in the songs "The Return of the Giant Hogweed" and "Dancing with the Moonlit Knight".

Genesis ventured into a more ambitious project with the double disc concept album The Lamb Lies Down on Broadway (Audio file "Genesis TheLamb.ogg" not found) (1974). The story features the supernatural journey of protagonist Rael, a Puerto Rican youth in New York City and his surreal journey through a parallel reality. During his adventure, Rael encounters several bizarre characters such as The Lamia, borrowed from Greek mythology, and the Slippermen during some satirically twisted circumstances. The story of the Lamb remains a matter of opinion and speculation as there is no official explanation of its meaning.

Rather than the lengthy tracks featured on prior albums, The Lamb collected many shorter tracks connected by a variety of segues. This change is due to the album's production, as well as the appearance of bolder electronic keyboard sounds and a shift in theme from British concepts to one that was American. The Lamb strained relations between members of the group, particularly Banks and Gabriel. The other members of Genesis essentially wrote the music to The Lamb without Gabriel's participation (except the song "Counting Out Time" written entirely by Peter). Gabriel focused on the story and its lyrics separately from his bandmates (with the exception of the song "The Light Lies Down on Broadway" written by the other members). Gabriel left the band in 1975 following the tour to support The Lamb Lies Down on Broadway. He felt estranged from the band, and his marriage and birth of his first child added to his personal strain. Gabriel explained his departure in a letter to fans entitled Out, Angels Out:

The vehicle we had built as a co-op to serve our songwriting became our master and had cooped us up inside the success we had wanted. It affected the attitudes and the spirit of the whole band. The music had not dried up and I still respect the other musicians, but our roles had set in hard.

Gabriel's first solo album (Peter Gabriel, 1977) featured the single "Solsbury Hill", an allegory about his departure from Genesis.

The "Phil Collins" era

The group began auditioning lead singers without a clear idea about the kind of singer they were looking for, although they knew that they did not want a voice too dissimilar from Gabriel's. Collins, whose backing vocals had featured previously in the Genesis sound of the Gabriel era, was given the job of coaching prospective replacements, including Jon Anderson of Yes. "I really wanted to have a crack at it...ut I wasn't about to ask. I wanted someone to ask me", Collins recalled later in an interview. Eventually, Genesis settled with Collins as their new lead singer. Genesis’s first post-Gabriel album, A Trick of the Tail (1976), was well received, outselling all previous Genesis albums.

The album featured a markedly clearer production than previous albums. This came courtesy of new producer David Hentschel, who had previously served as engineer on Nursery Cryme. Another influential factor was because Collins sounded "more like Gabriel than Gabriel did". The album featured "Ripples", "Dance on a Volcano" (Audio file "Danceogg.ogg" not found) and "Entangled". Despite the success of Trick of the Tail, the group remained concerned with their live shows considering Gabriel's elaborate performances. Collins felt confident that he could handle live vocal duties but needed another drummer while he sang. Bill Bruford, drummer for Yes and King Crimson, offered to drum while Collins attended to vocal duties — a suggestion that was palatable to the band.

Bruford joined on tour in 1976 as drummer. Later, the jazz fusion-trained Chester Thompson, a veteran of Weather Report and Frank Zappa, would take over live drumming duties to allow Collins to concentrate on vocals. Collins’s approach to live Genesis shows differed from the more theatrical performances of Gabriel, and his interpretations of prior songs were lighter and subtler. Years later, Gabriel told Collins at the 1982 Milton Keynes reunion show that Collins sang the songs better than Peter, but never quite like him. Also in 1976, Genesis released Wind & Wuthering — their second album that year. This was the first of two Genesis albums to be recorded at the Relight Studios in Hilvarenbeek, Holland. The album got its name from Emily Bronte's novel Wuthering Heights, whose last lines — "how anyone could ever imagine unquiet slumbers for the sleepers in that quiet earth" also inspired the names of the seventh and eighth tracks of the album. The album featured "Blood on the Rooftops" and "Afterglow" (Audio file "Genesis Afterglow.ogg" not found), as well as the complex multi-part suite "One for the Vine". The animated movie B.C. Rock featured bits of "Afterglow". The band signed with a new manager Tony Smith, and all their songs were now published through his company, Hit & Run Music Publishing.

Hackett's departure

The guitarist Steve Hackett was becoming increasingly disenchanted with the band by the time Wind & Wuthering had been released. Following the departure of Gabriel, he become the first band member to record a solo album. The freedom he experienced during the making of Voyage of the Acolyte (1975) led him to feel constricted at what he regarded as the confines of Genesis. According to Collins, Hackett wanted a quarter of the Wind & Wuthering album to be given over to his own material; "a dumb way to work in a band context" claimed Collins. Genesis tried to placate him by giving extra songwriting credits on the track "In That Quiet Earth", but the Hackett-composed "Blood on the Rooftops" was never performed live by the band and his composition "Please Don't Touch" was rejected for inclusion on the LP. Following the release of the Spot the Pigeon E.P. (1977), consisting of outtakes from Wind & Wuthering, Hackett left the band.

The Seconds Out live album of the 1977 tour became Hackett's final release with Genesis. Rutherford took over his guitar duties in the studio and would alternate guitar and bass duties with Daryl Stuermer for live performances. The group continued as a trio, a fact reflected in the title of their 1978 album ...And Then There Were Three.... This album began another change away from 10-minute-plus progressive epics and towards shorter, more radio-friendly tracks. It yielded their first American radio hit, "Follow You Follow Me" (Audio file "Genesis FollowYouFollowMe.ogg" not found). The song's popularity caused ...And Then There Were Three... to be the band's first US Gold selling album.

A more rock/pop direction

In 1979, Genesis almost lost Collins as he moved to Canada in an attempt to save his first marriage. However, two months and a divorce later, Collins returned to the UK and immersed himself on Duke (1980). Collins later claimed that his marriage breakup accelerated his growth as a songwriter, and Duke became the first Genesis album which he pulled equal songwriting weight with Banks and Rutherford. Duke continued the departure from the sounds and concepts that identified Genesis in the 1970s. Lengthy, complex themes and music gave way to shorter, more "accessible" pieces. The use of the drum machine was a consistent element in forthcoming Genesis albums and certainly in Collins’s current solo career. The more commercial Duke was well received by the mainstream media and was Genesis’s first UK Number 1 album, and the tracks "Misunderstanding" (Audio file "Genesis Misunderstanding.ogg" not found) and "Turn it on Again" became two of the band's standbys. Genesis followed Duke with 1981's Abacab, which featured brass and wind instruments and a collaboration with Earth, Wind & Fire (EWF) on the track "No Reply at All" (Audio file "Genesis NoReplyAtAll.ogg" not found). Much of the rehearsing for Abacab was done in the newly built Genesis studio — The Farm, in Surrey, England, where all four of Genesis’s subsequent albums were recorded.

Abacab also featured a more forceful live drum sound from Collins, including the use of a reversed noise gate and no cymbals. The distinctive sound was originally developed at the instigation of Gabriel with Genesis co-producer/engineer Hugh Padgham when Collins was recording the backing track for "Intruder", the first song on Gabriel's 1980 solo album. This, as well as Padgham's production, had been apparent on Face Value (1981), Collins’s debut solo album. The "gated" drum sound would become an audio trademark of future Genesis and Collins albums.

"Invisible Touch" and "The Way We Walk" tour

In 1982, the band released the double live album Three Sides Live. The U.S. version of this album had three sides of live material (hence the album's title) plus one side of studio tracks. The studio side included the song "Paperlate" (Audio file "Genesis Paperlate.ogg" not found), again featuring the EWF horn section. In the U.K., the three songs on the "Paperlate" side of the album had previously been released on the EP 3 X 3. This enabled the U.K. version of Three Sides Live to also contain further live material, albeit from earlier tours. The year was capped with Genesis performing in the company of Gabriel and Hackett under the name "Six of the best" for a one-off concert at the Milton Keynes bowl (Audio file "Genesis MiltonKeynes.ogg" not found). The concert was hastily put together to help raise money for Gabriel's WOMAD project, which was suffering from considerable financial hardship.

The eponymic Genesis(1983) album (sometimes referred to as "Shapes" for its game-piece cover) was their third consecutive number 1 album in the UK. The album featured radio friendly pieces such as "Mama" (Audio file "Genesis Mama.ogg" not found) and "That's All". Genesis also re-introduced the band's flair for lengthy pieces in "Home by the Sea", which did particularly well in Asia for its use of the pentatonic scale. The album track "Just a Job to Do" became the theme song of the 1985 ABC detective drama The Insiders.

Genesis released their highest selling album, Invisible Touch (1986), at the height of Collins’s popularity as a solo artist. The album yielded five US Top 5 singles, "Throwing it All Away", "In Too Deep", "Tonight, Tonight, Tonight", "Land of Confusion" (Audio file "Genesis LandOfConfusion.ogg" not found) and "Invisible Touch" (Audio file "Genesis InvisibleTouch.ogg" not found). The title track went to #1 in the United States, the only Genesis song to do so. In 1987, Genesis became the first band to play four consecutive nights at Wembley Stadium . Genesis were the first band to use Vari*Lite technology, Jumbotron screens and the Prism sound system, all of which are now standard features of arena rock concerts.

Earlier that year, Collins saw a spoof of himself on Spitting Image, a satirical British TV show that featured politicians and celebrities in puppet form. Impressed with the representation, Collins and Genesis commissioned the show's creators, Peter Fluck and Roger Law, to work on the video for "Land of Confusion". The video was a sarcastic commentary on The Cold War, played to the perception of each coalition's leaders as being "trigger happy" with the nuclear "button". As well as puppet versions of Banks, Collins and Rutherford, the video also showed Ronald Reagan dressed as Superman. It was nominated for the MTV "Video of the Year", losing to Gabriel's Sledgehammer.

"Tonight, Tonight, Tonight" was used in a Michelob commercial (as was Collins' "In the Air Tonight"), while "In Too Deep" was featured in the film Mona Lisa. The instrumental "The Brazilian" was used the animated movie When the Wind Blows (whose score was written by Roger Waters). "Invisible Touch" and Collins's "Sussudio" were subjects of an elaborate satirical critique in Bret Easton Ellis's 1991 bestseller, American Psycho.

After a layoff of 5 years, Genesis reconvened to release We Can't Dance in 1991 — Collins’s last studio album with the group. The album featured the successful singles "Jesus He Knows Me", "I Can't Dance" and "No Son of Mine" (Audio file "Genesis NoSonOfMine.ogg" not found), as well as lengthy pieces such as "Driving the Last Spike" and "Fading Lights". The album also included "Since I Lost You", which Collins wrote in memorial of the death of Eric Clapton's son, Conor. After serving Genesis for over 25 years, Collins left the band in March 1996, stating:

Having been in Genesis for 25 years, I 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. I wish the guys in Genesis all the very best in their future. We remain the best of friends.

Genesis with Ray Wilson

Rutherford and Banks elected to go on, and were able to fill in the gaps of missing members. Drumming duties were shared by Nir Zidkyahu, an Israeli session drummer who had played with Hidden Persuaders, and Nick D'Virgilio from the progressive rock band Spock's Beard fame, who was touring with Tears for Fears at the time. The difference in the two play styles was noticeable, as D'Virgilio played softer, simple rhythms in comparison to Zidkyahu's pounding of the skins. Regular touring guitarist Stuermer was touring, ironically enough, with Collins. Anthony Drennan, who had played with Paul Brady and The Corrs, was recruited as a replacement. Finally, Banks and Rutherford replaced Collins with ex-Stiltskin singer Ray Wilson. He was not the only choice for the post. Rumors and wild speculation circulated, suggesting consideration of well-known singers from Paul Carrack from Rutherford's Mike and the Mechanics band to ex-Marillion vocalist (and two-time Banks collaborator) Fish to Gabriel. Kevin Gilbert was offered an audition just before he died tragically. According to producer Nick Davis, the only other serious candidate was David Langdon, who had never sung with a band before; hence Wilson got the job.

The album Calling All Stations sold well in Europe, with the track "Congo" (Audio file "Genesis Congo.ogg" not found) peaking at UK# 29; however the album went nowhere in America, where hip-hop, alternative rock, and teen pop were supplanting classic rock on the charts. Genesis cancelled a planned American tour due to the album's commercial failure. Genesis has, for all intents and purposes, disbanded, but many of the members are in regular contact, and have not ruled out some sort of reunion. The 1970-75 lineup of Banks, Collins, Gabriel, Hackett and Rutherford, recorded a new version of "The Carpet Crawlers" (Audio file "Genesis CarpetCrawl.ogg" not found), done over many separate sessions, for Turn it on Again: The Hits. Collins, Banks and Rutherford performed an acoustic rendition of "I Can't Dance" at the Music Managers Forum in honor of their manager Tony Smith in 2000. Most of the original members were involved in the two Archive boxed-set compilations. Super Audio CD re-releases of most of Genesis’s studio albums have been announced, though they are still pending and being mixed by Nick Davis.

Rumors of a Genesis reunion continue to resurface. In November 2005, Gabriel has told the press that a Genesis reunion could well be on the cards saying "the odds are better than ever before." Those comments followed reports that Collins said that he was open to talks about the band getting back together. Steve Hackett had confirmed that he had received a call from Genesis’s management about a possible reunion. However, at the end of November 2005, Genesis's management issued a statement in response to the growing speculation regarding Genesis members' activities saying, "There are no decisions by Genesis to perform anywhere whatsoever at this time. This situation will not alter in the next twelve months."

Inspiration and Influences

Genesis was influenced by a wide range of music with genres ranging from classical music to mainstream rock to jazz. Banks drew his influences from Alan Price of The Animals, who, according to Banks, was "he first person who made me aware of the organ in a rock context". He was also influenced by other organists like Procol Harum's Matthew Fisher and the 1960s progressive rock band The Nice. Banks' music was influenced by the works of classical composers such as Rachmaninov, Ravel, Mahler and Shostakovitch.

Many of their contemporaries and immediate predecessors — The Beatles, The Rolling Stones, Simon and Garfunkel — influenced the band's music. Collins has cited Buddy Rich and the jazz outfit The Mahavishnu Orchestra, while Gabriel's early career with Genesis was influenced by the music of Nina Simone and King Crimson. Musical arrangements on the band's first album From Genesis to Revelation were influenced by the works of the Moody Blues and the Bee Gees as Johnathan King was a self professed admirer of their music. Though similar to the extent that both Gabriel and David Bowie relied on on-stage theatrical performances, neither claimed the other to be an influence.

As a group that influenced the growth of the progressive rock genre, Genesis has often been cited as an influence for many progressive rock groups such as Kansas, Marillion, Ange and Goblin. Several Genesis tribute bands such as Re-Genesis, The Musical Box and Super Natural Anaesthetists routinely perform Genesis’s older material from the "Peter Gabriel" era. Incidentally, Collins became the first artist to cover a Genesis song — "Behind The Lines", which he included as the third track of his first album, Face Value. GTR, a supergroup comprising Steve Hackett, Yes guitarist Steve Howe and Bronz vocalist Max Bacon among others, covered "I Know What I Like (In Your Wardrobe)" on their 1986 album.

Past members of Genesis have also "covered" Genesis material live on solo shows — Gabriel played "The Lamb Lies Down on Broadway" and "Back in NYC" while Hackett has performed "In That Quiet Earth", "Los Endos", "Horizons" and "Blood On The Rooftops" (as part of a medley). Jeff Buckley reworked "Back in NYC" on the posthumously released 1998 Sketches for My Sweetheart the Drunk. The Swedish death metal band In Flames covered "Land of Confusion" on Trigger (EP), as did Disturbed on their 2005 album Ten Thousand Fists.

Album cover art

Genesis's album covers incorporated more complex and intricate art to reflect the themes presented in their albums. Their first album, From Genesis to Revelation was a plain black album cover with Genesis written in a green gothic typeface to the top left of the cover. The album covers of this album have changed with its numerous re-releases. Genesis's three subsequent album covers were developed by popular Charisma Records graphic artist Paul Whitehead, who also developed the Charisma "Mad Hatter" logo. The Foxtrot album cover is popular among Genesis fans; the front cover depicts a feminine figure in a red dress with the head of a fox. Whitehead stated in an interview that Jimi Hendrix's "Foxy Lady" was an inspiration for the character he created. After Whitehead moved to Los Angeles, Genesis signed with the reputed Hipgnosis, whose artists had created high profile album covers for Pink Floyd's Dark Side of the Moon and Led Zeppelin's Houses of the Holy. Hipgnosis's first Genesis album cover was for The Lamb, which for the first time in Genesis's history featured a male model. The model, credited simply as "Omar" on the album sleeve, portrayed the The Lamb protagonist "Rael".

Through the rest of the 1970s, various Hipgnosis artists, of whom Colin Elgie contributed heavily, designed all Genesis studio albums. The Trick of the Tail album cover was representative of many of the characters in the album — the robber from "Robbery, Assault and Battery", the beast from the title track and a metaphoric image of old age reminiscing about youth from the song "Ripples". Beginning with Duke, Genesis albums featured caricatures designed by Bill Smith Studios. Genesis's highest selling album Invisible Touch featured the artwork of Assorted Images which had previously designed album covers for Duran Duran and Culture Club. The We Can't Dance cover features the work of Felicity Bowers — the cover is reminiscent of Wind & Wuthering, and is presented in hazy watercolor. The Calling All Stations and the compilation Turn it on Again: The Hits covers were designed by Wherefore Art?.

Criticism

Genesis's progressive rock roots made them unlike many of their rock contemporaries such as Led Zeppelin or Black Sabbath. Indeed, one article in Q Magazine speaks of a 1977 Ray Lowry cartoon that depicted an arena of "either asleep, moribund, comatose" fans watching Genesis perform live, with the band's name emblazoned on a banner above the stage reading "GENESNOOZE". Much of the criticism surrounding the band in the 1970s was centered around progressive rock in general, which many dismissed as "intellectual" or "pretentious". Gabriel's theatrics appeared unpalatable to mainstream rock fans as well as many Genesis fans. This was exemplified during live performances of Gabriel's last Genesis album, The Lamb, during which he appeared on stage as various characters in his storyline such as the Slipperman and the Lamia. The storyline for The Lamb, which was independently developed by Gabriel, proved hard for audiences to understand and accept and caused friction within the band.

Collins recalled later, "He'd be in a Slipperman costume trying to get a mike anywhere near his throat, and be out of breath - all twisted up. Towards the end I felt the singing wasn't really being heard; the songs weren't really being heard". Genesis's transition from playing lengthy complex material to more compact, radio friendly material was not well received by many critics; one particular review of ...And Then There Were Three... read, "n short, this contemptible opus is but the palest shadow of the group's earlier accomplishments. Not only is the damage irreversible, it's been widely endorsed: ...And Then There Were Three...is Genesis’s first U.S. gold record". Collins himself has often been criticized for Genesis's transformation from a progressive rock outfit to a mainstream rock / pop band, playing much the same type of music that Collins did as a solo artist. "I don't feel we've bastardized the way we were", Collins said in an interview with Music Express. "On a generous day I'll blame me for the change, but I just think it is us growing up, listening to different things". In an interview with The Waiting Room, Tony Banks attributed the lack of interest in Genesis from the larger, mainstream rock consuming public to the change in its most visible member's image. "I think we have suffered a bit because Phil's image has gone a bit...peculiar for one reason or another...I think we are most conscious of how we are perceived ".

Discography

Template:Genesis discography

Notes

1. http://www.atlanticrecords.com/collinsphil/about/
2. "World of Genesis: Ray Wilson Interview"
3. ^ Welch, Cris. The Complete Guide to the Music of Genesis. London: Omnibus Press. 1995 Cite error: The named reference "completeguide" was defined multiple times with different content (see the help page).
4. "And The World Was ... GENESIS"
5. King, Jonathan. "In the Beginning". From Genesis to Revelation (sleevenotes). 1993 release
6. ^ Ostrich, Michael. "Genesis Frequently Asked Questions List Version 2.6". 21 Dec. 1998
7. "Some New York Times Reviews '72-'74"
8. Malamut, Bruce. "Selling England by the Pound". March 1974
9. Bowler, Dray. "Genesis: A Biography". London: Sidwick & Jackson. 1992
10. Alspach, Steve. "Interview with Steve Hackett"
11. "Gabriel, Peter. Out, Angels Out - an investigation" August 1975
12. "Genesis Archive #2". Gelring Limited. Atlantic Recording Corporation. 2000
13. "http://www.goldenslumbers.com/artist/collins.html A Father's Love]"
14. "An interview with Bill Bruford"
15. Genesis. Inside Genesis 1975-1980 Classic Rock Legends, 2004
16. ^ Page 371 Cite error: The named reference "scottmcmahon" was defined multiple times with different content (see the help page).
17. "Steve Hackett Interview"
18. "Wind & Wuthering 1977 - Genesis Remember"
19. "Assorted pieces of insight into Genesis from assorted sources
20. "The 1982 Reunion Show Program Book"
21. The Waiting Room Online. 2005
22. Vari-Lite. Vari*Lite
23. "Phil Quits Genesis!".Entertainment Wire. 2006. 28 Mar. 1996
24. Popke, Michael. "Ray Wilson: 'I find George Bush quite frightening and capable of scary things.'". 24 Oct. 2004
25. Sine, Richard. "All Rocked Out".
26. "Getting It Done In 5.1"
27. "Genesis: LET THERE BE PHIL"
28. "Statement from the members of Genesis". 1 Dec. 2005
29. "Genesis's Banks — A Current Account". Beat Instrumental. Apr. 1976
30. "The Genesis File". Melody Maker. 2006. 16 Dec. 1972
31. "Cartoons, Costumes, and the Myths of Genesis". Circus. Dec. 1974
32. "Paul Whitehead interview"
33. Maconie, Stuart. "Genesis: The Loathed and Loved". Q Magazine. Dec 1994.
34. Young, John. "Genesis Look at Themselves" Trouser Press Magazine. March 1982
35. Bloom, Michael. "And Then There Were Three". RollingStone. 10 Aug. 1978
36. "Phil Collins Interviews". Musical Express. 1990
37. "In Conversation". The Waiting Room. TWR# 53. Dec 2004

References

• Welch, Cris. The Complete Guide to the Music of Genesis. London: Omnibus Press. 1995
• McMahan, Scott. "The Genesis Discography — The scattered pages of a book by the sea". January 1998 Ed.
• Eder, Bruce. "Genesis Biography". All Music Guide. 2006.
• Mitchell, Paul. "The Book of Genesis". Music Scene. Oct. 1973
• Welch, Chris. "Genesis to Revelation". Melody Maker. 23 Aug. 1975
• Banks, Collins, Rutherford. "Genesis Look At Themselves - An Autodiscography". Trouser Press. March 1982
• Welch, Chris. "THE BAND WHO WANT TO BE BOOED". Melody Maker. 23 Sept. 1972
• Genesis. Inside Genesis 1975-1980 Classic Rock Legends, 2004
• Genesis. Revelations on Broadway.Archive 1967—75, 1998
• Genesis. Archive #2. 1976—1992

See also

• Best selling music artists
• List of Rock Instrumentals
• List of Genesis medleys

External links

• Genesis discography, lyrics, album reviews DM's Discographies, lyrics & album reviews
• Genesis - The Movement
• The Path
• Genesis News
• Scott McMahan's Genesis Discography
• World of Genesis
• The Genesis Museum
• The Musical Box (Tribute Band)

• English musical groups
• Genesis
• Progressive rock groups
• Peter Gabriel
• Inactive musical groups
• Artists who recorded Peel Sessions