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GENESIS Origin Godalming, Surrey, England Genres Progressive rock, pop rock, rock, symphonic rock Years active

19671999, 2006present Labels Virgin, Charisma, Decca, EMI Associated acts Garden Wall, The Anon Website www.genesis-music.com Members Tony BanksMike RutherfordPhil Collins Past members Peter GabrielAnthony PhillipsChris StewartJohn SilverJohn MayhewMick BarnardStev e HackettRay Wilson Genesis are an English rock band that formed in 1967. The band currently consist s of its three longest-tenured members - Tony Banks (keyboards) and Mike Rutherf ord (bass, guitar) were founding members and Phil Collins (vocals, drums) first joined in 1970. Past members Peter Gabriel (vocals, flute), Steve Hackett (guita r) and Anthony Phillips (guitar), also played major roles in the band in its ear ly years. Genesis are among the top 30 highest-selling recording artists of all time, with approximately 150 million albums sold worldwide.1 In the late 1960s, with the release of their first album, Genesis's music was in itially regarded by the band and the fans as a pop experiment, referring to then -popular melodic pop.2 Then, over the course of a year, (beginning with their se cond album in mid-1970) they quickly evolved into a progressive rock band with t he incorporation of complex song structures and elaborate instrumentation. Their concerts became theatrical experiences with innovative stage design, pyrotechni cs, extravagant costumes and on-stage stories. This second phase was characteris ed by lengthy performances such as the 23 minute "Supper's Ready" and the 1974 c oncept album, The Lamb Lies Down on Broadway. In the late 70's and early 80's th e band's musical direction changed once again, becoming more pop oriented and co mmercially accessible. This resulted in their first top 40 single in the US with "Follow You Follow Me", their first number one album in the United Kingdom, Duk e, and their only number one single in the United States, "Invisible Touch". Genesis has undergone several personnel changes throughout its history. Stage fr ight forced founding member Anthony Phillips to leave the band in 1970. In 1975, Collins, then the band's drummer, replaced Peter Gabriel as lead singer after a lengthy search for a replacement. To facilitate Collins's move to lead vocals d uring concerts, Bill Bruford and Chester Thompson played drums for the band as t hey toured, with Collins joining in briefly during lengthy instrumental passages . In 1977, guitarist Steve Hackett left the band. After Phil Collins left the ba nd in 1996, Genesis recruited Ray Wilson (formerly of Stiltskin). Wilson appeare d on the 1997 album Calling All Stations, after which the band announced an inde finite hiatus. However, in 2007, Banks, Collins and Rutherford reunited for a 20 -city tour of Europe and North America, which included a free concert at Rome's Circo Massimo in front of 500,000 fans. Genesis were among five bands inducted i nto the Rock and Roll Hall of Fame in 2010. The future of the band remains uncer tain with Collins's retirement from the music business and the other members' so lo work. History 19671970: The beginning Genesis was formed in 1967 when Peter Gabriel and Tony Banks were students at Ch arterhouse School in Godalming. Formed out of school bands Garden Wall and The A non,3 Genesis's original line-up consisted of Peter Gabriel (vocals), Anthony Ph

illips (guitar), Tony Banks (keyboards), Mike Rutherford (bass & guitar) and Chr is Stewart (drums).4 The group (minus Stewart) originally formed as a songwritin g partnership with no intention of performing, but with more and more bands writ ing their own songs, there was no demand for a team of young and inexperienced s ongwriters.5 Charterhouse School alumnus Jonathan King attended a concert at Charterhouse in 1968 while the band was still in school. Following the concert, another student gave King a tape of songs the band had recorded and King thought enough of them to sign them to a recording contract. King was a songwriter and record producer who had a hit single at the time, "Everyone's Gone to the Moon". King named the band Genesis (after previously suggesting the name Gabriel's Angels6), recalling that he had "thought it was a good name... it suggested the beginning of a new sound and a new feeling." The resulting album, From Genesis to Revelation, was released on Decca Records i n March 1969. During the sessions, Stewart was replaced by John Silver on drums. The band recorded a series of songs influenced by the light pop style of the Be e Gees, one of King's favourite bands at the time. King assembled the tracks as a concept album, and added string arrangements during the production. Their firs t single, "The Silent Sun", was released in February 1968. The album sold poorly but the band, on advice from King, decided to pursue a career in music.7 King h olds the rights to the songs on the From Genesis to Revelation album and has rereleased it many times under a variety of names, including In the Beginning, Whe re the Sour Turns to Sweet, Rock Roots: Genesis, ...And the Word Was and, most r ecently, The Genesis of Genesis. Silver was replaced by John Mayhew before the recording of Trespass. Genesis the n secured a new recording contract with Charisma Records.8 The band had built a following through live performances which featured the band's hypnotic, dark and haunting melodies and Gabriel's numerous eye-catching costumes, and these perfo rmances also captured the interest of Charisma founder Tony Stratton-Smith.9 Trespass, which was made from many of the songs the band had written during thei r earliest live shows, was the template for the band's albums in the 1970s lengt hy, sometimes operatic pieces resembling the style of progressive rock bands suc h as King Crimson, Yes and Gentle Giant, along with the occasional shorter and m ore accessible, sometimes humorous, number. Trespass included progressive rock e lements such as elaborate arrangements and time signature changes, as in the nin e-minute song "The Knife". Ill health and recurring stage fright caused Phillips to leave the band in the s ummer of 1970.10 Phillips would later record many solo albums, sometimes in coll aboration with other Genesis members. Phillips's departure traumatised Banks and Rutherford, causing the band to doubt whether it could continue.11 However, the remaining members decided to carry on, replacing Mayhew and Phillips with Phil Collins on drums and Mick Barnard on guitar in the autumn of 1970. Barnard's ten ure was short-lived, and the band brought in Steve Hackett, formerly of Quiet Wo rld, on guitar in January 1971. 19711975: The classic era Collins and Hackett made their studio debut in 1971 on Nursery Cryme, which feat ures "The Musical Box" and Collins's first lead vocal performance in "For Absent Friends", the song was also the first written by new members Collins and Hacket t within the band. Two engineers were hired and then quit before John Burns took over during the recording of their next album,12 and this began a successful th ree-album collaboration between Burns and the group. Foxtrot was released in Oct ober 1972 and contains what has been described as "one of the group's most accom plished works",13 the 23-minute multi-part epic "Supper's Ready". Songs such as the Arthur C. Clarke-inspired "Watcher of the Skies" solidified their reputation as songwriters and performers. Gabriel's flamboyant and theatrical stage presen ce, which involved numerous and elaborate costumes and surreal spoken song intro ductions, made the band a popular live act.14 Genesis Live, was recorded on the Foxtrot tour in 1973, shortly before the band's upcoming album was released.15 Selling England by the Pound was released in November 1973 and was well received by critics and fans.16 Gabriel insisted on the title, a reference to a current

Labour Party slogan, in an effort to counter the impression that Genesis was bec oming too US-oriented.17 The album contains "Firth of Fifth" and "I Know What I Like (In Your Wardrobe)"; these songs became part of their live repertoire, with the latter becoming their first charting single, reaching No. 17 on the UK sing les charts. During this period Hackett became an early user of the electric guitar "tapping" technique, which was later popularised by Eddie Van Halen, as well as "sweep-pi cking", which was popularised in the 1980s by Yngwie Malmsteen.18 These guitar t echniques were incorporated in the song "Dancing with the Moonlit Knight". At th e same time, the band signed with new manager Tony Smith, who published all subs equent Genesis songs through his company Hit & Run Music Publishing. In 1974, Genesis recorded a double disc concept album The Lamb Lies Down on Broa dway which was released on 18 November. In contrast to the lengthy tracks featur ed on earlier albums, The Lamb Lies Down on Broadway is a collection of shorter tracks, connected by a number of segues. The story describes the spiritual journ ey of Rael, a Puerto Rican youth living in New York City, and his quest to estab lish his freedom and identity.19 During his adventure, Rael encounters several b izarre characters including the Slippermen and The Lamia, the latter being borro wed from Greek mythology and influenced by a poem by Keats. The band embarked on a world tour to promote the album, performing it 102 times in its entirety, with Gabriel adding spoken narration. This choice of set was so on regretted by the band members, since it lacked the variety of playing materia l from throughout their career and compelled them to perform songs which didn't work well live.20 During their live performances, Genesis pioneered the use of l asers and other light effects, most of which were built by the Dutch technician Theo Botschuijver. A customised handheld unit was used to channel laser light, w hich allowed Gabriel to sweep the audience with various light effects. Creating the ambitious The Lamb Lies Down on Broadway album strained relations b etween band members, particularly Banks and Gabriel, who were good friends.21 Ga briel was the album's lyricist, while the other band members (chiefly Banks and Rutherford) wrote the music, with the exception of "Counting Out Time" and "The Carpet Crawlers". "The Light Dies Down on Broadway" was co-authored by Banks and Rutherford. The other-worldly, blurbling, sequenced synth sounds and shattering glass loops in the track "The Waiting Room", as well as the vocal effects in th e track "The Grand Parade of Lifeless Packaging" coined "Enossifications", were produced by the ambient composer Brian Eno. During the Lamb Lies Down on Broadway tour, Gabriel announced to his bandmates t hat he had decided to leave the band,22 citing estrangement from the other membe rs, and the strains of his marriage and the difficult birth of his first child. Nonetheless, he saw his commitment through to the conclusion of the tour. In a l etter to fans, delivered through the music press at the end of the tour, entitle d Out, Angels Out, Gabriel explained that the "...vehicle we had built as a co-o p to serve our songwriting became our master and had cooped us up inside the suc cess 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 role s had set in hard."23 Collins later remarked that the other members "...were not stunned by Peter's departure because we had known about it for quite a while." The band decided to carry on without Gabriel.24 Gabriel's first solo album, Pete r Gabriel 1977, features the hit single "Solsbury Hill", an allegory that refers to his departure from the band. 19761977: The four-man era The group auditioned reportedly over 400 lead singers to find a replacement for Gabriel. Phil Collins, who had provided backing vocals, coached prospective repl acements.25 Eventually, the band decided to use Collins as the lead vocalist26 f or 1976's A Trick of the Tail. The new producer David Hentschel, who had served as engineer on Nursery Cryme, gave the album a clearer-sounding production. Musi c historians later commented that Collins sounded "more like Gabriel than Gabrie l did".27 Despite the success of the album, the group remained concerned with their live s hows, which now lacked Gabriel's elaborate costume changes and dramatic behaviou

r. Since Collins required the assistance of a second drummer while he sang, Bill Bruford, drummer for Yes and King Crimson was hired28 for the 1976 tour. Their first live performance without Peter Gabriel was on 26 March 1976, in London, On tario, Canada. Later that year, Genesis recorded Wind & Wuthering, the first of two albums reco rded at the Relight Studios in Hilvarenbeek in the Netherlands.29 Released in De cember 1976,30 the album took the second part of its title from Emily Bront's nov el Wuthering Heights, whose last lines"how anyone could ever imagine unquiet slum bers for the sleepers in that quiet earth"inspired the titles of the seventh and eighth tracks.31 For the 1977 Genesis tour, the jazz fusion-trained Chester Thompsona veteran of W eather Report and Frank Zappatook on live drumming duties. Collins' approach to G enesis shows differed from the theatrical performances of Gabriel, and his inter pretations of older songs were lighter and more subtle. At the 1982 Milton Keyne s reunion show, Gabriel admitted that Collins sang the songs "better", though ne ver "quite like" him.32 Guitarist Hackett had become increasingly disenchanted with the band by the time of Wind & Wuthering's release,33 and he felt confined. He was the first member of the band to record a solo album, 1975's Voyage of the Acolyte, and greatly en joyed the feelings of control over the recording process that working within a g roup could not provide. Hackett had asked that a quarter of Wind & Wuthering be allocated to Hackett's songs, which Collins described as "a dumb way to work in a band context".34 While Hackett was given songwriting credits on the instrument al track "Unquiet Slumbers for the Sleepers..."/"...In That Quiet Earth" , the H ackett/Collins "Blood on the Rooftops" was never performed live, and his song "P lease Don't Touch" (which appeared as the title track to his 1978 solo album) wa s rejected by the rest of the band, who opted for the shorter and catchier instr umental "Wot Gorilla?" which closes Side 1. Hackett left the band following the release of the 1977 Spot the Pigeon EP while the band was mixing the live album Seconds Out, which was recorded during the 1976 and 1977 tours. 19781979: And Then There Were Three Following the departure of Hackett, Rutherford took on guitar duties in the stud io and the band was getting closer to a balance of what each member provided fro m a creative standpoint. The group decided to continue as a trio, a fact they ac knowledged in the title of the 1978 album ...And Then There Were Three.... The a lbum was a further move away from lengthy progressive epics, and yielded their f irst American radio hit, "Follow You Follow Me", whose popularity led to ...And Then There Were Three... being the band's first U.S. Platinum-certified album.35 For live performances that year, Rutherford alternated again between guitar and bass with Daryl Stuermer, formerly guitarist with Jean-Luc Ponty's band. General ly, Rutherford played the guitar pieces he composed during the most recent album , but stuck with bass for all of the material recorded prior to 1978. Their 1978 world tour took them across North America, over to Europe, back to North Americ a, and, eventually, to their first performances in Japan at the end of 1978. As the band had been recording and touring constantly since the winter of 197778, it was decided by Banks, Collins, and Rutherford to take the majority of 1979 o ff. Collins had previously informed his bandmates that he needed to attempt to s ave his marriage by following his wife to her new home in Vancouver. If they pla nned to go back into the studio, they were going to have to count him out. Banks and Rutherford responded by proposing that the band go into hiatus while he sor ted out his family issues and record solo material in the meantime. 19801984: Breakout mainstream success After his attempt to save his marriage (which ended in divorce), Collins returne d to the UK in August 1979, and found himself in a holding pattern while Banks a nd Rutherford were working on solo recordings. With time to spare and new equipm ent in his home, Collins immersed himself in the recording of home demos that wo uld become his first solo album Face Value (released in 1981) and provide two so ngs for the upcoming Genesis project. In addition, he rejoined Brand X for their 1979 tour, and appeared on their album Product.36 When the three bandmates came back together to begin recording their next album, Duke, the product was much m

ore the result of all three working together equally. Duke was the real transiti on from their 1970s progressive rock sound to the 1980s pop era.37 The use of a drum machine became a consistent element on subsequent Genesis albums, as well a s on Collins's solo releases. The first Genesis song to feature a drum machine w as the Duke track "Duchess". The more commercial Duke was well received by the m ainstream media, and was the band's first UK number one album, while the tracks "Misunderstanding" and "Turn It On Again" became live performance favourites. Duke was followed by Abacab, which features a collaboration with the Earth, Wind & Fire horn section on the track "No Reply at All". Much of the album's rehears als took place at The Farm, the band's newly-built studio in Surrey, and the sit e where all of their subsequent albums were recorded. The album used a forceful drum sound which used an effect called gated reverb, which uses a liveor artifici ally reverberatedsound relayed through a noise gate set, which rapidly cuts off w hen a particular volume threshold is reached. This results in a powerful "live" sounding, yet controlled, drum ambiance. The distinctive sound was first develop ed by Peter Gabriel, Collins, and their co-producer/engineer Hugh Padgham, when Collins was recording the backing track for "Intruder", the first song on Gabrie l's 1980 solo album. The technique, in addition to Padgham's production, had bee n apparent on Face Value. The "gated" drum sound would become an audio trademark of future Genesis and Collins albums.38 The Abacab tour also marked the first public appearances of the Vari-Lite automa ted moving light system, the development of which had been paid for by the band and their management. In 1982, the band released the live double album Three Sides Live. The U.S. vers ion contains three sides of live materialhence the album's titlein addition to a s ide of studio material. The studio material includes the song "Paperlate", which again features an Earth, Wind and Fire horn section. In the UK and the rest of Europe, the studio material was replaced by a fourth side of live recordings fro m previous tours. 1982 closed with a one-off performance alongside Gabriel and H ackett at the Milton Keynes Bowl, under the name Six of the Best. The concert wa s hastily put together to help raise money for Gabriel's WOMAD project, which at the time was suffering from considerable financial hardship.39 Hackett, who arr ived late from South Africa, performed the final two songs of the show ("I Know What I Like (In Your Wardrobe)" and "The Knife") with his former bandmates. 1983's eponymous Genesis album became their third consecutive number one album i n the UK. The album includes the radio-friendly tracks "Mama" and "That's All". The track "Just a Job to Do" was later used as the theme song for 1985's ABC det ective drama The Insiders. The final cut to hit the airwaves was "Taking It All Too Hard", which in addition to being highly played on AOR radio, crossed over t o soft rock radio stations and became a fixture for 20 years. The album became a worldwide success. 19851996: Height of popularity and Collins' departure Genesis' highest-selling album, Invisible Touch, was released in 1986, at the he ight of Collins' popularity as a solo artist. The album yielded five U.S. Top 5 singles: "Throwing It All Away", "In Too Deep", "Tonight, Tonight, Tonight", "La nd of Confusion" and "Invisible Touch". The title track reached #1 in the United States; the only Genesis song to do so; however, it stalled at #15 in the UK. I n September 1986, Genesis performed "Throwing It All Away" at the 1986 MTV Video Music Awards in Los Angeles.40 In July 1987, Genesis became the first band to p lay four sold out consecutive nights at Wembley Stadium.41 Genesis was the first band to use Vari*Lite technology,42 and the Prism sound system, all of which ar e now standard features of arena rock concerts. Earlier that year, Collins viewed a spoof of himself on Spitting Image, a satiri cal British television show which used puppets to lampoon politicians and celebr ities. He was impressed with the representation, and commissioned the show's cre ators, Peter Fluck and Roger Law, to work on the video for the "Land of Confusio n" single. The video was formed as an ironic commentary on the Cold War, and pla yed on the perception that the coalition's leaders were "trigger happy" with the nuclear "button". In addition to puppet representations of Banks, Collins and R utherford, the video 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 commercialas was Collins' "In the Air Tonight"while "In Too Deep" was featured in the film Mona Lisa.43 The ins trumental "The Brazilian", appeared in the animated movie When the Wind Blows, a longside a score written by Roger Waters. At the 1988 Prince's Trust concert hel d in the Royal Albert Hall, Collins and Gabriel performed together for the first time since 1982. Collins was drummer for the house band, while Gabriel performe d his hit single "Sledgehammer". As of September 2007, the two Genesis frontmen have not publicly played together since, although they did play together at Gabr iel's wedding in 2002. After a hiatus of five years, Genesis reconvened for the 1991 release of We Can' t Dance, which was to be Collins' last studio album with the group. The album fe atures the hit singles "Jesus He Knows Me", "I Can't Dance", "No Son of Mine", " Hold on My Heart", "Tell Me Why" and "Never a Time" (a U.S. release only), as we ll as lengthy pieces such as "Driving the Last Spike" and "Fading Lights". The a lbum which was produced by Nick Davis includes "Since I Lost You", which Collins wrote in memory of Eric Clapton's son Conor. Collins left the band in March 1996. He reasoned that he "felt it time to change direction in my musical life. For me now, it will be music for movies, some jaz z projects, and of course my solo career. I wish the guys in Genesis all the ver y best in their future. We remain the best of friends."44 19961998: Calling All Stations and Ray Wilson Rutherford and Banks decided to continue as Genesis. However, they required more than one new member, because the band had lost not only Collins, but also the l ive musicians Daryl Stuermer and Chester Thompson. Stuermer was approached, but was touring with Collins at the time; Thompson inquired regarding the vacant dru m stool, but after he was refused full-band membership, he ended his 19-year ass ociation with the band. Eventually, drumming duties were shared between Nir Zidk yahu, an Israeli session drummer who had played with Hidden Persuaders, and Nick D'Virgilio, from the progressive rock band Spock's Beard.45 The difference in t heir playing styles was marked; D'Virgilio played softer, more subtle rhythms in comparison to Zidkyahu's bombastic technique. Ex-Stiltskin singer Ray Wilson was appointed as the new lead singer of Genesis. Other candidates had included Paul Carrack from Rutherford's Mike + The Mechanic s, Francis Dunnery (ex-It Bites), David Longdon (ex-Louis Philippe band), Alan B arton (ex-Black Lace) and ex-Marillion vocalistand two-time Banks collaboratorFish .46 Kevin Gilbert was offered an audition just before his death in 1996.47 On th e band's criteria in the search for a singer, Banks noted: "We needed someone wh o fits as many of the things you require as possiblebeing able to improvise with the kind of music we write and also someone capable of jumping in at the deep en d and fronting a band." Wilson was immediately incorporated into the songwriting process, being given "half-a-dozen" songs to work on and ending up with three c o-writing credits on the final album.48 1997's Calling All Stations sold well in Europe, while the track "Congo" reached #29 in the UK. The album was not as successful in America, where it failed to r each the Billboard Top 50. During 1997 and 1998, Genesis toured across Europe; B anks, Rutherford, and Wilson were joined live by Zidkyahu and the guitarist Anth ony Drennan, who previously worked with Paul Brady and The Corrs. However, a pla nned American tour was cancelled due to the album's poor sales performance. Foll owing the truncation of the Calling All Stations tour, Genesis dismissed Wilson and went on an extended hiatus, although the members remained in regular contact . In an April 2007 interview, Wilson expressed his disgust at how his dismissal was handled, saying "it was like death by silence."49 He also said he regretted his time spent with the band, feeling uncomfortable as a self-described "working class" man with the wealthier likes of Banks and Rutherford, and also revealed one of Phil Collins's assistants told him Collins "wasn't happy that they had co ntinued." 19982005: Partial reunions and hiatus In 1998, the group gathered for a photo session and dinner to celebrate the rele ase of the box set, Genesis Archive 196775. In 1999, the 197175 lineup of Banks, C

ollins, Gabriel, Hackett and Rutherford recorded a new version of "The Carpet Cr awlers" for the Turn It On Again: The Hits compilation. In 2000, Collins, Banks, and Rutherford along with Daryl Stuermer performed acoustic renditions of "I Ca n't Dance", "Invisible Touch", "Follow You, Follow Me," and "Turn It On Again" a t the Music Managers Forum, in honour of their manager Tony Smith.50 Most of the original members were involved in compiling the two Archive boxed-sets. Acousti c versions of "Afterglow", "No Son of Mine" and "Follow You, Follow Me" were rec orded for a documentary film about the band's history at this time. 2006present: Reunion and future After much speculation regarding a reunion, Banks, Collins and Rutherford announ ced Turn It On Again: The Tour on 7 November 2006; nearly 40 years after the ban d first formed. The tour took place during summer 2007, and played twelve countr ies across Europe, followed by a second leg in North America. The trio had wante d to reunite as a five-piece with Gabriel and Hackett for a live performance of The Lamb Lies Down on Broadway. While Gabriel reportedly agreed in principle to perform, he was unable to commit to a date. Collins later observed that "Peter i s a little over-cautious about going back to something which fundamentally is ju st fun".51 Hackett agreed to participation, but without Peter joining in on the tour, Phil, Tony and Mike thought that it would be more appropriate to bring bac k Chester Thompson and Daryl Stuermer. Hackett, however still maintains good rel ations with the rest of the band. A short note expressing his good wishes for th e reunion tour currently appears on his Web site.52 The band and producer since 1991, Nick Davis, remixed their back catalogue (into 5.1 and new stereo mixes) for release in three batches over the course of 2007 and 2008, each comprising a third of the band's albums (from Trespass to Calling All Stations) in a boxset-style release. Each album is presented as a double-di sc set containing a multi-channel hybrid Super Audio CD, as well as a DVD-Video with DTS 24bit/96K and Dolby Digital 24bit/48K 5.1 tracks. The DVDs also include extras such as promo videos, live performances, TV appearances, tour programmes and new interviews in which the band discuss the period surrounding each album. (For the US and Canada pressings, the audio discs are regular CDs and not SACD hybrids.) These remasters were released in three box sets: Genesis 19761982 in Ma y 2007, Genesis 19831998 in October 2007, and Genesis 19701975 in November 2008, i n addition to each album being released individually. Each box set contains the albums from its designated time period, as well as a bonus CD/DVD-A of non-album tracks. On 12 May 2007, the band was an honouree at the second annual VH1 Rock Honors, a long with Ozzy Osbourne, Heart and ZZ Top. Genesis performed "Turn It On Again", "No Son of Mine" and "Los Endos", which later was broadcast on VH1 in the U.S. on 25 May 2007.53 On 11 June 2007 Genesis officially kicked off their 2007 Turn It On Again World Tour in Helsinki, Finland. The band performed over 50 shows in several countries including Denmark, Belgium, Germany, Poland, France, Italy, G reat Britain, the United States and Canada. The German show was broadcast live t o several cinemas across the UK and Europe. On 7 July 2007, Genesis participated at Live Earth, a series of concerts to promote action to confront global climat e change at the new Wembley Stadium in London, along with other artists includin g Madonna, Duran Duran and Red Hot Chili Peppers.54 In an August 2007 interview, Collins has stated that the recording of a new albu m is currently "very, I repeat, very unlikely" [emphasis in original], citing a lack of both time and inspiration.55 However, Banks, on 22 August, stated "The t hree of us would be quite keen to have a go and see what happens."56 On 2 October, Starbucks released the CD Sampler Genesis: 14 From Our Past. The t rack list is: "The Knife", "Happy The Man", "Watcher of the Skies", "I Know What I Like", "The Lamb Lies Down on Broadway", "Squonk", "Your Own Special Way", "F ollow You, Follow Me", "Turn It On Again", "Abacab", "That's All", "Land of Conf usion", "Hold on My Heart" and "Congo" (one song from each studio album from Tre spass on, except that Nursery Cryme is represented by the b-side "Happy the Man" rather than an actual track from the album). An album of the reunion tour, entitled Live Over Europe 2007 was released in Nov ember of that year. The tracklist features a balanced set list covering most of

their career. None of the songs recorded during Ray Wilson's time with the band were featured. In addition to the aforementioned album, sound deck recordings of each show were released by "The Music"57 A DVD of the concert on 14 July 2007 i n Rome's Circo Massimo, When in Rome 2007 was released on 26 May. A microsite ha s been launched to accompany the release: www.wheninromedvd.com. In an interview to celebrate the release of the Genesis: 19701975 boxset, Tony Ba nks revealed that it is a possibility that the band may reunite with Peter Gabri el and Steve Hackett. He said: "We've never said 'never' about it, you know. I k now Phil (Collins) would be quite happy with the idea of just playing the drums; it would be quite fun for him. Mike (Rutherford) and I are certainly happy to d o it. I know Steve (Hackett) is keen as well. I think it'd be down to Peter (Gab riel) more than anyone else." However, Collins has stated in various interviews that he is unable to play the drums due to a medical ailment. "After playing dru ms for 50 years, I've had to stop. My vertebrae have been crushing my spinal cor d because of the position I drum in. It comes from years of playing. I can't eve n hold the sticks properly without it being painful, I even used to tape the sti cks to my hands to get through."58 On 10 September 2009, Collins revealed in a post on the official Genesis website that during the 2007 Turn It On Again tour, he dislocated a vertebra in his nec k which has required surgery to repair. The injury and resulting recovery has ma de it "impossible to play the drums or piano" according to the article. However, Collins states that in a year's time or more this situation could change. Futur e plans for any Genesis reunion could hinge on Collins' ability to recover and p lay the drums again. On 21 September 2009, Genesis released Genesis Live 19732007, a box set containin g remixed and remastered editions of the band's first four live albums. The box includes Genesis Live and Seconds Out in both stereo and 5.1 surround sound vers ions, and Three Sides Live and The Way We Walk in stereo-only editions. On 23 No vember 2009, the band released a box set of live concert videos filmed between 1 981 and 1992. On 15 March 2010, Genesis was inducted into the Rock and Roll Hall of Fame. The band was inducted by Phish guitarist Trey Anastasio. Collins, Banks, Rutherford and Steve Hackett appeared at the ceremony, but Peter Gabriel did not appear due to rehearsals for his solo tour to support his new solo album Scratch My Back.5 9 Genesis did not perform at the ceremony. Phish paid tribute to them by opening the show with "Watcher of the Skies" and then followed Anastasio's speech with a version of "No Reply at All". In a September 2010 interview with Billboard, Collins was less than optimistic a bout the future of Genesis, stating "I think Genesis are no longer. I don't fore see me doing any more Genesis shows. Not because I don't like it or don't want t o. But it doesn't fit in with my life and wanting to be with the boys, and takin g onboard [my other interests like] the Alamo and writing a book about that. And the other stuff that I'd like to do-and that includes doing nothing as well. Bu t also, I can't physically play the drums. I don't want to sound like a spoiled kid, like I've had my stuff and I don't want to do it anymore. But I have done i t all my life, and now I'm enjoying another side of life."60 Citing health problems and other concerns, Collins announced on 4 March 2011 tha t he ended his music career.61 In an interview with Rolling Stone on 27 September 2011, Peter Gabriel said that a reunion with the classic lineup is still a possibility, but hopes remain very slim, stating "I won't say never ever, but it's in the outside department of th e betting shop...if you stick with the stuff that nourishes you the most then yo u'll probably be the happiest."62 Inspiration and influences Genesis has taken influence from a wide range of music, ranging from classical m usic to mainstream rock and jazz. Banks drew influence from Alan Price of The An imals, whom he regarded as "[t]he first person who made me aware of the organ in a rock context".63 Collins has cited Buddy Rich and the jazz-rock outfits The M ahavishnu Orchestra and Weather Report, while Gabriel's early career with Genesi s took influence from Nina Simone and King Crimson.64

Legacy As a group that influenced the growth of the progressive rock genre, Genesis has been cited by a number of progressive rock groups, including Rush,65 Marillion, 66 IQ,67 Pendragon,68 Pallas69 and Dream Theater.7071 They have also been cited as an influence by alternative rock bands Elbow72 and Coheed and Cambria.73 Seve ral Genesis tribute bands, including ReGenesis and The Musical Box routinely per form material from the Peter Gabriel and Phil Collins eras. Collins became the first artist to cover a Genesis song in a studio release"Behin d the Lines"which he included on Face Value one year after the original's release . Other former members previously and subsequently performed the band's material live during their solo showsGabriel played "The Lamb Lies Down on Broadway" and "Back in NYC", while Hackett has performed "In That Quiet Earth", "Los Endos", " Horizons",74 "Firth of Fifth" and "Blood on the Rooftops", among others. Hackett has performed "I Know What I Like (In Your Wardrobe)" on his own solo tours, an d on a 1986 tour with his short lived supergroup GTR. Rutherford has performed " I Can't Dance" during his tours with the Mechanics. Collins also later formed Th e Phil Collins Big Band, which played jazz arrangements of Genesis songs, which were "That's All", "Invisible Touch", "Hold On My Heart" and "Los Endos" (rename d "The Los Endos Suite"), during its 1998 world tour. Ray Wilson has covered the most Genesis songs during his solo concerts. His two solo live albums, Live and Life and Acoustic, feature the Genesis songs "The Carpet Crawlers", "Follow You Follow Me", "I Can't Dance", "The Lamb Lies Down on Broadway", "No Son of Mine" , "Shipwrecked", and "Mama". He has interpreted two songs from the solo careers of his two predecessors"In the Air Tonight" (Collins) and "Biko" (Gabriel). Jeff Buckley reworked "Back in NYC" for the posthumously released 1998 Sketches for My Sweetheart the Drunk; And You Will Know Us By The Trail Of Dead also cove red "Back in NYC" as a B-side in 2005. The Brazilian power metal band Angra cove red "Mama" in 2002. The Swedish death metal band In Flames covered "Land of Conf usion" on Trigger, as did Disturbed on their 2005 album Ten Thousand Fists. Disc o-pop band Alcazar, also from Sweden, has covered parts of "Land of Confusion" o n their song "This is the World We Live In". Dream Theater covered "Turn It On A gain" as part of their song "The Big Medley". In 2007, Simon Collins recorded hi s own version of "Keep It Dark" as a tribute to the 40th anniversary of his fath er's band. Inducting the band into the Rock and Roll Hall of Fame in 2010, Trey Anastasio o f Phish acclaimed Genesis as "rebellious, restless and constantly striving for s omething more Every musical rule and boundary was questioned and broken It's imp ossible to overstate what impact this band and musical philosophy had on me as a young musician. I'm forever in their debt." 75 Beyond purely musical ventures, the theatrical style of Genesis's 1970s concerts with Gabriel and advanced lighting of their 1980s shows have provided inspirati on for Cirque du Soleil's productions: the 2004 anniversary show Midnight Sun an d the arena-based touring show Delirium trace their musical and multimedia eleme nts back to these concerts. According to Victor Pilon, co-creator and co-directo r of both shows, "We're not inventing anything. Genesis did it years ago. We're just using new technology."76 Album cover art The band's album covers often incorporate complex and intricate art intended to reflect the themes explored in the music. The initial release of the band's firs t album, From Genesis to Revelation, used a plain black sleeve with Genesis writ ten in a green gothic typeface. The three subsequent album covers were developed by the popular Charisma Records graphic artist Paul Whitehead. The Foxtrot slee ve depicts a feminine figure in a red dress with the head of a fox. Whitehead ha s said in an interview that Jimi Hendrix's "Foxy Lady" was an inspiration for th e character.77 The cover for Selling England by the Pound was painted by Betty Swanwick. Peter Gabriel saw the original drawing, called The Dream, at an exhibition and asked S wanwick to modify it for use as the album cover. Most notably, Swanwick added a lawnmower to the image in order to tie the painting to the lyrics of I Know What I Like (In Your Wardrobe).78

After Whitehead moved to Los Angeles, Genesis signed with the art collective Hip gnosis, whose artists had created high profile album covers for Pink Floyd's The Dark Side of the Moon and Led Zeppelin's Houses of the Holy. Hipgnosis's first Genesis album cover was for The Lamb, which featured a male model, credited simp ly as "Omar", portraying the album's protagonist "Rael". Through the rest of the 1970s, various Hipgnosis artists heavilydesigned all Gene sis studio albums. The Trick of the Tail cover depicts the characters from the a lbum songs, including the robber from "Robbery, Assault and Battery", the beast from the title track, and a metaphoric image of old age reminiscing on youth fro m the song "Ripples". Beginning with Duke, Genesis albums have featured artwork designed by Bill Smith Studios. The band's highest-selling album Invisible Touch , features the artwork of Assorted Images, which had previously designed sleeves for Simple Minds, Duran Duran and Culture Club. The We Can't Dance cover art fe atures the work of Felicity Roma Bowers, and is reminiscent of Wind & Wuthering, now presented in hazy watercolour. The Calling All Stations and the compilation Turn It On Again: The Hits sleeves were designed by Wherefore Art?. Criticism Early incarnations of Genesis were often targets for criticism during the 1970s. An article in Q Magazine describes a 1977 Ray Lowry cartoon which depicted an a rena of "either asleep, moribund, [or] comatose" fans watching a live Genesis pe rformance, with the band's name emblazoned on a banner above the stage reading " GENESNOOZE".79 More specifically, some in Britainespecially supporters of the punk movementregard ed Genesis in particular, but also the genre more generally, as overtly middle c lass (paying particular attention to Gabriel, Banks and Rutherford's private edu cation), and claimed that rock music was being taken away from the working class , whom they regarded as its core audience. But Peter Gabriel claimed that their audience was a "mixture of social classes" and that accusation was a fabrication of the critics.80 Gabriel's theatrics were unpalatable to some of the mainstream rock audience, re sulting in a cult following rather than mainstream.81 This was exemplified durin g live performances of Gabriel's last Genesis album, The Lamb Lies Down On Broad way, during which he appeared on stage as various characters in the album's lyri cs. The elaborate storyline for The Lamb proved difficult to understand and acce pt, and caused a bit of friction within the band.82 Collins later recalled that Gabriel would "be in a Slipperman costume trying to get a mic anywhere near his throat, and be out of breathall twisted up. Towards the end I felt the singing wa sn't really being heard; the songs weren't really being heard".83 Conversely, the band's transition from lengthy, complex songs to more compact, s implistic, radio-friendly material was not welcomed by critics; Rolling Stone''s review of ...And Then There Were Three... read: "...this contemptible opus is b ut the palest shadow of the group's earlier accomplishments."84 "I don't feel we 've bastardised the way we were", Collins remarked in an interview with Music Ex press: "on a generous day I'll blame me for the change, but I just think it is u s growing up, listening to different things".85 In a 1982 interview in Sounds, Phil Collins talked about the band's reputation in the music press and claimed that he only knew of one music journalist, Hugh Fiel der, who openly liked Genesis.86 Reviewing Genesis 19761982 in Q, Andy Fyfe wrote: "... in spite of 150 million al bum sales the bottom line is that little of the band's output has aged well ... Th ere are moments of impressive songwriting, such as the tender "Many Too Many", t he darkly tragic "Duchess" and the epic "One For The Vine", but little of Genesi s's music transcends in the way real classics do, and that is why they will remain perennial whipping boys for decades to come." 87 Music critic J. D. Considine wrote of the band: Genesis has had a hard time getting respect. In the early '70s, when the group s pecialized in ambitious, theatrical story-songs, it attracted an avid cult follo wing but was largely ignored by the rock press and public at large. Later in the decade, lead singer Peter Gabriel was finally recognized as a major talent - bu t only after he'd left the band, who were at this point being derided as middleb

row throwbacks still in thrall to the pomposities of art rock. Even in the early '80s, when Genesis did finally shed its art-rock inclinations and move toward p op, becoming international stars in the process, the press was unimpressed, dism issing the group as easy-listening lightweights. By the '90s, even the solo succ ess of members Phil Collins and Mike Rutherford was being held against the group , by then one of the best-known rock acts in the world. All of which, to be hone st, has been grossly unfair to the group. Granted, Genesis has made its share of mediocre albums - perhaps even more than its share, considering how long the ba nd has been around. But bad albums? None to speak of."88 In a 1991 interview with Rolling Stone during the promotion of We Can't Dance, T ony Banks admitted, "Well, we've never been fashionable. We've never been the cr itics' darlings." Phil Collins summed up in the same interview, "We know that pe ople like us, because our records sell." Discography Studio albums From Genesis to Revelation (1969) Trespass (1970) Nursery Cryme (1971) Foxtrot (1972) Selling England by the Pound (1973) The Lamb Lies Down on Broadway (1974) A Trick of the Tail (1976) Wind & Wuthering (1976) ...And Then There Were Three... (1978) Duke (1980) Abacab (1981) Genesis (1983) Invisible Touch (1986) We Can't Dance (1991) Calling All Stations (1997) Live albums Live (1973) Seconds Out (1977) Three Sides Live (1982) The Way We Walk, Volume One: The Shorts (1992) The Way We Walk, Volume Two: The Longs (1993) Live over Europe 2007 (2007) External links Official Genesis website Members Peter Gabriel Peter Gabriel Peter Gabriel in 2011 Peter Gabriel in 2011 Background information Birth name Peter Brian Gabriel Born 13 February 1950Chobham, SurreyEngland, United Kingdom Genres Progressive rock, experimental rock, pop rock, art rock, world music Occupations MusicianproducerHumanitarian Instruments Vocals, keyboards, flute, drums, piano, guitar, bass, harmonica, oboe Years active 1967present Labels Geffen (US & Canada), Real World, Virgin, Charisma, Atlantic (US & Canada), EMI (Brazil)

Associated acts Genesis, Phil Collins Website www.petergabriel.com Peter Brian Gabriel (born 13 February 1950) is an English singer, musician, and songwriter who rose to fame as the lead vocalist and flautist of the progressive rock group Genesis.89 After leaving Genesis, Gabriel went on to a successful so lo career. His 1986 album, So, is his most commercially successful, and the albu m's biggest hit, "Sledgehammer", won a record nine MTV Awards at the 1987 MTV Vi deo Music Awards, and the song is the most played music video in the history of the station.90 More recently, Gabriel has focused on producing and promoting world music and pi oneering digital distribution methods for music. He has also been involved in va rious humanitarian efforts. Gabriel has won numerous music awards throughout his career, including three Brit Awardswinning Best British Male in 1987, six Grammy Awards, thirteen MTV Video Music Awards, and in 2007 he was honoured as a BMI I con at the 57th annual BMI London Awards for his influence on generations of musi c makers.919293 Gabriel was also awarded the Polar Music Prize in 2009, and was i nducted into the Rock and Roll Hall of Fame as a member of Genesis in 2010. Early life Peter Gabriel was born in Chobham, Surrey, England.94 His father, Ralph Parton G abriel, was an electrical engineer, and his mother, Edith Irene Allen,95 from a musical family, taught him to play the clarinet at an early age. He attended Cab le House, a private primary (pre-prep) school in Woking, Surrey, St. Andrews Pre p School in Horsell, then Charterhouse School (Godalming) from 1963. He played d rums in his first rock bands, and Mike Rutherford commented in 1985 that "Pete w as - and still is, I think - a frustrated drummer."96 Genesis Gabriel founded Genesis in 1967 with fellow Charterhouse School pupils Tony Bank s, Anthony Phillips, Mike Rutherford, and drummer Chris Stewart. The name of the band was suggested by fellow Charterhouse alumnus, the pop music impresario Jon athan King, who produced their first album, From Genesis to Revelation. Gabriel was influenced by many different sources in his way of singing, such as Family lead singer Roger Chapman. In 1970, he played the flute on Cat Stevens' a lbum, Mona Bone Jakon. Genesis drew some attention in England and eventually also in Italy, Belgium, Ge rmany and other European countries, largely due to Gabriel's flamboyant stage pr esence, which involved numerous bizarre costume changes and comical, dreamlike s tories told as the introduction to each song (originally Gabriel developed these stories solely to cover the time between songs that the rest of the band would take tuning their instruments and fixing technical glitches). The concerts made extensive use of black light with the normal stage lighting subdued or off. A ba ckdrop of fluorescent white sheets and a comparatively sparse stage made the ban d into a set of silhouettes, with Gabriel's fluorescent costume and make-up prov iding the only other sources of light. Costumes Early Genesis concerts were hampered by a bad PA system which made it difficult for audiences to understand what Gabriel was singing. According to Mike Rutherfo rd, this drove Gabriel to find other ways to impress his personality on the audi ence, leading to his performing in various costumes.97 In an episode of the 2007 British documentary series Seven Ages of Rock, Steve H ackett recalled the first appearance of Gabriel 'in costume'. It was the dress-w earing, fox-headed entity immortalised on the cover of Foxtrot. Hackett and the rest of the band had no inkling that Gabriel was going to do this, and at the ti me Hackett worried that it would ruin the performance. However, it was a success , encouraging Gabriel to continue wearing costumes while singing. Among Gabriel's many famous costumes, which he developed to visualise the musica l ideas of the band as well as to gain press coverage, were "Batwings" for the b and's usual opening number, "Watcher of the Skies". Other costumes included "The Flower" and "Magog", which were both alternately wo

rn for "Supper's Ready" from the album Foxtrot. "Britannia" was worn for "Dancing with the Moonlit Knight", and "The Reverend" w as worn for "The Battle of Epping Forest" from Selling England by the Pound. "The Old Man" was worn for "The Musical Box" from Nursery Cryme. "The Slipperman" and "Rael" were worn during "The Colony of Slippermen", in whic h "Rael" was the protagonist of the album The Lamb Lies Down on Broadway. Departure Gabriel's departure from Genesiswhich stunned fans of the group and left many com mentators wondering if the band could survivewas the result of a number of factor s. His stature as the lead singer of the band, and the added attention garnered by his flamboyant stage persona, led to tensions within the band. Genesis had al ways operated more or less as a collective, and Gabriel's burgeoning public prof ile led to fears within the group that he was being unfairly singled out as the creative hub. The band had also begun to feel confined by the reputation (and fa ns' expectations) attached to their famously elaborate theatrical performances, believing that the visual element of their performances was receiving more atten tion than their actual music. Tensions were heightened by the ambitious album and tour of the concept work The Lamb Lies Down on Broadway, a Gabriel-created concept piece which saw him takin g on the lion's share of the lyric writing. During the writing and recording of The Lamb Lies Down on Broadway, Gabriel was approached by director William Fried kin, allegedly because Friedkin had found Gabriel's short story in the liner not es to Genesis Live interesting. Gabriel left Genesis to pursue a film project wi th Friedkin, only to rejoin a week later.98 The decision to quit the band was ma de before the tour supporting The Lamb Lies Down on Broadway, but Gabriel did no t inform the band until the conclusion of that tour. Nonetheless, bassist Mike R utherford recalled that they all "could see it coming."99 Although tensions were high, both Gabriel and the remaining members of Genesis have stated publicly th at Gabriel left the band on good terms. The breaking point came with the difficult pregnancy of Gabriel's wife, Jill, an d the subsequent birth of their first child, Anna. When he opted to stay with hi s sick daughter and wife, rather than record and tour, the resentment from the r est of the band led Gabriel to conclude that he had to leave the group. "Solsbur y Hill", Gabriel's debut single as a solo artist, was written specifically about his departure from Genesis. The song also charted on the Billboard Hot 100 in 1 978,100 reaching the Top 70, though it was recorded in 1976, and appeared on the 'Car' album in 1977. In 1982, Gabriel reunited with his former Genesis colleagu es for the one-off concert, Six of the Best. Solo career Gabriel refused to title any of his first four solo albums, which were all label led Peter Gabriel using the same typeface, but which featured different cover de signs (by Hipgnosis); these designs are also notable for the fact that Gabriel's face is wholly or partially obscured in some way. They are usually differentiat ed by number in order of release (I, II, III, IV), or by sleeve design, with the first three solo albums often referred to as Car, Scratch and Melt respectively , in reference to their cover artwork. His fourth solo album, also called Peter Gabriel, was titled Security in the U.S. at the behest of Geffen Records. After acquiescing to distinctive titles, Gabriel used a series of 2-letter words to title his next three albums: So, Us, and Up. His most recent greatest hits c ompilation is titled Hit; within the two-CD package, disc one is labelled "Hit" and disc two is labelled "Miss". Peter Gabriel albums (19771985) Gabriel recorded his first self-titled solo album in 1976 and 1977 with producer Bob Ezrin. His first solo success came with the single "Solsbury Hill", an auto biographical piece expressing his thoughts on leaving Genesis. Although mainly h appy with the music, Gabriel felt that the album, and especially the track "Here Comes the Flood" was over-produced. Sparser versions can be heard on Robert Fri pp's Exposure, and on Gabriel's greatest hits compilation Shaking the Tree (1990 ). Gabriel worked with guitarist Fripp as producer of his second solo LP, in 1978.

This album was leaner, darker and more experimental, and yielded decent reviews, but no major hits. Gabriel developed a new interest in world music (especially percussion), and for bold production, which made extensive use of recording tricks and sound effects . Gabriel's interest in music technology is considered by many people to be the spark of his success as it inspired his third album. The third album is often cr edited as the first LP to use the now-famous "gated drum" sound.101 Collins play ed drums on several tracks, including the opener, "Intruder", which featured the reverse-gated, cymbal-less drum kit sound which Collins would also use on his s ingle "In the Air Tonight" and through the rest of the 1980s. Gabriel had reques ted that his drummers use no cymbals in the album's sessions, and when he heard the result he asked Collins to play a simple pattern for several minutes, then b uilt "Intruder" around it. The album achieved some chart success with the songs "Games Without Frontiers" (#4 U.K, #48 U.S.), and "Biko". Arduous and occasionally damp recording sessions at his rural English estate in 1981 and 1982 resulted in Gabriel's fourth LP release, on which Gabriel took mor e production responsibility. It was one of the first commercial albums recorded entirely to digital tape (using a Sony mobile truck), and featured the early, ex tremely expensive, Fairlight CMI sampling computer, which had already made its f irst brief appearances on the previous album. Gabriel combined a variety of samp led and deconstructed sounds with world-beat percussion and other unusual instru mentation to create a radically new, emotionally charged soundscape. Furthermore , the sleeve art consisted of inscrutable, video-based imagery. Despite the albu m's peculiar sound, odd appearance, and often disturbing themes, it sold very we ll. This album featured his first Top 40 hit in the U.S., "Shock the Monkey", as well as the song "I Have the Touch". The music video for "Shock the Monkey", wh ich featured Gabriel in white face paint and a caged macaque, held the #1 spot o n "MTV" for 9 weeks. Geffen records forced Peter to give his fourth self-titled album a name in the US - Security - to mark his arrival on the label and to diff erentiate his fourth album from the other three. Alternate versions of Gabriel's third and fourth albums were also released with German lyrics. Peter Gabriel 3 consisted of basically the same recording overdub bed with new vocals, while Security was also remixed and several tracks were ext ended or altered in slight ways. Gabriel toured extensively for each of his albums. Initially, he pointedly esche wed the theatrics that had defined his tenure with Genesis. For his second solo tour, his entire band shaved their heads. By the time of Security he began invol ving elaborate stage props and acrobatics which had him suspended from gantries, distorting his face with Fresnel lenses and mirrors, and wearing unusual make-u p. His 198283 tour included a section opening for David Bowie. Recordings of this tour were released as the double LP Plays Live. The stage was set for Gabriel's critical and commercial breakout with his next s tudio release, which was in production for almost three years. During the record ing and production of the album he also found time to develop the film soundtrac k for Alan Parker's 1984 feature Birdy, which consisted of new material as well as remixed instrumental tracks from his previous studio album. So, Passion and Us (19861994) Gabriel achieved his greatest popularity with songs from the 1986 album So.102 T he album charted at number 1 in the UK Album Chart, and number 2 on the Billboar d 200 in the US.103104 It is certified triple platinum in the UK, and five times platinum in the US.105106 The album produced three UK Top 20 hits, "Sledgehamme r", "Big Time", and "Don't Give Up" a duet with Kate Bush.107 The album also pro duced three Top 40 hits in the U.S., "Sledgehammer", "In Your Eyes" (featured in the John Cusack film Say Anything), and "Big Time".108 "Sledgehammer", peaked a t #1 in the U.S., knocking Genesis' "Invisible Touch" off the top spot, and #4 i n the UK.109 The ballad "Don't Give Up" was about the devastation of unemploymen t. Gabriel co-produced So with Daniel Lanois, also known for his work with U2 an d Brian Eno.110 In 1990, Rolling Stone ranked So number #14 on its list of "Top 100 Albums of the Eighties".111 Gabriel's song "Sledgehammer", which dealt specifically with the themes of sex a

nd sexual relations, was accompanied by a much-lauded music video, which was a c ollaboration with director Stephen R. Johnson, Aardman Animations, and the Broth ers Quay.112 The video set a new standard for art in the music video industry, a nd won nine MTV Video Music Awards in 1987, a record which still stands as of 20 11.113 "Sledgehammer" is the most played music video in the history of MTV, and in 1998 it was named the station's number one animated video of all time.114115 A follow-up video for the song "Big Time" also broke new ground in music video a nimation and special effects. The song is a story of "what happens to you when y ou become a little too successful", in Gabriel's words. The success of the album earned Peter Gabriel two awards at the Brit Awards in 1987: Best British Male S olo Artist and Best British Video for "Sledgehammer".116 Gabriel was also nomina ted for three Grammy Awards: Best Male Rock Vocal Performance, Song of the Year, and Record of the Year.117 In 1989, Gabriel released Passion, the soundtrack for Martin Scorsese's movie Th e Last Temptation of Christ. For this work he received his first Grammy Award, i n the category of Best New Age Performance. He also received a Golden Globe nomi nation for Best Original Score - Motion Picture. Following this, Gabriel released Us in 1992 (also co-produced with Daniel Lanois ), an album in which he explored the pain of recent personal problems; his faile d first marriage, and the growing distance between him and his first daughter. Gabriel's introspection within the context of the album Us can be seen in the fi rst single release "Digging in the Dirt" directed by John Downer. Accompanied by a disturbing video featuring Gabriel covered in snails and various foliage, thi s song made reference to the psychotherapy which had taken up much of Gabriel's time since the previous album. Gabriel describes his struggle to get through to his daughter in "Come Talk To Me" directed by Matt Mahurin, which featured backi ng vocals by Sinad O'Connor. O'Connor also lent vocals to "Blood of Eden", direct ed by Nichola Bruce and Michael Coulson, the third single to be released from th e album, and once again dealing with relationship struggles, this time going rig ht back to Adam's rib for inspiration. The result was one of Gabriel's most pers onal albums. It met with less success than So, reaching #2 in the album chart on both sides of the Atlantic, and making modest chart impact with the singles "Di gging in the Dirt" and the funkier "Steam", which evoked memories of "Sledgehamm er". Gabriel followed the release of the album with a world tour (with Paula Col e or Joy Askew filling O'Connor's vocal role) and accompanying double CD and DVD Secret World Live in 1994. Gabriel employed an innovative approach in the marketing of the Us album. Not wi shing to feature only images of himself, he asked artist filmmakers Nichola Bruc e and Michael Coulson to coordinate a marketing campaign using contemporary arti sts. Artists such as Helen Chadwick, Rebecca Horn, Nils Udo, Andy Goldsworthy, D avid Mach and Yayoi Kusama collaborated to create original artworks for each of the 11 songs on the multi-million-selling CD. Coulson and Bruce documented the p rocess on Hi-8 video. Bruce left Real World and Coulson continued with the campa ign, using the documentary background material as the basis for a promotional EP K, the long-form video All About Us and the interactive CD-ROM Xplora1. Gabriel won three more Grammy Awards, all in the Music Video category. He won th e Grammy Award for Best Short Form Music Video in 1993 and 1994 for the videos t o "Digging in the Dirt" and "Steam" respectively. Gabriel also won the 1996 Gram my Award for Best Long Form Music Video for his Secret World Live video. OVO, Up, Scratch My Back and New Blood (1995present) After five years of not releasing any new music, Gabriel re-emerged with OVO, a soundtrack for the live Millennium Dome Show in London in 2000, and Long Walk Ho me, the music from the Australian movie Rabbit-Proof Fence, early in 2002. This soundtrack also received a Golden Globe nomination for Best Original Score Motio n Picture. In September 2002, Gabriel released Up, his first full-length studio album in a decade. Entirely self-produced, Up returned to some of the themes of his work in the late 1970s and early 1980s. Three singles failed to make an impression on t he chartsin part because almost every track exceeded six minutes in length, with multiple sectionsbut the album sold well globally, as Gabriel continued to draw f

rom a loyal fan base from his almost forty years in the music business. Up was f ollowed by a world tour featuring his daughter Melanie Gabriel on backing vocals , and two concert DVDs, Growing Up Live (2003) and Still Growing Up: Live & Unwr apped (2004). In 2008, Gabriel contributed to the WALL-E soundtrack several new songs with Tho mas Newman, including the film's closing song, "Down to Earth", for which they r eceived the Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media. The song was also nominated for the Golden Globe for Best Original Song - Motion Picture and the Academy Award for Best Original Song. In 2010, Gabriel released Scratch My Back. The album is made up entirely of cove r songs including material written by David Bowie, Lou Reed, Arcade Fire, Radioh ead, Regina Spektor, Neil Young, and more. The concept for the record is that Ga briel covers songs by various artists and those artists in turn will cover Gabri el songs to be released on a future follow-up album called I'll Scratch Yours. S cratch My Back features only orchestral instrumentation; there are no guitars, d rums, or electronic elements that are usual attributes of Gabriel records. A ver y brief tour followed the album's release where Gabriel performed with a full or chestra and two female backup singers, his daughter Melanie Gabriel and Norwegia n singer-songwriter Ane Brun. On 11 October 2011, Gabriel released New Blood, a collection of his earlier song s recorded with an orchestra. A special edition of the album features solely ins trumental versions of some of the songs. Musicians and collaborators Gabriel has worked with a relatively stable crew of musicians and recording engi neers throughout his solo career. Bass and Stick player Tony Levin, for example, has appeared on every Gabriel studio album (except Scratch My Back and the soun dtracks Passion and Long Walk Home) and has performed on every Gabriel solo tour (except The New Blood Tour). Guitar player David Rhodes has been Gabriel's guitar ist of choice since 1979. Prior to So, Jerry Marotta was Gabriel's preferred dru mmer, both in the studio and on the road. (For the So and Us albums and tours Ma rotta was replaced by Manu Katch, who was then replaced by Ged Lynch on parts of the Up album and all of the subsequent tour). Gabriel is known for choosing topflight collaborators, from co-producers such as Ezrin, Fripp, Lillywhite, and La nois to musicians such as Natalie Merchant, Elizabeth Fraser, L. Shankar, Trent Reznor, Youssou N'Dour, Larry Fast, Nusrat Fateh Ali Khan, Sinad O'Connor, Kate B ush, Ane Brun, Paula Cole, John Giblin, Peter Hammill, Papa Wemba, Manu Katch, Ba yete, Phil Collins (as drummer), and Stewart Copeland. Over the years, Gabriel has collaborated with singer Kate Bush several times; Bu sh provided backing vocals for Gabriel's "Games Without Frontiers" and "No Self Control" in 1980, and female lead vocal for "Don't Give Up" (a Top 10 hit in the UK) in 1986, and Gabriel appeared on her television special. Their duet of Roy Harper's "Another Day" was discussed for release as a single, but never appeared . He also collaborated with Laurie Anderson on two versions of her composition "Ex cellent Birds" one for her 1984 album Mister Heartbreak, and a slightly differen t version called "This is the Picture (Excellent Birds)", which appeared on cass ette and CD versions of So. In 1987, when presenting Gabriel with an award for h is music videos, Anderson related an occasion in which a recording session had g one late into the night and Gabriel's voice had begun to sound somewhat strange, almost dreamlike. It was discovered that he had fallen asleep in front of the m icrophone, but had continued to sing. Gabriel sang (along with Jim Kerr of Simple Minds) on "Everywhere I Go", from Th e Call's 1986 release, Reconciled. On Toni Childs' 1994 CD, The Woman's Boat, Ga briel sang on the track, "I Met a Man". In 1998, Gabriel appeared on the soundtrack of Babe: Pig in the City, not as a c omposer, but as the singer of the song "That'll Do", written by Randy Newman. Th e song was nominated for an Academy Award, and Gabriel and Newman performed it a t the following year's Oscar telecast. He performed a similar soundtrack appeara nce for the 2004 film Shall We Dance?, singing a cover version of "The Book of L ove" by The Magnetic Fields.

Gabriel has also appeared on Robbie Robertson's self-titled album, singing on "F allen Angel"; co-written two Tom Robinson singles; and appeared on Joni Mitchell 's 1988 album Chalk Mark in a Rainstorm, on the track "My Secret Place". In 2001, Gabriel contributed lead vocals to the song "When You're Falling" on Af ro Celt Sound System's Volume 3: Further in Time.118 In the summer of 2003, Gabr iel performed in Ohio with a guest performance by Uzbek singer Sevara Nazarkhan. Gabriel collaborated on tracks with electronic musician BT. The tracks were neve r released, as the computers they were contained on were stolen from BT's home i n California. He also sang the lyrics for Deep Forest on their theme song for th e movie Strange Days. In addition, Gabriel has appeared on Angelique Kidjo's 200 7 album Djin Djin, singing on the song "Salala". Gabriel has recorded a cover of the Vampire Weekend single "Cape Cod Kwassa Kwas sa" with Hot Chip, where his name is mentioned several times in the chorus. He s ubstitutes the original line "But this feels so unnatural / Peter Gabriel too / This feels so unnatural/ Peter Gabriel too" with "It feels so unnatural / Peter Gabriel too / and it feels so unnatural / to sing your own name." WOMAD and other projects Gabriel has been interested in world music for many years, with the first musica l evidence appearing on his third album. This influence has increased over time, and he is the driving force behind the World of Music, Arts and Dance (WOMAD) m ovement. He created the Real World Studios and record label to facilitate the cr eation and distribution of such music by various artists, and he has worked to e ducate Western culture about the work of such musicians as Yungchen Lhamo, Nusra t Fateh Ali Khan and Youssou N'dour. He has a long-standing interest in human ri ghts, and launched Witness,119 a nonprofit which trains human rights activists t o use video and online technologies to expose human rights abuses. In 2006 his w ork with WITNESS and his long standing support of peace and human rights causes was recognised by the Nobel Peace Prize Laureates with the Man of Peace award. In the 1990s, with Steve Nelson of Brilliant Media and director Michael Coulson, he developed advanced multimedia CD-ROM-based entertainment projects, creating the acclaimed Xplora (the world's largest selling music CD-ROM), and subsequentl y the EVE CD-ROM. EVE was a music and art adventure game directed by Michael Cou lson and co-produced by the Starwave Corporation in Seattle; it won the prestigi ous Milia d'Or award Grand Prize at the Cannes in 1996 and featured themes and i nteractivity well in advance of its time. Xplora and EVE can no longer be played on modern PCs, due to changes to their operating systems. In 1994, Gabriel starred in the Breck Eisner short film "Recon" as a detective w ho enters the minds of murder victims to find their killer's identity. Gabriel helped pioneer a new realm of musical interaction in 2001, visiting Geor gia State University's Language Research Center to participate in keyboard jam s essions with bonobo apes from the Democratic Republic of the Congo. (This experi ence inspired the song "Animal Nation," which was performed on Gabriel's 2002 "G rowing Up" tour and was featured on the Growing Up Live DVD and The Wild Thornbe rrys Movie soundtrack.) Gabriel's desire to bring attention to the intelligence of primates also took the form of ApeNet, a project that aimed to link great ape s through the internet, enabling the first interspecies internet communication.1 20 He was one of the founders of On Demand Distribution (OD2), one of the first onl ine music download services. Its technology is used by MSN Music UK and others, and has become the dominant music download technology platform for stores in Eur ope. OD2 was bought by US company Loudeye in June 2004 and subsequently by Finni sh mobile giant Nokia in October 2006 for $60 million. Additionally, Gabriel is also co-founder (with Brian Eno) of a musicians union c alled Mudda, short for "magnificent union of digitally downloading artists." In 2000, Peter Gabriel collaborated with Zucchero, Anggun and others in charity for kids with AIDS. Erick Benzi have write words and music and Patrick Bruel, St ephan Eicher, Faudel, Lokua Kanza, Laam, Nourith, Axelle Red have accept to sing it. In 2003, Gabriel's song "Burn You Up, Burn You Down" was featured in Cyan Worlds ' video game Uru: Ages Beyond Myst. In 2004, Gabriel contributed another song ("

Curtains") and contributed voice work on another game in the Myst franchise, Mys t IV: Revelation. During the latter part of 2004, Gabriel spent time in a village in eastern Nepal with musician Ram Sharan Nepali, learning esoteric vocal techniques. Gabriel su bsequently invited Nepali to attend and perform at the Womad festival in Adelaid e, Australia. In June 2005, Gabriel and broadcast industry entrepreneur David Engelke purchase d Solid State Logic, a leading manufacturer of mixing consoles and digital audio workstations.121 SSL is among the top 2 or 3 recording console manufacturers in the world of recording. In May 2008, Gabriel's Real World Studios, in partnership with Bowers & Wilkins, started the Bowers & Wilkins Music Club - now known as Society of Sound - a sub scription-based music retail site. Albums are currently available in either Appl e Lossless or Flac format.122 Activist for humanitarian causes In 1986 he started what has become a longstanding association with Amnesty Inter national, becoming a pioneering participant in all 28 of Amnesty's Human Rights Concerts a series of music events and tours staged by the US Section of Amnesty International between 1986-1998. He performed during the six-concert A Conspirac y of Hope US tour in June 1986; the twenty-concert Human Rights Now! world tour in 1988; the Chile: Embrace Of Hope Concert in 1990 and at The Paris Concert For Amnesty International in 1998. He also performed in Amnesty's Secret Policeman' s Ball benefit shows.123 He spoke of his support for Amnesty on NBC's Today Show in 1986.124 Inspired by the social activism he encountered in his work with Amnesty, in 1992 Gabriel co-founded WITNESS, a non-profit group that equips, trains and supports locally-based organizations worldwide to use video and the internet in human ri ghts documentation and advocacy. In 1995, Gabriel and Cape Verdean human rights activist Vera Duarte were awarded the North-South Prize in its inaugural year.125126 In the late 1990s, Gabriel and entrepreneur Richard Branson discussed with Nelso n Mandela their idea of a small, dedicated group of leaders, working objectively and without any vested personal interest to solve difficult global conflicts. On 18 July 2007, in Johannesburg, South Africa, Nelson Mandela announced the for mation of a new group, Global Elders, in a speech he delivered on the occasion o f his 89th birthday. The present members of this group are Desmond Tutu, Graa Mac hel, Kofi Annan, Ela Bhatt, Lakhdar Brahimi, Gro Harlem Brundtland, Fernando Hen rique Cardoso, Jimmy Carter, Mary Robinson, Muhammad Yunus, and Aung San Suu Kyi (with an empty chair for her).127 The Elders will be independently funded by a group of "Founders", including Bran son and Gabriel. Desmond Tutu serves as the chair of the Elders, who will use their collective sk ills to catalyse peaceful resolutions to long-standing conflicts, articulate new approaches to global issues that are causing or may later cause immense human s uffering, and share wisdom by helping to connect voices all over the world. They will work together over the next several months to consider carefully which spe cific issues they will confront. In November 2007 Gabriel's non-profit group WITNESS launched The Hub, a particip atory media site for human rights. In September 2008 Gabriel was named as the recipient of Amnesty International's 20 08 Ambassador of Conscience Award. In the same month, he received Quadriga Unite d We Care award of Werkstatt Deutschland along with Boris Tadi, Eckart Hfling and Wikipedia. The award was presented to him by Queen Silvia of Sweden.128 Gabriel lent his support to the campaign to release Sakineh Mohammadi Ashtiani, an Iranian woman sentenced to death by stoning after being convicted of committi ng adultery.129 Politics At the 1997 general election, Gabriel declared his support for the Labour Party, which won that election by a landslide after 18 years out of power, led by Tony Blair.130

In 1998, Gabriel was named in a list of the biggest private financial donors to Labour.131 In 2003, he revealed he had voted for Labour and admired what they ha d done for health and education but distanced himself from the Labour government over Tony Blair's support for George W. Bush and Britain's involvement in the Iraq War, which he strongly opposed, although he continued to believe Blair was a man of conscience.132 Quoted in The Mirror newspaper, he said: This is a fundamental issue of life and death and I very much think the Prime Mi nister is in the wrong. I'm also sure George W. Bush is an affable bloke but he' s highly dangerous and I wish America was in the hands of someone else. To put o il interests ahead of human life is appalling. War is always terrible but unjust ified war is obscene and on present evidence that is what we are facing. People want peace and I think it's great that the Mirror is leading this campaign. I th ink the consequences of this war would be the biggest threat to world peace in m y lifetime. Blair has got to get it right. To take action without UN backing wou ld be inviting disaster by setting the Muslim world against the West. If we are taking a moral position why did we arm Iraq when they were killing the Kurds? If it's because of weapons of mass destruction why isn't North Korea higher on the list? Not that I'd support action there. And if it's a principle of what Iraq h as done to its own people why do we bend over for China? I'm sure Bush believes he is removing a scourge but he has never done one thing in office against the i nterests of the oil lobby who paid for a large part of the election. I don't act ually believe Tony Blair is focused on oil but if he knows more than we do I wis h he would tell us because there's no justification so far for taking life. War with Iraq would be an aggressive, uncalled for action. It's good the Prime Minis ter is prepared to stick to his principles, going against public opinion, becaus e you elect leaders in part for their conscience. I just think it's terrible tha t on this of all issues he is making a stand which separates him from the nation . I think Tony Blair is following his conscience but I believe he is misguided. It could cost him the next election and I think he's aware of that. I'd personal ly be sad if they lost because Labour has done a lot for health and education, b ut an unjust war would be enough to lose my vote. I'd like to see a reinforced U N weapons inspection team in Iraq and disarmament much more in line with the Fre nch and German proposals. There is a slogan which says: 'Peace is what happens w hen you respect the rights of others'. Iraqis have rights too.133 In 2005, Gabriel gave a Green Party of England and Wales general election candid ate special permission to record a cover of his song "Don't Give Up" for his cam paign.134 In 2010, The Guardian described Gabriel as "a staunch advocate of proportional r epresentation".135 Personal life Gabriel has two daughters with his first wife Jill Moore: Anna-Marie (born 26 Ju ly 1974) and Melanie Gabriel (born 23 August 1976). Married on 17 March 1971, th ey divorced in 1987. Moore's father was Lord Moore of Wolvercote. Anna-Marie is a filmmaker and Melanie is a musician. Anna-Marie filmed and direc ted the Growing Up On Tour: A Family Portrait and Still Growing Up: Live & Unwra pped DVDs. Melanie has been a backing vocalist in her father's band since 2002. In the late 1980s and early 1990s, Gabriel lived with actress Rosanna Arquette b ut they never married. Gabriel also has two sons with Meabh Flynn: Isaac Ralph (born 27 September 2001) and Luc (born 5 July 2008). Gabriel and Flynn have been married since 9 June 20 02. Gabriel has resided for many years in the county of Wiltshire in England, where he also runs his Real World Studios. He previously lived in the Woolley Valley n ear Bath, Somerset. In 2010 he joined a campaign to stop an agricultural develop ment at the valley, which had also inspired his first solo single "Solsbury Hill " in 1977.136 Appearances: 2005present Gabriel actively coordinated and performed at the Eden Project Live 8 concert in July 2005. In his earliest days, Gabriel played flute on Cat Stevens's first al bum on the Island records label, Mona Bone Jakon as a "nervous session musician"

. Stevens, now known as Yusuf Islam, joined him on stage 33 years after that exp erience, in Johannesburg during Nelson Mandela's 46664 concert. The two performe d the Stevens hit "Wild World". A double DVD set, Still Growing Up: Live & Unwrapped, was released in October 20 05. FIFA asked Gabriel and Brian Eno to organise an opening ceremony for the 2006 FI FA World Cup finals in Germany, planned to take place a couple of days before th e start of the tournament; however, the show was cancelled in January 2006 by FI FA. Rumours of a possible reunion of the original Genesis line-up began circulating in 2004 after Phil Collins stated in an interview that he was open to the idea o f sitting back behind the drums and "let Peter be the singer." The classic lineup has only reformed for a live performance once before, in 1982. However, the g roup did work together to create a new version of the 1974 song "The Carpet Craw lers", ultimately released on the Turn It on Again: The Hits album as "The Carpe t Crawlers 1999". Gabriel later met with other Genesis band members, to discuss a possible reunion tour of The Lamb Lies Down on Broadway. He chose to opt out o f a reunion tour, and his former bandmates, Collins, Banks, and Rutherford chose to tour as Genesis without him. At the opening ceremonies of the Winter Olympics in Torino, Italy, Gabriel perfo rmed John Lennon's "Imagine" during the opening of the festivities on 10 Februar y 2006. In October 2006, Gabriel was given the first Pioneer Award at the BT Digital Mus ic Awards, an award presented in recognition of his "profound and lasting influe nce on the development of digital music." In November 2006, the Seventh World Summit of Nobel Peace Laureates in Rome pres ented Gabriel with the Man of Peace award. The award, presented by former Presid ent of the USSR and Nobel Peace Prize winner Mikhail Gorbachev and Walter Veltro ni, Mayor of Rome, was an acknowledgement of Gabriel's extensive contribution an d work on behalf of human rights and peace. The award was presented in the Giuli o Cesare Hall of the Campidoglio in Rome. At the end of the year, he was awarded the Q Magazine Lifetime Achievement Award, presented to him by American musicia n Moby. In an interview published in the magazine to accompany the award, Gabrie l's contribution to music was described as "vast and enduring." Gabriel took on a project with the BBC World Service's competition "The Next Big Thing" to find the world's best young band. Gabriel is judging the final six yo ung artists with William Orbit, Geoff Travis and Angelique Kidjo. The Times reported on 21 January 2007, that Peter Gabriel had announced that he planned to release his next album in the U.S. without the aid of a record compan y. Gabriel, an early pioneer of digital music distribution, had raised 2 million towards recording and 'shipping' his next album, Big Blue Ball in a venture with investment boutique Ingenious Media. Gabriel is expected to earn double the mon ey that he would through a conventional record deal. Commercial director Duncan Reid of Ingenious explains the business savvy of the deal, saying, "If you're pa ying a small distribution fee and covering your own marketing costs, you enjoy t he lion's share of the proceeds of the album. Gabriel is expected to outsource C D production for worldwide release through Warner Bros. Records. The new album d eal covers the North America territory, where Gabriel is currently out of contra ct.137 The album Big Blue Ball was launched in America thanks to a venture capital trus t initiative. Bosses at London-based firm Ingenious raised more than $4 million (GBP 2 million) to help promote the release in the United States. The venture ca pitalists, Gabriel and his Real World Limited partners, have created a new joint venture company, High Level Recordings Limited, to oversee the release of the a lbum, which took place in 2008. Gabriel appeared on a nationwide tour for the al bum in 2009.138 On 24 May 2007, he was honoured with the Ivor Novello Award for lifetime achieve ment.139 Gabriel was a judge for the 6th and 8th annual Independent Music Awards to suppo rt independent artists.140

In February 2009, Gabriel announced that he would not be performing on the 2008 Academy Awards telecast because producers of the show were limiting his performa nce of "Down to Earth" from WALL-E to 65 seconds. John Legend and the Soweto Gos pel Choir performed the song in his stead. Gabriel's 2009 tour of Mexico and South America included visiting Mexico, Argent ina, Chile, Peru, and Venezuela. His first ever performance in Peru was held in Lima on 20 March 2009, during his second visit to the country. His concert in Me xico City, on 27 March 2009, attracted more than 38,000 fans. On 25 July 2009, he played at WOMAD Charlton Park, his only European performance of the year, to promote Witness. The show included two tracks from the then-for thcoming Scratch My Back: Paul Simon's 'The Boy in the Bubble' and The Magnetic Fields' 'The Book of Love'.141 On 5 October 2011 at the Royal Festival Hall, London Gabriel appeared at the end of an interview of President Carter by Channel 4 News presenter, Jon Snow, to l ead the 2,500-strong audience in a rendition of happy birthday to mark the Presi dent turning 87. On 9 November 2011 he appeared and performed on CBS's The Late Show with David L etterman. Discography Peter Gabriel 1 (Car) (1977) Peter Gabriel 2 (Scratch) (1978) Peter Gabriel 3 (Melt) (1980) Ein Deutsches Album (1980) Peter Gabriel 4 (Security) (1982) Deutsches Album (1982) Birdy (1985) So (1986) Passion (1989) Us (1992) OVO (2000) Long Walk Home (2002) Up (2002) Scratch My Back (2010) New Blood (2011) External links Official website Peter Gabriel at the Internet Movie Database Peter Gabriel discography at MusicBrainz Peter Gabriel at TED Conferences Appearances on C-SPAN Peter Gabriel on Charlie Rose Works by or about Peter Gabriel in libraries (WorldCat catalog) Peter Gabriel collected news and commentary at The Guardian Audio interview at BBC Wiltshire Peter Gabriel takes part in a panel at the Global Philanthropy Forum video Mike Rutherford Mike Rutherford Rutherford playing at Manchester, England, in 2007 Rutherford playing at Manchester, England, in 2007 Background information Birth name Michael John Cleote Crawford Rutherford Born 2 October 1950Guildford, Surrey, England Genres Progressive rock, pop rock Occupations Musician, songwriter Instruments Bass guitar, guitar, vocals, keyboards, sitar, cello, drums

Years active 1967present Labels Charisma, Atlantic, WEA, Passport Associated acts Genesis, Mike + The Mechanics Website www.genesis-music.com Notable instruments Shergold Double Neck Bass GuitarRickenbackerSteinberger Guitar Michael John Cleote Crawford Rutherford (born 2 October 1950 in Guildford, Surre y) is an English musician. He is a founding member of Genesis, initially as a ba ssist and backup vocalist.142 In later incarnations of Genesis, he assumed the r ole of lead guitarist. He is one of only two constant members in Genesis (the ot her is keyboardist Tony Banks). He also fronts Mike + The Mechanics. He was indu cted into the Rock and Roll Hall of Fame as a member of Genesis in 2010. Early life Rutherford received his first guitar at the age of eight, and played in his firs t band, the Chesters (so named because they lived near Chester) at the age of ni ne.143 His father, Crawford Rutherford, was a Royal Navy Captain who became a ma nager in industry upon his retirement from the service. Mike attended the Leas P reparatory School in Hoylake as a boarder, before moving at the age of 13 to Cha rterhouse School, where he joined the Anon and formed a songwriting partnership with fellow guitarist Anthony Phillips. At age 15, the two of them founded Genes is with Tony Banks and Peter Gabriel. Rutherford was later expelled from Charter house for what he describes as a number of instances of minor misconduct.144 Bass/guitar playing Rutherford's bass playing involved the bass with high treble, use of a pick and a fuzz box in songs like "The Knife" and "The Return of the Giant Hogweed". Ruth erford was noted for his use of the 12-string guitar. A distinctive sound of ear ly and classic Genesis recordings was the double acoustic 12-string playing of R utherford intertwined with that of Anthony Phillips, and, later, Steve Hackett ( additionally, keyboardist Tony Banks would occasionally throw his own 12-string into the mix). Early Genesis recordings often featured simultaneous 12 string gu itar and Dewtron "Mister Bassman" bass pedal synthesiser playing by Rutherford. He used Moog Taurus bass pedals as well by the Trick of the Tail Tour. Often, ba ss guitar, 12-string guitar, and bass pedal playing would feature in different s ections of a single song, "Supper's Ready", "Firth of Fifth", and "The Cinema Sh ow" being good examples of this. He often played a double necked instrument, cus tom built from a separate Rickenbacker hollowbody 12-string and 4001 bass. Ricke nbacker later issued double neck bass/guitar combinations with 4080/6 and 4080/1 2 models. However, Rutherford had the guitar in the top position rather than the 4080's stock guitar on bottom. He later had a custom Shergold double neck made with Mike requesting the body be modified so that each neck could be detached an d played as a standard single neck instrument. Style After the departure of guitarist Steve Hackett, Rutherford took over all guitari st roles for the band in the recording studio. On live shows, he would alternate between guitar and bass with touring-only guitarist/bassist Daryl Stuermer. Stu ermer would typically play all of Hackett's guitar parts and play bass on most s ongs from the post-Hackett era. Rutherford's style, as evidenced by studio track s, is reminiscent of David Gilmour's, though less obviously based in the blues. Rutherford often used long, melodic tones, bending the notes into plaintive, alm ost vocal lines. This results in "singable" solos or the creation of sonic atmos pheres rather than showy displays of technical prowess. As a rhythm guitar player and writer, Rutherford favours melodic, minimalist cho rds or progressions of single notes, as in Genesis songs "Follow You, Follow Me, " "Turn It On Again," and "Invisible Touch," or the Mike + the Mechanics song "T he Living Years". Rutherford played at the Strat Pack Concert in 2004 along with Brian May, David

Gilmour and Joe Walsh. Solo During breaks in Genesis, he recorded two solo albums, Smallcreep's Day and Acti ng Very Strange. However, he was dissatisfied with his solo work and in 1984 he resolved to never record a solo album again, since he felt his creativity was at its peak when working in collaboration.145 Because of this, he formed the band Mike + The Mechanics during a break from Genesis in 1985. Mike + The Mechanics' biggest hits are "All I Need Is a Miracle", "Word of Mouth ", "The Living Years", "Silent Running" and "Over My Shoulder". To help promote the song, Rutherford and the record label perpetuated the impression that "The L iving Years" was inspired by Rutherford's relationship with his father, who died during Genesis's Invisible Touch Tour. In a 2004 interview, Rutherford confesse d that the lyrics were in fact written by B. A. Robertson, and based entirely on Robertson's relationship with his father.146 Rutherford also collaborated with other artists, including associates Peter Gabr iel and Phil Collins, on the Against All Odds soundtrack, offering the song "Mak ing A Big Mistake". Instruments Rutherford played mainly Rickenbacker and Shergold basses. He said (in 1979) of the early Rickenbackers he played that 'they were all borrowed from a friend. We 'd borrow one, break it, then borrow another. Up until a couple of years ago, I didn't own one myself'. He also developed the idea behind the M-Series Steinberg er guitar with the help of English luthier Roger Giffin and he used this extensi vely in the '80s and during The Invisible Touch Tour with Genesis. He also had a double-neck Status built for the Mama tour which featured a six string guitar a nd four string bass placed in a custom body. In the earlier years of Genesis he used to play Moog Taurus bass pedal synthesiser. Rutherford has also been onstag e with various Washburn Idol models. Through the late '70s live tours, Rutherfor d often used a custom built Rickenbacker double-neck that combined a 12-string h ollow-body guitar with a 4-string bass (now on display at the Rock and Roll Hall of Fame Museum). For the Lamb Lies Down On Broadway and Trick of the Tail tours , he incorporated a Rickenbacker 12-string hollow-body guitar and a 6-string bas s, custom-built by Microfrets, in two different double-necks. A custom Shergold double-neck was made that had modules for 4, 6 and 12 strings guitars. The re-tu nings required for early Genesis songs led to the development of Peter Gabriel's stories and introductions. Today with Genesis Rutherford continues to use doubl e-neck instruments, when the arrangements demand quick switches between bass and 12-string instruments. His current double-neck model is a Gibson 12-string guit ar with a Yamaha TRB-4P bass while he prefers Eric Clapton signature model Fende r Stratocasters when playing guitar on later pieces. Political views and advocacy Rutherford has supported the Countryside Alliance, an organisation promoting iss ues relating to hunting, angling and shooting, by playing in a concert to raise funds for the organisation.147 Personal life Rutherford currently lives in Surrey, England, with wife Angie. The couple were married on 13 November 1976 and have three children Harry, Tom and Kate. In 2009, Philip Beresford, compiler of the Sunday Times Rich List, estimated Rut herford's fortune at 30 million from past touring activity, future touring income and the Genesis back catalogue, plus other smaller company assets and accumulat ed earnings, making him one of the 50 richest residents of Surrey.148 Discography With Genesis From Genesis to Revelation (1969) Trespass (1970) Nursery Cryme (1971) Foxtrot (1972) Selling England by the Pound (1973) The Lamb Lies Down on Broadway (1974) A Trick of the Tail (1976)

Wind & Wuthering (1976) ...And Then There Were Three... (1978) Duke (1980) Abacab (1981) Genesis (1983) Invisible Touch (1986) We Can't Dance (1991) Calling All Stations (1997) With Mike + The Mechanics Mike + the Mechanics (November 1985) The Living Years (October 1988) Word of Mouth (April 1991) Beggar on a Beach of Gold (6 March 1995) Hits (4 March 1996) M6 (31 May 1999) Favourites/The Very Best Of (27 December 2000) Rewired (7 June 2004) The Road (18 April 2011) Solo albums Title Details Peak chartpositions UK CAN US NOR149 Smallcreep's Day Release date: February 15, 1980 Label: Charisma Records, Passport Records (USA & Canada) 13 163 30 Acting Very Strange Release date: September 7, 1982 Label: WEA, Atlantic Records (USA & Canada) 23 32 145 Solo singles Year Single Peak chart positions Album CAN US Main 1980 "Moonshine" Smallcreep's Day "Time and Time Again" "Working in Line" 1982 "Maxine"

37 39 Acting Very Strange "Halfway There" "Acting Very Strange" "" denotes releases that did not chart External links Article about Mike Rutherford's Shergold double neck guitar World of Genesis.com Mike Rutherford Biography World of Genesis.com 2004 Mike Rutherford Interview: Genesis of a Mechanic " Mike Rutherford joins the Band du Lac charity concert 11 June 2005 Tony Banks This article is about the musician. For other people named Tony Banks, see Tony Banks Tony Banks Banks playing at the Old Trafford football stadium in 2007 Banks playing at the Old Trafford football stadium in 2007 Background information Born 27 March 1950East Hoathly, East Sussex, England Genres Progressive rockClassicalRockPop rock Instruments Piano, Synthesizer, Rhodes piano, Mellotron, Organ , Vocals, Guitar, Bass guitar , Drums, Percussions Years active 1967present Labels Charisma RecordsPolydor RecordsVirgin RecordsAtlantic RecordsGiant RecordsRepris e RecordsNaxos Records Associated acts GenesisBankstatementStrictly Inc. Notable instruments ARP Pro Soloist, NEC Synclavier II, Prophet 10, Emulator II Anthony George "Tony" Banks (born 27 March 1950) is a British composer, and mult i-instrumentalist, who performs as a keyboardist and a guitarist. He is one of t he founding members of progressive rock group Genesis and one of only two member s (the other being bassist/guitarist Mike Rutherford) who have been with Genesis throughout its entire history. As a member of Genesis, Banks has been a pioneer in the use of a variety of keyb oards, such the ARP Pro Soloist synthesiser, the Mellotron, the Yamaha CP-70 and the Hammond T-102 organ. Through most of the band's history, Banks was the lead ing force in Genesis' songwriting; although the group was often responsible as a whole for composing songs, his ideas were often the nucleus of their music, and he would frequently write lyrics as well. Outside of Genesis, Banks has enjoyed a modestly successful career in the world of film scoring, and a limited solo c areer as well. He was inducted into the Rock and Roll Hall of Fame as a member o f Genesis in 2010. Early years Banks was born in East Hoathly, Sussex, England. He received classical training in piano, and taught himself to play guitar. He attended Charterhouse School whe re he met fellow pupil Peter Gabriel in 1963. Banks originally planned to study mathematics in higher education, and after Charterhouse he took a leave of absen ce from Sussex University to explore Genesis, and never returned.150 Banks and Gabriel, together with drummer Chris Stewart, formed a band called The Garden Wall. This band merged with another called Anon, which included Mike Rut

herford and Anthony Phillips. They recorded a set of demos which ultimately led to the formation of the band that became Genesis.151 Career in Genesis Banks' elaborate arrangements and keyboard solos such as the piano introduction to "Firth of Fifth" and the instrumental sections of "The Cinema Show", "Watcher of the Skies", and "Supper's Ready" helped to establish Genesis' sound. In addit ion to playing keyboards, Banks contributed (along with Steve Hackett and Mike R utherford) to Genesis' 12-string acoustic passages in songs such as "The Musical Box", "Entangled", "The Cinema Show", and the beginning part of "Supper's Ready ". Banks also was an occasional back-up vocalist and sang co-lead vocals on "She pherd," an unreleased track from 1970 which finally surfaced on the Genesis Arch ive 1967-75 boxed set. Banks's compositions are credited to be the driving force of Genesis' music, par ticularly in material recorded before 1979. Notable Banks-penned Genesis songs i nclude "Mad Man Moon," "One for the Vine" and the anthemic ballad "Afterglow", w hich remained a popular coda to the Banks-driven "medleys" that the group played during live shows for years. Genesis announced a reunion tour in 2006; when Gabriel declined to perform, it w as decided by the band members that the three-person lineup would be more approp riate, and Daryl Stuermer and Chester Thompson were invited to perform. Turn It on Again: The Tour began on 11 June 2007 in Helsinki, and ended on 13 October 20 07 at the Hollywood Bowl. In March 2010, Phish guitarist Trey Anastasio was asked to pay tribute to Genesi s, one of his favourite bands, upon their induction to the Rock and Roll Hall of Fame. In addition to Anastasio's speech, Phish appeared and performed two Genes is songs, "Watcher of the Skies" and "No Reply At All". Even though Banks and hi s Genesis bandmates (minus Peter Gabriel) attended the ceremony, they did not pe rform. Equipment Banks achieved a distinctive sound by running all of his keyboards (as well as h is 12-string guitar) into a mixing board and then running the signal output of t he board into a Leslie speaker (both the mixer and the rotary speaker were homem ade). This can clearly be heard on everything Banks plays on the Genesis Live al bum. Banks' earliest setup included a Hammond L-111 organ, a Hohner Pianet N and a Me llotron mkII, all of which (as well as grand piano) are first heard on the Tresp ass album (except the Hammond, which was replaced with a L-122 model, with a bri ghter sound than the L-111, used only in the early demo tracks). Banks used the Pianet as both a substitute for a grand piano, and also as a lead instrument, wi th the use of a fuzz box (also homemade, similar to the Fender Blender). He woul d often duel with Steve Hackett's guitar, as heard on tracks like "The Musical B ox", "The Return of the Giant Hogweed", or "Supper's Ready". Banks in 1974 switc hed to an RMI 368x Electra Piano and Harpsichord, which was soon integrated into the sound of Genesis, as first heard at various points on The Lamb Lies Down On Broadway album. It was often affected with the homemade fuzz box and an MXR Pha se 100 - later these pedals were inserted in the panel of the Electra Piano. Aft er 1978, the RMI was replaced with the Yamaha CP-70 electric grand piano. The first synthesiser to be used by Genesis was the monophonic ARP Pro Soloist, which Banks first acquired in 1973 along with a Hammond T-102 and a Mellotron M4 00 instead of the Hammond L122 and the Mellotron mkII. After 1977, Banks ditched the Leslie for another MXR Phase 100 and a Boss CE-1 Chorus effects pedals on h is organ. From 1976 from the time of Wind & Wuthering he began to use a ARP 2600 semi-modular synthesizer that he used in studio like on stage until around 1978 , and also one of the first polyphonic Synthesizer the Polymoog very present on ...And Then There Were Three... their 1978 album, that gave some new sounds comp lementing his organ and mellotron. He used this technique all the way up to Duke in 1980. On Abacab in 1981, the organ was no longer featured; organ sounds were emulated using a Sequential Circuits Prophet 10 synthesiser through the Boss CE -1. The Mellotron phased out altogether with the addition of the Roland RS-202 s tring and brass synthesizer, then the SCI Prophet 10 and the ARP Quadra synthesi

zer. Sound innovations Banks pioneered many unique keyboard and synthesiser sounds throughout his caree r; music historian Wayne Studer has referred to him as "the most tasteful keyboa rdist of prog rock.".152 One of his achievements was the technique of using the trigger output of a LinnDrum drum machine to have the hi-hat pattern trigger an ARP Quadra synthesiser, creating such parts as the pulsating drum sound in "Mama " (from 1983's Genesis) and "By You" on The Fugitive. Another unique synth techn ique was used on the track "Who Dunnit?" from the 1981 album Abacab; a Sequentia l Circuits Prophet-5 was programmed with a few sounds, and the patches were swit ched manually (via the panel preset tabs) while he played. Banks used a cross-hand playing style in several songs to allow himself to play faster. This is notable on "The Lamb Lies Down on Broadway" and "The Carpet Craw lers". He also used the cross-hand technique on "No Reply At All" (which can be seen briefly in the accompanying music video), "Robbery, Assault and Battery" (a lso seen in the accompanying music video), "Duke's Travels" and "Fading Lights". Career outside Genesis Film scoring Banks has also created some film scores. The movie The Wicked Lady features a sc ore by Banks as well as The Shout, co-credited with Mike Rutherford and Rupert H ine. He wrote the soundtrack to Quicksilver, starring Kevin Bacon, the single fr om which was produced by Richard James Burgess. After Genesis went into hiatus i n 1998, Banks continued to write. A set of (mostly) recently-composed orchestral pieces was recorded and released on the 2004 album Seven: A Suite for Orchestra . Solo career After the departure of Peter Gabriel and guitarist Steve Hackett from Genesis, B anks was the first of the three remaining members of the group to release a solo album. But unlike Phil Collins and Peter Gabriel, who saw great solo success, a nd Mike Rutherford, who had a hugely successful side career with Mike + the Mech anics, Banks's solo efforts achieved only modest sales. In 1998, fans formed a t ribute band called Strictly Banks, and performed a set of Banks's solo songs. Apart from the album The Fugitive and selected other songs, Banks has employed g uest vocalists on his solo albums; these have included (amongst others) Fish, Ni k Kershaw, Toyah Willcox, Jack Hues and Jim Diamond. Banks's most recent solo release is entitled Seven: A Suite for Orchestra which is in the classical genre. Banks's compositions are performed by the London Phil harmonic Orchestra, conducted by Mike Dixon, and Banks himself played piano with the orchestra on three tracks. The album received a worldwide release on Naxos Records. Solo discography 1979 A Curious Feeling 1983 The Wicked Lady (soundtrack) 1983 The Fugitive 1986 Soundtracks 1989 Bankstatement 1991 Still 1995 Strictly Inc 2004 Seven: A Suite for Orchestra A Curious Feeling' was remastered into new stereo and 5.1 mixes by Nick Davis an d released in 2009 to commemorate the album's 30 year anniversary. Instruments While Banks's rig varied from year to year, many pieces of equipment made repeat appearances. In addition, the rig sometimes changed between an album and the su bsequent tour. Below are lists of the various rigs that Banks used live and on e ach album. Live Rigs - 1968-1969: Hammond L-111 organ, Hohner Pianet N, Farfisa Compact Deluxe. - 1969-1972: Hammond L-122 organ, Hohner Pianet N, Mellotron Mark II. - 1973-1977: Hammond T-102 organ, RMI 368x Electra Piano and Harpsichord, Mellot

ron M-400, ARP Pro Soloist. - 1977-1979: Hammond T-102 organ, Yamaha CP-70 electric grand piano, ARP 2600, M oog Music Polymoog, ARP Pro Soloist. - 1980-1981: Hammond T-102 organ, Yamaha CP-70 electric grand piano, Sequential Circuits Prophet 5, Moog Music Polymoog, ARP Quadra. - 1981-1982: Sequential Circuits Prophet 10, Yamaha CP-70 electric grand piano, Yamaha CS-80, ARP Quadra. - 1983-1985: Sequential Circuits Prophet 10, Yamaha CP-70 electric grand piano, NED Synclavier (VPK version), E-mu Emulator, ARP Quadra. - 1986-1988: Sequential Circuits Prophet 10, Yamaha CP-70 electric grand piano, NED Synclavier (VPK version), E-mu Emulator, ARP Quadra, Yamaha DX7. - 1991-1992: Roland JD-800, Korg Wavestation, Roland Rhodes MK-80, E-mu Emulator . - 1997-1998: Roland A-90, Korg Wavestation, Korg Trinity, E-mu Proteus. - 2007-2008: Roland A-90, Korg Wavestation, Korg OASYS. Studio Rigs - From Genesis to Revelation: Hammond L-111 organ, Hohner Pianet N, Farfisa Comp act Deluxe Organ, Acoustic piano. - From Trespass to Foxtrot: Hammond L-122 organ, Hohner Pianet N, Mellotron Mark II. - From Selling England by the Pound to Wind & Wuthering: Hammond T-102 organ, RM I 368x Electra Piano and Harpsichord, Mellotron M-400, ARP Pro Soloist. - ...And Then There Were Three...: Hammond T-102 organ, Yamaha CP-70 electric gr and piano, ARP 2600, Moog Music Polymoog, ARP Pro Soloist, Roland RS-202. - Duke: Hammond T-102 organ, Yamaha CP-70 electric grand piano, Sequential Circu its Prophet 5, Moog Music Polymoog, ARP Quadra, Yamaha CS-80. - Abacab: Sequential Circuits Prophet 10, Yamaha CP-70 electric grand piano, Yam aha CS-80, ARP Quadra, Moog Music Polymoog. - Genesis: Sequential Circuits Prophet 10, Yamaha CP-70 electric grand piano, NE D Synclavier (VPK version), E-mu Emulator, ARP Quadra. - Invisible Touch: Sequential Circuits Prophet 10, Yamaha CP-70 electric grand p iano, NED Synclavier (VPK version), E-mu Emulator, ARP Quadra, Yamaha DX7. - We Can't Dance: Roland JD-800, Korg Wavestation, Roland Rhodes MK-80, E-mu Emu lator, Ensoniq VFX. - Calling All Stations: Roland A-90, Korg Wavestation, Korg Trinity, E-mu Proteu s. Personal life Banks currently lives with his wife Margaret, south of London. The couple were m arried on 29 July 1972, and have two children Ben (b. 1978) and Emily (b. 1981). External links World of Genesis.com Tony Banks Biography 1950-2008 World of Genesis.com Tony Banks 2004 Interview World of Genesis.com Tony Banks 2009 Interview Man Of Spells - The Tony Banks Fanlisting Phil Collins Phil Collins Phil Collins performing in Perugia, Italy, 1996 Background information Birth name Philip David Charles Collins Born 30 January 1951London, England Genres Progressive rock, rock, pop, jazz fusion, R&B Occupations Singer-songwriter, musician, actor Instruments Drums, vocals, piano, guitar, keyboards, percussion Years active 19682011

Labels Virgin, Atlantic Associated acts Genesis, Brand X, Flaming Youth, Philip Bailey, Eric Clapton, The Phil Collins B ig Band Website [philcollins.co.uk philcollins.co.uk] Philip David Charles "Phil" Collins, LVO (born 30 January 1951)153 is an English retired singer-songwriter, drummer, pianist and actor best known as a drummer a nd vocalist for British progressive rock group Genesis and as a solo artist. Collins sang the lead vocals on several chart hits in the United Kingdom and the United States between 1978 and 1994, either as a solo artist or with Genesis. H is singles, often dealing with lost love, ranged from the drum-heavy "In the Air Tonight", dance pop of "Sussudio", piano-driven "Against All Odds", to the poli tical statements of "Another Day in Paradise". Collins's professional music career began as a drummer, first with Flaming Youth and then more famously with Genesis. In Genesis, Collins originally supplied ba cking vocals for front man Peter Gabriel, singing lead on only two songs: "For A bsent Friends" from 1971's Nursery Cryme album and "More Fool Me" from Selling E ngland by the Pound, which was released in 1973. Following Gabriel's departure i n 1975, Collins became the group's lead singer. His solo career, heavily influenced by his personal life, brought both him and G enesis commercial success. According to Atlantic Records, Collins's total worldw ide sales as a solo artist, as of 2000, were 150 million.154 Collins has won num erous music awards throughout his career, including seven Grammy Awards, five Br it Awardswinning Best British Male three times, an Academy Award, and two Golden Globes for his solo work.155156 He was inducted into the Rock and Roll Hall of F ame as a member of Genesis in 2010. Collins is one of only three recording artists (along with Paul McCartney and Mi chael Jackson) who have sold over 100 million albums worldwide both as solo arti sts and (separately) as principal members of a band.157 When his work with Genes is, his work with other artists, as well as his solo career is totalled, Collins had more top 40 hits on the Billboard Hot 100 chart during the 1980s than any o ther artist.158 In 2008, Collins was ranked the 22nd most successful artist on t he "The Billboard Hot 100 Top All-Time Artists".159 Early life Collins was born in Chiswick, London, England, the son of June, a theatrical age nt, and Greville Philip Austin Collins, an insurance agent,160 though official r ecords state his mother to be Winifred M. Strange.161 He was given a toy drum ki t for Christmas when he was five. Later, his uncle made him a makeshift one that he used regularly. As Collins grew older these were followed by more complete s ets bought by his parents.162 He practised by playing alongside the television a nd radio, and never learned to read and write conventional musical notation; ins tead, he uses a system he devised himself.163 Early career His professional training began at fourteen when he entered Barbara Speake Stage School.164 He began a career as a child actor and model, and won his first majo r role as The Artful Dodger in the London production of Oliver!. He was an extra in The Beatles' A Hard Day's Night, one of hundreds of screaming teenagers duri ng the TV concert sequence and seen fleetingly in a close-up. He was also in Chi tty Chitty Bang Bang as one of the children who storms the castle at the end of the movie, but it was cut.165 He also auditioned for the role of Romeo in Romeo and Juliet (1968),166 a role won by fellow Artful Dodger actor, Leonard Whiting. 167 Collins was among the last three finalists for the role of I.Q. on the Ameri can children's television show The Bugaloos (he lost out to English actor/musici an John McIndoe).168 Despite the beginnings of an acting career, Collins continued to gravitate towar ds music. While attending Chiswick Community School he formed a band called The Real Thing and later joined The Freehold. With the latter group, he wrote his fi rst song titled "Lying Crying Dying".169

Collins's first record deal came as drummer for Hickory, who changed their name to Flaming Youth by the time of their sole album, Ark 2 (1969).170 A concept alb um inspired by the recent media attention surrounding the moon landing, Ark 2 (w ith Ronnie Caryl, Brian Chatton and Gordon (Flash) Smith), failed to make much c ommercial success despite positive critical reviews. Melody Maker featured the a lbum as "Pop Album of the Month", describing it as "adult music beautifully play ed with nice tight harmonies".171 The album's main single, "From Now On", failed on the radio. After a year of touring, band tensions and the lack of commercial success dissolved the group. In 1970, the 19-year old Collins played percussion on the George Harrison song "The Art of Dying". Harrison credited him in the li ner notes to the remastered CD version of the album released in 2000.172 Genesis era In 1970, Collins answered a Melody Maker classified ad for "...a drummer sensiti ve to acoustic music, and acoustic twelve-string guitarist".173 Genesis placed t he ad after having already lost three drummers over two albums.174 The audition occurred at the home of Peter Gabriel's parents. Prospective candidates performe d tracks from the group's second album, Trespass (1970). Collins arrived early, listened to the other auditions while swimming in Gabriel's parents' pool, and m emorised the pieces before his turn.175 Collins won the audition. Nursery Cryme was released a year later. Although his role remained primarily that of drummer and backing vocalist for the next five y ears, he twice sang lead vocals: once on "For Absent Friends" (from Nursery Crym e) and once on "More Fool Me" (from Selling England by the Pound). In 1974, while Genesis were recording the concept album The Lamb Lies Down on Br oadway, Brian Eno (who is credited with "Enossification" for electronic vocal ef fects on the track "Grand Parade of Lifeless Packaging") needed a drummer for hi s album Taking Tiger Mountain (By Strategy).176 Collins was sent to fill the gap , and played drums in lieu of payment for Eno's work with the band. In 1975, following the final tour supporting the album The Lamb Lies Down on Bro adway, Gabriel left the group to pursue a solo career. Collins became lead vocal ist after a lengthy but ultimately fruitless search for Gabriel's replacement (w here he sang back-up with the over 400 hopefuls that reportedly auditioned).177 In the short term, the group recruited former Yes and King Crimson drummer Bill Bruford to play drums during live shows, although Collins continued to play duri ng longer instrumental sections. Bruford's drumming can be heard on the track "T he Cinema Show" on the live album Seconds Out. He was soon replaced by ex-Frank Zappa band member Chester Thompson, who became a mainstay of the band's live lin e-up. Collins, however, continued to play drums on all of the band's studio reco rdings. The first album with Collins as lead vocalist, 1976's A Trick of the Tail, reach ed the American Top 40, and peaked high as #3 on the UK charts. Said Rolling Sto ne, "Genesis has managed to turn the possible catastrophe of Gabriel's departure into their first broad-based American success."178 Following the recording of G enesis's next album Wind and Wuthering guitarist Steve Hackett left the group to pursue his own solo career. The group decided to continue as a trio for recordi ng with Mike Rutherford playing guitar and bass in the studio, although the line up was regularly augmented by Chester Thompson and American guitarist Daryl Stue rmer for concert tours. Collins simultaneously performed in a jazz fusion group called Brand X. The band recorded their first album, Unorthodox Behaviour, with Collins as drummer, but because Genesis was Collins's priority, there were several Brand X tours and alb ums without him. Collins credits Brand X as his first use of a drum machine as w ell as his first use of a home 8-track tape machine.179 Collins also performed on Steve Hackett's first solo album, Voyage of the Acolyt e, on which he sang lead vocals and played drums. As the decade closed, Genesis began a shift from their progressive rock roots and toward more accessible, radi o-friendly pop-rock music. The album ...And Then There Were Three... featured th eir first UK Top 10 and US Top 40 single, "Follow You Follow Me".180181 In the 1980s, while Collins developed as a songwriter and established a parallel career as a solo artist, Genesis recorded a series of highly successful albums

including Duke, Abacab, Genesis, and Invisible Touch. The latter album's title t rack reached #1 on the American Billboard singles chart, the only Genesis song t o do so. The group received an MTV "Video of the Year" nomination in 1987 for th e single "Land of Confusion" (which featured puppet caricatures created by the B ritish satirical team Spitting Image) but lost out to Peter Gabriel's solo hit, "Sledgehammer".182 Reviews were generally positive, with Rolling Stone's J. D. C onsidine stating, "every tune is carefully pruned so that each flourish delivers not an instrumental epiphany but a solid hook."183 Collins left Genesis in 1996 to focus on his solo career.184 The last studio alb um with him as the lead singer was 1991's We Can't Dance. He and Gabriel reunite d with other Genesis members in 1999 to re-record "The Carpet Crawlers" for Gene sis's Turn It on Again: The Hits. When in the mid-2000s discussions of a possibl e Genesis reunion arose, Collins stated that he would prefer to return as the dr ummer, with Gabriel handling the vocals.185 Eventually Turn It On Again: The Tou r was announced for 2007, with the Collins/Rutherford/Banks line-up. In March 2010, Phish guitarist Trey Anastasio was asked to pay tribute to Genesi s, one of his favourite bands, upon being inducted into the Rock & Roll Hall of Fame. In addition to Anastasio's speech, Phish appeared and performed two Genesi s songs, "Watcher of the Skies" and "No Reply At All". Collins and his Genesis b and-mates (minus Peter Gabriel) attended the ceremony but they did not perform. Solo career Early solo recordings (19811983) The dominant theme running through Collins's early solo recordings (although nev er specifically mentioned in his songs) was the acrimonious breakdown of his fir st marriage and then-recent divorce. Two songs he wrote on the Genesis album Duk e, "Please Don't Ask", and the Top 20 hit "Misunderstanding", dealt with failed relationships. One year earlier, he had played drums and sung backing vocals on John Martyn's Grace and Danger, an album whose main theme is also marriage break -up. With the recording of his first solo album, Face Value, Collins attributed his divorce as his main influence,186 as can be inferred from songs such as "If Leaving Me Is Easy". Collins made his live debut as a solo performer, appearing at the invitation of producer Martin Lewis at the Amnesty International benefit show, The Policeman's Other Ball at the Theatre Royal in London in September 198 1, performing two songs from Face Value including "In the Air Tonight" and "The Roof is Leaking" accompanying himself on piano. Face Value became a surprise int ernational success topping the charts in at least seven countries and hitting th e top ten of the Billboard 200 eventually going triple-platinum in the US. Hits from the album included "In the Air Tonight", "I Missed Again" and "If Leaving M e Is Easy". In 1982, he produced ABBA member Frida's solo album, Something's Goi ng On, which helped to spawn the title track, "I Know There's Something Going On ", which became a hit. Much like Face Value, many of the songs from Collins's 1982 follow-up album, Hel lo, I Must Be Going!, came from Collins's marital problems with his first wife s uch as "I Don't Care Anymore" and "Do You Know and Do You Care". Collins's early a lbums had a dark presence, usually heavy on the drums. Regarding Face Value, he says, "I had a wife, two children, two dogs, and the next day I didn't have anyt hing. So a lot of these songs were written because I was going through these emo tional changes."187 There were occasional poppier influencesFace Value's "Behind the Lines", for example, was a jazzy remake of a Genesis song he co-wrote. Face Value was a critical and multi-platinum success, and saw Collins's profile increas e further. Hello, I Must Be Going! gave him a UK #1 for his cover of The Supreme s' "You Can't Hurry Love". The album went triple-platinum in the United States, like its predecessor. The Supremes' cover was his first Top 10 US hit (it also h it the Top 10 of Billboard's Adult Contemporary chart). The album also reached # 2 on the UK album chart, spending well over a year there.188 Two years before, Collins had played drums on Peter Gabriel's third self-titled record (often referred to as Melt), the first record to feature the "gated rever b" sound, which was used on the song "Intruder". Gabriel reportedly "didn't want any metal on the record" and asked Collins to leave his cymbals at home, to con centrate on the sound of his kit more heavily than usual. Studio engineer Hugh P

adgham augmented the drum sound by using a microphone normally intended for stud io communication rather than recording and feeding it through a signal processor called a noise gate. This allowed the reverberation added to the drums to be su ddenly cut off before it naturally decayed. The result was the arresting "gated reverb" which became Collins signature sound. This was the same 'big drum sound' used on such songs as "In The Air Tonight", "Mama" by Genesis, and Frida's "The re's Something Going On". Mid-career (19841992) Collins changed his musical style with the release of the ballad, "Against All O dds (Take a Look at Me Now)", which was the theme song to the movie of the same name in 1984. The more pop-friendly and radio-accessible single became Collins's first solo single to reach number-one on the Billboard Hot 100.189 Later that y ear, Collins contributed to production on Earth, Wind & Fire singer Phillip Bail ey's debut album, Chinese Wall, collaborating with Bailey on the hit duet, "Easy Lover". Collins featured on Band Aid's "Do They Know It's Christmas", he played drums and sang on the song. Collins released his most successful album, No Jack et Required, in early 1985. It contained the hits "Sussudio", "One More Night", "Don't Lose My Number", and "Take Me Home", as well as the less known yet equall y robust "Who Said I Would", and "Only You Know and I Know". The album featured Sting, Helen Terry and ex-bandmate Peter Gabriel as backing vocalists. He also r ecorded the successful song "Separate Lives", a duet with Marilyn Martin, and a US number one, for the movie White Nights.190 Collins had three US number one so ngs in 1985, the most by any artist that year.191 No Jacket Required went on to win several Grammy awards including Album of the Year. No Jacket Required received criticism that the album was too safe, despite its u pbeat reviews and commercial success. A positive review by David Fricke of Rolli ng Stone ended, "After years on the art-rock fringe, Collins has established him self firmly in the middle of the road. Perhaps he should consider testing himsel f and his new fans' expectations next time around."192 "Sussudio" also drew crit icism for sounding too similar to Prince's "1999", a charge that Collins did not deny.193 Nevertheless, the album went straight to #1 in the US and UK. In 1985, Collins was invited by Bob Geldof to perform at the Live Aid charity event. Col lins had the distinction of being the only performer to appear at both the UK co ncert at Wembley Stadium and the US concert at JFK Stadium in Philadelphia. He a ccomplished this by performing early in the day at Wembley as both a solo artist and alongside Sting, then transferring to a Concorde flight to the US enabling him to perform his solo material, and drum for Led Zeppelin and Eric Clapton in Philadelphia. While being a guest on major artists' hit recordings, Collins cont inued to enjoy solo success even while on tour with Genesis, besides from his nu mber-one duet with Marilyn Martin in 1986, Collins would score two more hits fro m movies with the singles, "Two Hearts" (#1 US, #6 UK), and "Groovy Kind of Love " (#1 UK, #1 US), the latter two from the soundtrack of his feature film, Buster .194195 In 1989, Collins produced another successful album, ...But Seriously, featuring the anti-homelessness anthem "Another Day in Paradise", with David Crosby on bac king vocals. (Collins later went on to co-write, sing and play on the song "Hero " on Crosby's 1993 album Thousand Roads.) "Another Day in Paradise" went to Numb er 1 on the Billboard Charts at the end of 1989 and won Collins Best British Sin gle at the 1990 Brit Awards, and the 1991 Grammy Award for Record of the Year.19 6197 In the process, it became the last #1 US pop hit of the 1980s. The album .. .But Seriously became the first #1 US album of the 1990s. Other songs included " Something Happened on the Way to Heaven" (#4 US, #15 UK), "Do You Remember?" (no t released in the UK, but a #4 hit in the US), and "I Wish It Would Rain Down" ( the latter featuring Eric Clapton on guitar) (#3 US, #7 UK).198199 Songs about a partheid and homelessness demonstrated Collins's turn to politically-driven materi al. This theme recurred on his later albums. A live album, Serious Hits... Live! , followed. In September 1990, Collins performed "Sussudio" at the 1990 MTV Vide o Music Awards in Los Angeles.200 Later solo work and Genesis reunion (19932008) Collins's record sales began to drop with the 1993 release of Both Sides, a larg

ely experimental album that, according to Collins, included songs that "were bec oming so personal, so private, I didn't want anyone else's input".201 Featuring a less polished sound and fewer up-tempo songs than his previous albums, Both Si des was a significant departure. Collins used no backing musicians, performed al l the vocal and instrumental parts at his home studio, and used rough vocal take s for the final product. The album was not well received by radio. Its two bigge st hits were "Both Sides of the Story" and "Everyday". Collins worked on the alb um completely independently of his record company, and took them by surprise whe n he delivered them a completed album that they were unaware he was making. Collins officially parted ways with Genesis in 1996 to focus on his solo career (Genesis would produce one album without Collins...Calling All Stations...before g oing on hiatus). Collins attempted a return to pop music with Dance into the Lig ht, which Entertainment Weekly reviewed by saying that "(e)ven Phil Collins must know that we all grew weary of Phil Collins".202 It included minor hits such as the title track and The Beatles-inspired "It's in Your Eyes". Although the albu m went Gold in the US, it sold considerably less than his previous albums. Despi te this, the subsequent tour regularly sold out arenas. In 1996, Collins formed The Phil Collins Big Band. With Collins as drummer, the band performed jazz renditions of various Collins and Genesis hits. The Phil Col lins Big Band did a world tour in 1998 that included a performance at the Montre ux Jazz Festival. In 1999, the group released the CD A Hot Night in Paris includ ing big band versions of "Invisible Touch", "Sussudio", and the more obscure "Th e Los Endos Suite" from A Trick of the Tail. A compilation album ...Hits was released in 1998 and sold very well, returning C ollins to multi-platinum status in America. The album's sole new track, a cover of the Cyndi Lauper hit "True Colors", received considerable play on US Adult Co ntemporary stations while peaking at #2.203 Some of Collins's earlier hits (e.g. "I Missed Again", "If Leaving Me Is Easy", etc.) and other successes were not i ncluded in this compilation. Collins's next single, "You'll Be in My Heart", from the Disney animated movie T arzan, spent 19 weeks at #1 on Billboard's Adult Contemporary chart the longest time ever up to that point. The song won Collins an Academy Award for Best Song. It was his third nomination in the songwriters category, after being nominated in 1985 and 1989. Collins was awarded a star on the Hollywood Walk of Fame, on 1 6 June 1999.204 In 2002 Collins released Testify. Metacritic's roundup of album reviews found th is record to be the worst-reviewed album at the time of its release, though it h as since been "surpassed" by three more recent releases.205 The album's "Can't S top Loving You" (a Leo Sayer cover) was yet another #1 Adult Contemporary smash hit for Collins. Testify sold 140,000 copies in the United States by year's end, although a successful worldwide tour followed.206 That same year Collins accepted an invitation to drum for the "house band" at a concert celebrating Queen Elizabeth II's Golden Jubilee. In 2003 announced his l ast solo tour207 the "First Final Farewell Tour", a tongue-in-cheek reference to the multiple farewell tours of other popular artists. In 2006 he worked with Di sney on a Broadway production of Tarzan, a musical which received generally mixe d reviews. In 2007 Collins reunited with his Genesis bandmates Tony Banks and Mi ke Rutherford for Turn It On Again: The Tour, a tour of Europe and North America . During the tour Genesis performed at the Live Earth concert at Wembley Stadium . Following the band's performance, presenter Jonathan Ross had to apologise to viewers watching the televised version as Collins had used a swear word while si nging "Invisible Touch". Going Back and retirement (20092011) In October 2009, it was reported that Collins was to record a Motown covers albu m. He told a German newspaper, "I want the songs to sound exactly like the origi nals", and that the album would feature up to 30 songs.208 In January 2010, Ches ter Thompson said that the album had been completed and would be released some t ime soon. He also revealed that Collins managed to play the drums on the album d espite the adverse effects of his recent spinal operation.209 It was the first s olo album Collins had recorded which consisted entirely of songs written by othe

r people. Going Back was released on 13 September 2010, entering the UK charts at number 4 , rising to number one the following week.210 In early summer 2010, Collins play ed six concerts entirely dedicated to the music from Going Back. These included a special programme, Phil Collins: One Night Only, which was broadcast on ITV1 o n 18 September 2010. As of January 2011, Collins has spent 1,730 weeks in German music charts 766 wee ks of them with Genesis albums and singles and 964 weeks with solo releases.211 Citing health problems and other concerns, Collins announced on 4 March 2011 tha t he was taking time off from his career, prompting widespread reports of his re tirement.212 Days later, on 7 March, his UK representative told the press, "He i s not, has no intention of, retiring."213 However, later that day, Collins poste d a message to his fans on his own website, confirming his intention to retire i n order to focus on his family life.214215 Drums and other equipment Phil Collins uses Gretsch drums and Sabian cymbals. Drums (all single headed con cert toms except for the snare): 20" Bass Drum, 18" Floor Tom, 16" Floor Tom, 15 " Mounted Tom, 12" Tom, 10" Tom, 8" Tom, 14"x4" Snare, 14" Phil Collins Special. Cymbals: HH Medium Crash 20" HH Extra Thin Crash 17" Hi-Hats 15" HH China 20" HH Medium-Thin Crash 16" -HH China 22" HH Raw Bell Dry Ride 21".216 Until 1986, Collins played Paiste and Zildjian cymbals. Other drums he's used ov er the years are Premier, Noble & Cooley, Pearl, Simmons and Ludwig drums. He us es a Ludwig Speed King pedal and Pro Mark sticks. Other instruments which have become synonymous with Collins's sound (particularl y in his post-1978 Genesis and subsequent solo career) include the Roland CR-78 and Roland TR-808 drum machines, Sequential Circuits Prophet-5 synthesizer,217 a nd the Yamaha CP-70 electric grand piano. Films, theatre and television The majority of Collins's film work has been through music. Four of his seven Am erican number one songs came from film soundtracks, and his work on Disney's Tar zan earned him an Oscar. Collins even sang German, Italian, Spanish and French v ersions of the Tarzan soundtrack for the respective film versions. Collins's act ing career has been brief. As a child, he appeared in three films, although two of the films were for brief moments as an extra. Besides the aforementioned A Ha rd Day's Night (1964), Collins's first lead role was in a children's film Calami ty the Cow (1967). Collins wrote and performed the title song to Against All Odds in 1984. The song became the first of his seven American number one songs and received an Academy Award nomination for Best Song. Collins was not invited to perform the song at that year's presentation, although he was in the audience as the song's composer . Collins had arranged his US tour to accommodate the possibility of appearing o n the telecast in the event his song was nominated for an Oscar. It is believed that the producers of that year's Academy Awards show were not aware of his prom inence as a musical performer. A note to Collins's label from telecast co-produc er Larry Gelbart explaining the lack of invitation stated, "Thank you for your n ote regarding Phil Cooper (emphasis added). I'm afraid the spots have already be en filled". Collins instead watched Ann Reinking perform his song.218 For a long time afterwards, he would introduce his performance of "Against All Odds" at hi s concerts by saying: "Miss Ann Reinking's not here tonight, so I guess I'll hav e to sing my own song". As a vocalist, Collins sang Stephen Bishop's composition "Separate Lives" for th e film White Nights (1985) as a duet with Marilyn Martin. The single of the reco rding became another number one hit for Collins. The song itself was nominated f or an Academy Award for Best Song (a category that honours the composer, not the vocalists). Bishop's song had parallels to some of the songs on Collins's first two albums. Writer Stephen Bishop noted that he was inspired by a failed relati onship and called "Separate Lives" "a song about anger".219 When the song was be ing nominated for an Academy Award, in interviews about the original snub by the Academy for "Against All Odds", Collins would jokingly say "the hell with him I 'm going up too," referring to if Bishop's song were to win the award.220

Collins's first film role since becoming a musician came in 1988 with Buster abo ut the Great Train Robbery, which took place in England in the 1960s. The movie received good reviews and Collins contributed four songs to the film's soundtrac k. His rendition of "Groovy Kind of Love", originally a 1966 single by The Mindb enders, with lyrics by Toni Wine and music by Carole Bayer Sager, but with the m elody of the Rondo section of Muzio Clementi's "Sonatina in G major", op. 36 no. 5 reached number one. The film also spawned the hit single "Two Hearts", which he wrote in collaboration with legendary Motown songwriter Lamont Dozier; the tw o artists would go on to win a Golden Globe for Best Original Song and receive a n Oscar nomination in the same category, the second such honour for Collins; "Bi g Noise", written by Phil Collins and Lamont Dozier, which included Collins on v ocals (although the song was not released as a single, an instrumental version o f this song appeared as the B-side to the single version of "A Groovy Kind Of Lo ve".) The final song, "Loco In Acapulco", was another collaboration between him and Dozier, with the vocals performed by the legendary Motown group The Four Top s. Movie critic Roger Ebert said the role of Buster was "played with surprising effectiveness" by Collins, although the film's soundtrack proved more successful than the movie did.221 Collins had cameo appearances in Steven Spielberg's Hook (1991) and the AIDS doc udrama And the Band Played On (1993). He starred in 1993's Frauds, which compete d for the Palme d'Or at the 1993 Cannes Film Festival.222 He supplied voices to two animated features: Amblin's Balto (1995) and Disney's The Jungle Book 2 (200 3). A long-discussed but never completed project was a movie titled The Three Be ars; originally meant to star him alongside Danny DeVito and Bob Hoskins, he oft en mentioned the film, though an appropriate script never materialised.223 Collins performed the soundtrack to the animated film Tarzan (1999) for The Walt Disney Company. Collins won an Academy Award for "You'll Be in My Heart", which he performed at that year's telecast as well as during a Disney-themed Super Bo wl halftime show. The song, which he also recorded in Spanish among other langua ges, became his only appearance on Billboard's Hot Latin Tracks.224 Disney hired him, along with Tina Turner, in 2003 for the soundtrack to another animated fea ture film, Brother Bear, and had some airplay with the song "Look Through My Eye s". On television, he twice hosted the Billboard Music Awards. He also appeared in a n episode of the series Miami Vice, entitled "Phil the Shill", in which he plays a cheating con-man. He also guest starred in several sketches with The Two Ronn ies. Most recently, he had a cameo appearance on the television series Whoopi. In 2001, Collins was sought out by the satirist Chris Morris, and appeared in th e Brass Eye 'Paedophile Special' endorsing a spoof charity called 'Nonce Sense'. At one point Collins, dressed in a matching baseball cap and t-shirt emblazoned with the name of this fictitious charity, stares into the camera and declares: "I'm talking Nonce-sense." In 2005, Collins's work on Brother Bear was expanded as Disney used the song "We lcome" as the theme for Walt Disney's Parade of Dreams, the main parade celebrat ing the 50th Anniversary of Disneyland. In 2006 Disney's Tarzan was adapted for Broadway. Collins contributed 11 new son gs and instrumental pieces, and was deeply involved in the production. Unlike th e movie, where Collins sang all the material, the characters sang on stage. Collins made an appearance as himself in the 2006 PlayStation Portable and PlayS tation 2 video game Grand Theft Auto: Vice City Stories, set in 1984. He appears in three missions in which the main character must save him from a gang that is trying to kill him, the final mission occurring during his concert, where the p layer must defend the scaffolding against saboteurs while Phil is simultaneously performing "In The Air Tonight." After this, the player is given the opportunit y to watch this performance of 'In the Air Tonight.' "In The Air Tonight" was al so featured in the soundtrack of Grand Theft Auto: Vice City Stories and it was also featured in the movie Aqua Teen Hunger Force Colon Movie Film For Theaters, the 2009 movie The Hangover and the 2007 Gorilla commercial for Cadbury's Dairy Milk chocolate. The advertisement also helped the song re-enter the New Zealand RIANZ Singles Chart at number three in July 2008, the following week reaching n

umber one, beating its original 1981 #6 peak. Phil Collins had several ties to t he hit show Miami Vice with 5 songs used in the course of the series as well as having starred in the episode "Phil The Shill." Phil Collins was portrayed in the hit cartoon South Park in the episode "Timmy 2 000" holding his Oscar throughout, referring to his 1999 win for "You'll Be In M y Heart", which defeated "Blame Canada" from South Park: Bigger, Longer & Uncut. He was seen again in the episode "Cartman's Silly Hate Crime". Phil Collins appears briefly in the Finnish animated sitcom Pasila in the episod e "Phil Collins Hangover". The music of this episode is a pastiche of Phil Colli ns' "Another Day In Paradise". Personal life Family Collins has been married three times. He married Canadian Andrea Bertorelli in 1 975. They met as students in a drama class in London.225226 They had a son, Simo n Collins, and Collins adopted Bertorelli's daughter Joely Collins, a Canadian a ctress. They divorced in 1980, after she started an affair with their painter an d decorator. Collins later appeared on the BBC's Top of the Pops singing his 198 1 solo hit "In The Air Tonight" with a pot of paint and brush positioned near hi s piano.227 Collins has since claimed that the presence of the paint and brush w as coincidental. Collins met his second wife, Jill Tavelman, in 1980. They were married from 1984 228 to 1996. They had one daughter, Lily Collins, born in 1989.229 Collins openl y admits that some of their divorce-related correspondence was by fax (one, abou t access to their daughter, was reproduced in The Sun), but denies that this too k her by surprise.230 Collins paid Jill 17M as final settlement.231 Collins married his third wife, Orianne Cevey, in 1999 after a five year romance .232 They have two sons, Nicholas and Matthew. They bought Sir Jackie Stewart's former house located in Begnins, Switzerland, overlooking Lake Geneva. Announcin g their separation on 16 March 2006, they were divorced on 17 August 2008. Colli ns reportedly paid Cevey 25M in settlement.233 Collins has said he will continue to live in Switzerland to be near the children. He is currently residing in Fchy, while also maintaining homes in New York City and Dersingham, England.234235 In 2008, Collins was quoted in People Magazine: "Marriage is a difficult propositi on. But I haven't given up on it, either."236 Collins, however, stated in 2010 t hat he had no intention of marrying again.237 Fortune Collins was estimated to have a fortune of 115 million in the Sunday Times Rich L ist of 2011, making him one of the 20 richest people in the British music indust ry.238 Court case On 29 March 2000, Phil Collins launched a case against two former musicians from his band to recoup $780,000 (500,000) in royalties that were overpaid. Louis Sat terfield, 62, and Rahmlee Davis, 51, claimed their contract entitled them to 0.5 per cent of the royalties from Serious Hits... Live!, a live album recorded dur ing Collins's Seriously, Live! World Tour tour in 1990. Their claim was they wer e an integral part of the whole album, but Collins responded the two should only receive royalties from the five tracks in which they were involved.239 Instead of asking for a return of what Collins considered overpayment, he sought to reco up the funds by withholding future royalties to Satterfield and Davis, which amo unted to less than an annual sum of $20,000 (12,500) each. On 19 April 2000, the British High Court ruled that the two musicians would rece ive no more royalty money from Phil Collins. The amount that Collins was seeking was halved, and Satterfield and Davis (who originally brought the suit forward in California) would not have to repay any of it. The judge agreed with Collins' s argument that Satterfield and Davis should have been paid for only the five tr acks on which they performed, including the hit "Sussudio".240 Health problems Collins reported losing his hearing in his right ear in 2000 due to a viral infe ction. In September 2009, it was reported that Collins could no longer play drum s, due to a recent operation to repair dislocated vertebrae in his neck.241 A st

atement from Collins on the Genesis band website said, "There isn't any drama re garding my 'disability' and playing drums. Somehow during the last Genesis tour I dislocated some vertebrae in my upper neck and that affected my hands. After a successful operation on my neck, my hands still can't function normally. Maybe in a year or so it will change, but for now it is impossible for me to play drum s or piano. I am not in any 'distressed' state; stuff happens in life."242 Activism Collins was appointed a Lieutenant of the Royal Victorian Order in 1994 in recog nition of his work on behalf of the Prince's Trust.243 Collins has stated he is a supporter of animal rights and People for the Ethical Treatment of Animals (PETA). In 2005, he donated an autographed drumstick in su pport of PETA's campaign against Kentucky Fried Chicken.244 Collins also has a lifelong interest in the Alamo. He has collected hundreds of artefacts related to the famous 1836 battle in San Antonio, Texas, narrated a li ght and sound show about the Alamo, and spoken at related events.245 Collins has often been mentioned erroneously in the British media as being a sup porter of the Conservative Party and an opponent of the Labour Party. This deriv es from the famous article in The Sun, printed on the day of the 1992 UK general election, titled "If Kinnock wins today will the last person to leave Britain p lease turn out the lights", which claimed that Collins was among several celebri ties who were planning to leave Britain in the event of a Labour victory. Shortl y before the 2005 election (when Collins was living in Switzerland), Noel Gallag her is reported as saying: "Vote Labour. If you don't and the Tories get in, Phi l is threatening to come back."246 However, Collins has since stated that althou gh he did once claim many years earlier that he might leave Britain if most of h is income was taken in tax, which was Labour Party policy at that time for top e arners, he has never been a Conservative Party supporter and he left Britain for Switzerland in 1994 purely because he met a woman who lived there. He said of G allagher: I don't care if he likes my music or not. I do care if he starts telling people I'm a wanker because of my politics. It's an opinion based on an old misunder stood quote.247 Despite his claim that he did not leave Britain for tax purposes, he was one of several super-rich figures living in tax havens who were singled out for criticism in a report by the charity Christian Aid in 2008.248 Questione d about his politics by Mark Lawson in an interview broadcast in 2009, Collins s aid: "My father was Conservative but it wasn't quite the same, I don't think, wh en he was alive. Politics never loomed large in our family anyway. I think the p olitics of the country were very different then."249 Collins founded the Little Dreams Foundation in February 2000, which aims to "re alise the dreams of children in the fields of sports and art" by providing futur e prodigies aged 4 to 16 years with financial, material, and mentoring support w ith the help of experts in various fields.250 Collins supports the South African charity The Topsy Foundation, which provides relief services to some of South Africa's most under-resourced rural communities through a multi-faceted approach to the consequences of HIV and AIDS and extrem e poverty. He donates all royalties earned in South Africa to the organization.2 51252 Collins is a patron of the charity Children in Hunger, a small UK based charity working to combat child poverty in Brazil.253 Discography Studio albums Release date Title 1981 Face Value 1982 Hello, I Must Be Going! 1985 No Jacket Required 1989 ...But Seriously

1993 Both Sides 1996 Dance into the Light 2002 Testify 2010 Going Back Number one singles Year Single Peak positions UK U.S. 1982 "You Can't Hurry Love" 1 10 1984 "Against All Odds (Take a Look at Me Now)" 2 1 1985 "Easy Lover" (With Philip Bailey) 1 2 "One More Night" 4 1 "Sussudio" 12 1 "Separate Lives" (With Marilyn Martin) 4 1 1988 "A Groovy Kind of Love" 1 1 "Two Hearts" 6 1 1989 "Another Day in Paradise" 2 1 "In the Air Tonight" re-entered the New Zealand charts in 2008 at #3 and then pe aked at #1, after featuring in a Cadbury Gorilla advertisement. References Atlantic Records Press Release (15 November 2002). "Phil Collins Celebrates TEST IFY With Weekend Today Performance and NYC In-Store". Atlantic Records. Retrieve d 19 January 2006. Baker, G.A. (1993). "Penthouse Interview". Penthouse. Archived from the original on 20 December 2005. Retrieved 13 January 2006. Billboard Magazine, Online. "Genesis Biography". Billboard Online. Retrieved 16 January 2006. Billboard Magazine, Online. "Phil Collins Chart History". Billboard Online. Retr ieved 13 January 2006. Bronson, Fred The Billboard Book of Number One Hits. Billboard Books, New York. 1998. p. 624. ISBN 0-8230-7641-5

Browne, David (1 November 1996). "Dance into the Light Review". Entertainment We ekly. Retrieved 10 February 2006. Ebert, Roger (25 November 1988). "Buster review". Chicago Sun-Times. Retrieved 1 0 February 2006. Fricke, David (9 May 1985). "No Jacket Required review". Rolling Stone. Retrieve d 8 February 2006. Giammetti, Mario. Phil Collins The Singing Drummer. Edizioni Segno. Tavagnacco. 2005. ISBN 88-7282-836-8 Gigging-Drum-Charts.com (14 November 2008). "Phil Collins of Genesis". SBI. Retr ieved 14 November 2008. Hear-it.org. "Famous baby boomers with significant hearing loss and/or tinnitus" . Retrieved 13 January 2006. Hewitt, Alan. "From "Opening the Music Box: A Genesis Chronicle"". Excerpted on www.philcollins.co.uk. Archived from the original on 10 January 2006. Retrieved 14 January 2006. "MTV Video Awards Past Winners". MTV. Retrieved 16 January 2006. Rosen, Craig. The Billboard Book of Number One Albums. Billboard Books, New York . 1996. ISBN 0-8230-7586-9 (Two essays about Collins) Russell, Paul (2002). "Phil Collins Biography". www.philcollins.co.uk. Archived from the original on 4 January 2006. Retrieved 9 January 2006. Thompson, Dave. Turn It On Again: Peter Gabriel, Phil Collins, and Genesis. Back Beat Books. San Francisco. 2004. ISBN 0-87930-810-9 External links Official website Phil Collins at Atlantic Records Genesis' official website Little Dreams Foundation, project of Phil Collins and his former wife Orianne, supporting young musicians Phil Collins at the Internet Movie Database Tarzan at the Internet Broadway Database Steve Hackett Steve Hackett Hackett at a concert in Braunschweig, Germany, in 2005. Background information Birth name Stephen Richard Hackett Born 12 February 1950Pimlico, London, England Genres Progressive rock, classical music, blues, pop rock, hard rock Occupations Musician, songwriter, producer Instruments Guitar, harmonica, vocals, keyboards, bass Years active 1970present Labels Charisma, Camino, Chrysalis (US), Epic (US), Lamborghini, Start, Wolfwork, Blue Plate/Caroline (US), InsideOut Associated acts Quiet World, Genesis, GTR Website hackettsongs.com Notable instruments Gibson Les Paul Stephen Richard Hackett (born 12 February 1950)254 is a British singer-songwrite r and guitarist. He gained prominence as a member of the British progressive roc k group Genesis, which he joined in 1970 and left in 1977 to pursue a solo caree r. Hackett contributed to six Genesis studio albums, three live albums and seven singles.255

In 1986, Hackett co-founded the supergroup GTR with another progressive guitaris t, Steve Howe of Yes and Asia. The group released a self-titled album that year, which peaked at #11 on the Billboard 200 in the United States and spawned the T op 20 single "When the Heart Rules the Mind".256 When Hackett left GTR in 1987, the group disbanded. After leaving GTR, Hackett resumed his solo career and has released albums and t oured on a regular basis since. His body of work has encompassed many styles, su ch as progressive rock, world music, and classical. His playing has influenced g uitarists such as Alex Lifeson257 and Brian May.258 He was inducted into the Roc k and Roll Hall of Fame as a member of Genesis in 2010. Biography Hackett was born in Pimlico, London and attended the Sloane Grammar School, Chel sea. He grew up having access to various musical instruments, such as the recorder an d harmonica, but did not develop an interest in the guitar until the age of twel ve, when he started playing single notes. By fourteen, he was learning chords an d experimenting with chord progressions, although he never received any formal i nstruction. Hackett's earliest musical influences were classical (Johann Sebasti an Bach) and opera (Mario Lanza). He has stated that his compositions are still influenced by them.259 Hackett also has cited numerous British blues artists as influences, namely Danny Kirwan, Peter Green, and various guitarists in John May all & the Bluesbreakers.260 Early career Steve Hackett's earliest professional playing experience came with two bandsCante rbury Glass and Sarabandeboth of whom performed rock with progressive elements. H is first recording work came in 1970, as a member of Quiet World, a band that in cluded younger brother John Hackett on flute. The group released one album, The Road, but he departed the group soon after. Hackett, seeking a new band, placed an advertisement in Melody Maker. The advert isement, in which Hackett stated he was seeking musicians "determined to strive beyond existing stagnant music forms," was spotted by Genesis vocalist Peter Gab riel, who contacted Hackett. The band had recently lost founding guitarist Antho ny Phillips. After seeing Genesis perform, Hackett auditioned for the group and joined in December 1970. Genesis Hackett, who had little on-stage playing experience when he joined Genesis, had some initial difficulty performing with the group. But he soon settled into his role, and his unique stage image (wearing glasses and seated in a hunched positi on over his guitar) served as a counter to Gabriel's extravagant costumes and th eatrics. Hackett's first recording with Genesis was Nursery Cryme, released in November 1 971. Hackett made an immediate impact on the group's sound, as evidenced by his work on such songs as "The Musical Box" and "The Return of the Giant Hogweed," b ecoming one of the first guitarists to experiment with the tapping technique nor mally attributed to Eddie Van Halen. (Hackett has often claimed Van Halen told h im he learned the technique after attending a Genesis concert in the early 1970s .)261 The continuo part in the latter song sounds like a synthesiser because of distortion and because of his legato tapping technique as well as Tony Banks's s imultaneous Hohner Pianet continuo. Although Nursery Cryme was not a commercial success, 1972's album Foxtrot was, r eaching #12 in the UK. Included on Foxtrot was Hackett's classical guitar compos ition "Horizons," which quickly became one of his signature pieces. Foxtrot began a trend of increasing commercial popularity for Genesis, and in th e group's 1973 effort, Selling England by the Pound, Hackett showed continued an d perfected use of the tapping technique, as well as sweep picking, which was po pularised in 1984 by Yngwie Malmsteen. Both of these techniques can be heard on the track "Dancing with the Moonlit Knight." The track "Firth of Fifth" contains one of Hackett's most well-known guitar solos. The track has remained a favouri te in concert, even after Hackett's departure. During the recording of The Lamb Lies Down on Broadway in 1974, Hackett's contri

bution shrank from what he had originally contributed on Selling England by the Pound. He attributed his lack of contribution to be that of not being able to co me to grips with the material presented, and his failing marriage.262 Additional ly, Hackett injured his hand after accidentally crushing a wine glass, which led to the delay of the Lamb tour. This additionally reflected the tension within t he band.263 In 1975, Hackett became the first member of Genesis to release a solo album when he issued Voyage of the Acolyte. Assisting with the recording were Phil Collins and Mike Rutherford. Hackett enjoyed the freedom he had when writing and record ing his own album, and thus began to become frustrated after returning to the gr oup's more democratic approach to songwriting. The band reconvened after Gabriel's departure to record the album A Trick Of The Tail, with Collins performing lead vocals after no other singer could be found. Hackett had writing credits on a number of the songs, but felt constricted by h is lack of freedom and level of input. His frustration increased as Genesis prepared to release 1976's Wind & Wuthering . Hackett was insistent that more of his material be included on the album, but was rebuffed. "Blood on the Rooftops," which Hackett wrote with Collins, made th e album but was never played live, and his composition "Please Don't Touch" was rejected completely. Another song, "Inside and Out," was relegated to the Spot t he Pigeon EP. Hackett remained with Genesis through the conclusion of the Wind & Wuthering tour, but announced his departure on 8 October 1977, one week before the release of the group's second live album, Seconds Out.264 Reunions Since Hackett's departure, the early 1970s lineup of Genesis has reunited on a h andful of occasions. On 2 October 1982, the group gathered for a one-off perform ance entitled "Six of the Best", held to raise money for Peter Gabriel's WOMAD f estival. This was the first and last time this lineup had performed since 1975. In 1998 the group gathered for a photo session and dinner to celebrate the relea se of the box set, Genesis Archive 1967-75. Hackett re-recorded some of his guit ar parts for the box set, as well as participating in the re-recording of 1974's "The Carpet Crawlers" for inclusion on the 1999 Genesis greatest hits album Tur n It on Again: The Hits. The rest of the group recorded some new parts as well, although they were not recorded together in the same studio. However, by the tim e that Trevor Horn and The Art of Noise had mixed these parts, there remained ve ry little of them in the final release other than Gabriel's and Collins' vocals. In an April 2006 radio interview, Phil Collins discussed a band meeting that too k place in November 2005. During that meeting, the group discussed the possibili ty of reuniting the classic mid-'70s roster for a limited run of shows, includin g a complete performance of the group's 1974 double album, The Lamb Lies Down on Broadway.265 However, on 18 October 2006 it was announced that the post-Hackett lineup of Rutherford, Banks, and Collins were instead reforming.266 In March 2010, Phish guitarist Trey Anastasio was asked to pay tribute to Genesi s, one of his favourite bands, upon being inducted into the Rock & Roll Hall of Fame. In addition to Anastasio's speech, Phish appeared and performed two Genesi s songs, "Watcher of the Skies" and "No Reply At All." Even though Hackett and h is Genesis bandmates (minus Peter Gabriel) attended the ceremony, they did not p erform. Solo career Hackett's first post-Genesis album was Please Don't Touch, released in 1978. As with Voyage of the Acolyte, much of the material on the album was in the style o f progressive rock.267 It did contain, however, much more vocal work. Hackett, w ho had never sung lead on a Genesis song, turned over most of the vocals to a nu mber of singers, including folk singer Richie Havens, R&B singer Randy Crawford, and Steve Walsh of Kansas. He did provide lead vocals for "Carry on Up the Vica rage," but they were processed using a "laughing gnome" vocal effect.268 The alb um peaked at #38 on the UK chart,269 and #103 on the Billboard pop Albums chart in the United States. A pair of progressive rock albums followed: 1979's Spectral Mornings (#22 UK Alb ums Chart) and 1980's Defector (#9 UK Albums Chart,270 they charted #138 and #14

4 in the United States, respectively). Hackett toured Europe for the first time as a solo act in 1979, and in August performed at the Reading Festival. The Defe ctor tour brought him to the United States for the first time since his final to ur with Genesis. Hackett's first major shift in musical style came with 1981's Cured. Although th e album contained some of the progressive and classical pieces for which Hackett was known, it also showcased a much more pop approach. The album was recorded w ithout most of the musicians who had been on Hackett's solo albums since Spectra l Mornings (Hackett handled all lead vocal duties). Only longtime collaborators Nick Magnus and John Hackett remained. While Cured did not chart highly in the U .S., it peaked at #15 in the UK.271 In the 1980s, Hackett released his first classical guitar albums, Bay of Kings ( #70 UK Albums Chart)272 and Momentum. The tour for Momentum drew large crowds in Europe, considered unusual for a classical guitarist. In 1983 Hackett participated on the British/Brazilian singer Ritchie's LP Voo de Corao. Hackett played guitar on various tracks, and most songs on the LP were hit s on Brazilian radio. On the rock production side, Hackett's work in the 1980s involved the LPs Cured (1981), Highly Strung (1983, #16 UK Albums Chart) and Till We Have Faces (1984, #54 UK Albums Chart).273 Till We Have Faces merged Hackett style sounds with Bra zilian percussion. In 1986, Hackett formed the supergroup GTR with veteran Yes and Asia guitarist S teve Howe. The group released a gold-selling album, produced by Yes/Asia keyboar dist Geoff Downes. Hackett soon left GTR over financial and management squabbles . In addition to Howe and Downes, Hackett has also worked with Yes drummer Bill Bruford in Genesis, Yes bassist Chris Squire (Chris Squire's Swiss Choir, 2007) and briefly Yes vocalist Trevor Horn (who produced the 1999 reunion version of " The Carpet Crawlers"). He also performed alongside former Yes keyboard player Ri ck Wakeman on the latter's TV Show Gastank in the mid 1980s. Hackett's long-time keyboardist, Julian Colbeck, played live with Yes spin-off Anderson Bruford Wak eman Howe. Hackett's solo career continued, releasing a plethora of both electric and acous tic based albums throughout the 90s to the present day. In April 1997 he release d the neo-classical influenced A Midsummer Night's Dream, accompanied by the Roy al Philharmonic Orchestra, and the album spent several weeks in the Top 10 of th e UK classical charts. In June 2009, Hackett announced a new solo album featuring contributions of many artists, including former Genesis guitarist Anthony Phillips and Chris Squire o f Yes. In fact Hackett and Squire have recorded an album of new material under t he working title of "Squackett" which as of late 2010 has been delayed by legal reasons. The album which was due for release mid October 2009 and called Out of the Tunne l's Mouth was delayed due to legal reasons, but was eventually on sale from Nove mber 2009, and some songs were performed on the European tour. In August 2009, the official, authorised biography 'Sketches Of Hackett' by Alan Hewitt was published by Wymer Publishing. The first edition hardback includes a bonus DVD with a 90 minute interview filmed early in the year at Steve's home. On 15 March 2010, Genesis was inducted into the Rock and Roll Hall of Fame with Hackett making a rare appearance alongside Phil Collins, Tony Banks and Mike Rut herford at the ceremony, though they did not perform together. Hackett, in recen t years, has put on record his willingness to participate in a reunion. Genesis' planned reunion of the classic 70's line-up fell apart in 2007 when Peter Gabri el expressed reservations, and subsequently Hackett dropped out in deference to the Genesis 'trio' line-up, as opposed to the 4-piece.274 With Phil Collins' ann ounced retirement in 2011, any possibility for another reunion are very slim. Personal life Hackett has been married three times. His first, brief, marriage was to Ellen 27 5 and the couple had a son, Oliver. The union broke down at about the time of th e recording of The Lamb Lies Down On Broadway. Hackett has admitted that the str ain of the break-up contributed to the incident where he crushed a wine glass in

drunken frustration, injuring his hand and delaying the start of the Lamb tour. 276 He then married Brazilian painter and jewellery artist Kim Poor in 1976 afte r meeting her backstage at a Genesis concert.277 She painted most of his album c overs. Her artwork for Voyage of the Acolyte won Album Cover of the Year in 1976 .278 They divorced in 2008.279 He married Jo Lehmann on June 4, 2011.280 Steve's younger brother John was involved as flute player and second guitarist i n his 1970s bands. John has often appeared as musician and collaborator on his m ore recent work, particularly on Sketches of Satie (2000), arranged for flute an d guitar. External links Steve Hackett's official website Camino Records, Steve's former record company The official Steve Hackett Facebook page The Steve Hackett Appreciation Society Facebook page World of Genesis.com August 2001 Steve Hackett interview World of Genesis.com February 2009 Steve Hackett interview World of Genesis.com September 2009 Steve Hackett interview Steve Hackett at Allmusic Steve Hackett at the Internet Movie Database 2011 interview with Steve Hackett on Prog Sphere Anthony Phillips Anthony Edwin Phillips Anthony Phillips Anthony Phillips Background information Also known as Ant The Vicar Vic Stench Born 23 December 1951 Origin London, England, UK Genres Classical Rock Progressive Rock Instruments guitar vocals keyboards bass guitar dulcimer drums percussions Labels Virgin Voiceprint Hit & Run Vertigo RCA Arista Passport Associated acts Genesis Mike Rutherford Camel Website [anthonyphillips.co.uk anthonyphillips.co.uk] Anthony Edwin "Ant" Phillips (b. 23 December 1951, Chiswick, west London) is an

English multi instrumentalist, best known as a founding member of the band Genes is.281 He played guitar and sang backing vocals until leaving in 1970, following the recording of their second album, Trespass. He left due to suffering from st age fright, after being told by his doctor that the best thing would be to leave the band. He is known for his twelve string guitar work, and his influence can be heard throughout Genesis's early output. Genesis's first album after Phillips's departure, Nursery Cryme, featured two so ngs which were holdovers from the days when Phillips was in the band: "The Music al Box" (originally called F#) and "The Fountain Of Salmacis". After leaving Genesis, Phillips studied classical music (especially classical gu itar) and made recordings in collaboration with Harry Williamson, Mike Rutherfor d and Phil Collins, among others.He played the keyboards on the demos for Peter Gabriel in 1976. His first solo album, The Geese and the Ghost, was issued in 19 77. Phillips released his second album, Wise After the Event, in 1978. This was foll owed the next year by Sides. Both of these albums were produced by Rupert Hine a nd were intended to reach a mainstream audience, though neither album was succes sful in that regard. In its initial release in the UK, Sides was accompanied by a more experimental a lbum entitled Private Parts and Pieces; in the U.S. and Canada the two albums we re issued separately. Private Parts and Pieces II: Back to the Pavilion followed the next year, and several further sequels were issued in the 1980s and 1990s. Phillips began writing material with Andrew Latimer of Camel in 1981, and was a featured performer on that band's album, The Single Factor (released in 1982). Phillips released a mainstream pop album entitled Invisible Men in 1983. He late r claimed that this project went "horribly wrong" as a result of commercial pres sures, and would subsequently eschew mainstream success in favour of more specia lised material. Phillips remains involved in a variety of musical projects, including extensive soundtrack work in England often for the label Atmosphere part the Universal Mus ic Group. In the mid-1990s, he released an album entitled The Living Room Concer t, which featured solo acoustic versions of his earlier material. He also provid ed archival material for the first Genesis box set, Genesis Archive 1967-75, rel eased in 1998. Several of his albums feature artwork by Peter Cross. Discography with Genesis From Genesis to Revelation (1969) Trespass (1970) Genesis Archive 1967-75 (1998) Genesis 19701975 (2008) Solo Albums The Geese and the Ghost (1977) Wise After the Event (1978) Private Parts and Pieces (1978) Sides (1979) Private Parts and Pieces II: Back to the Pavilion (1980) 1984 (1981) Private Parts and Pieces III: Antiques (1982, with Enrique Berro Garcia) Invisible Men (1983, with Richard Scott) Private Parts and Pieces IV: A Catch at the Tables (1984) Private Parts and Pieces V: Twelve (1985) Private Parts and Pieces VI: Ivory Moon (1986) Private Parts and Pieces VII: Slow Waves, Soft Stars (1987) Missing Links Volume One: Finger Painting (1989) Slow Dance (1990) Private Parts and Pieces VIII: New England (1992) Sail the World (1994) Missing Links Volume Two: The Sky Road (1994) The Living Room Concert (1995)

Private Parts and Pieces IX: Dragonfly Dreams (1996, with Enrique Berro Garcia) Archive Collection I (1998) Private Parts and Pieces X: Soire (1999) Radio Clyde (2003) Archive Collection Volume II (2004) Field Day (2005) Missing Links Volume IV: Pathways & Promenades (2009) Compilations Harvest of the Heart (1985) Anthology (1995) Legend (1997) Legend (1999) [Different release from above] Soft Vivace (2002) All Our Lives (2002) Soundscapes (2003) Collaborations Tarka (1988, with Harry Williamson) Gypsy Suite (1995, with Harry Williamson) Meadows of Englewood (1996, with Guillermo Cazenave) Missing Links Volume 3: Time and Tide (1997, with Joji Hirota) Live Radio Sessions (1998, with Guillermo Cazenave) Wildlife (2008, with Joji Hirota) Guest On Other Albums Intergalactic Touring Band: Intergalactic Touring Band (1977) Mike Rutherford: Smallcreep's Day (1980) Camel: The Single Factor (1982) Iva Twydell: Duel (1982) Asha (Denis Quinn): Open Secret (1987) Asha (Denis Quinn): Mystic Heart (1989) Asha (Denis Quinn): Amadora (1991) David Thomas & Ronnie Gunn: The Giants Dance (1996) Mother Gong: Battle of the Birds (2004) ProgAID: All Around The World (2004) Steve Hackett: Out of the Tunnel's Mouth (2009) External links Anthony Phillips Official Site Ray Wilson Ray Wilson Ray Wilson at Leamington Spa 2006 Ray Wilson at Leamington Spa 2006 Background information Born 8 September 1968Dumfries, Scotland Genres Rock, post-grunge Occupations Singer, guitarist Instruments Vocals, guitar, bass, harmonica Years active 1993present Labels InsideOut Music, Virgin Associated acts Stiltskin, Genesis, Cut_, Guaranteed Pure, RPWL, Scorpions Website www.raywilson.co.uk Ray Wilson (born 8 September 1968, Dumfries, Scotland) is a Scottish musician, b est known as vocalist in the post-grunge band Stiltskin, and in Genesis between 1996 and 1998.282

Wilson started off in a band called Guaranteed Pure in the early 1990s. They rel eased an album called Swing Your Bag, the title track of which was included on a compilation album on the label of Fish entitled The Funny Farm Project : Outpat ients '93. He then joined Stiltskin; they released one album and had a number on e hit in the UK with the single "Inside". Wilson is probably best known as the lead singer of Genesis from 1996 to 1998, a fter Phil Collins officially departed in March 1996. Founding Genesis members To ny Banks and Mike Rutherford were handed a CD of the Stiltskin album The Mind's Eye from Virgin Records executives. They were very impressed with Wilson's vocal abilities and had their manager, Tony Smith, call him for an audition. Wilson w as officially announced as the new lead singer of Genesis in early June 1997. Th eir only album with Wilson, ...Calling All Stations..., was released that Septem ber and became a top 10 hit worldwide, except for the U.S. where it reached #54 on the Billboard 200 album charts; it would soon become the first Genesis album to be deleted in North America, but was re-issued in 2007. Genesis toured Europe in the winter and spring of 1998, but the American leg was cancelled due to low ticket sales. After the commercial failure of the album, the band announced the y would go on an extended hiatus, and Wilson left the band. Wilson went on to release the album Millionairhead with a solo project called Cu t_. It was re-released in 2007 (remastered) including three additional songs. In 2003 he released a solo album under his own name titled Change. The next year he released another studio album entitled The Next Best Thing, which included a cover of "Inside". In 2006 he released another Stiltskin album called She and i n 2007 a Stiltskin live CD featuring below others 8 out of 12 songs from She. Th is live CD was recorded 25 October 2006, at Harmonie, Bonn, Germany. DJ and trance producer Armin van Buuren has produced remixes of the songs "Anoth er Day" (retitled "Yet Another Day") and "Gypsy" from Millionairhead. Both remix es have been released on van Buuren's own albums, and "Yet Another Day" was also released as a single. Wilson is the cousin of Ian Wilson, better known as Ian Catskilkin, of the UK in die band, Art Brut. Discography Solo albums 2001 Unplugged (renamed Live and Acoustic) 2003 Change (album) - #88 Germany "Change" (single) "Goodbye Baby Blue" (single) 2004 The Next Best Thing "These Are The Changes" (single) 2005 Ray Wilson Live 2006 An Audience and Ray Wilson (limited edition CD and download) 2008 Propaganda Man 2009 Genesis Klassik: Ray Wilson and the Berlin Symphony Ensemble live in Berlin 2011 Genesis Classic: Live In Pozna The only studio album cover versions Wilson has done are "Space Oddity" by David Bowie on the Cut_ album, Millionairhead and "Inside" from Stiltskin on his 2004 solo effort, The Next Best Thing. Guaranteed Pure liss ma swingers Album cover design by: Philip Paterson Genesis 1997 Calling All Stations - #2 UK, #54 U.S. Stiltskin 1994 The Mind's Eye - #12 UK, #11 Germany, #10 Austria, #76 Netherlands, #13 Swe den, #13 Switzerland, "Inside" (single) - #1 UK, #5 Germany, #2 Austria, #9 France, #7 Netherlands, #5 Norway, #4 Sweden, #5 Switzerland, #40 Australia, #20 New Zealand "Footsteps" (single) - #34 UK, #34 Switzerland, #36 New Zealand "Rest In Peace" (single) - #47UK 2006 She (album) "She" (single)

"Lemon Yellow Sun" (single) 2007 Stiltskin Live 2011 Unfulfillment (album)283 Cut_ 1999 Millionairhead "Another Day" (Germany only single) "Millionairhead" / "Sarah" (radio promo) 2007 Millionairhead (UK edition) Other collaborations 2000 "Big City Nights" (with Scorpions) (Moment of Glory) 2002 "Love Supreme" Turntablerocker (Smile) 2003 "Good Time Love" (with Amanda Lyon) (A tribute to Frank Miller: various art ists album) 2003 "Yet Another Day" (with Armin Van Buuren) (76) - #70 UK, #34 Netherlands 2005 "Gypsy" (with Armin Van Buuren) (Shivers) 2005 "Roses" (with RPWL) (World Through My Eyes) 2005 "Roses (live)" & "Not about us (live)"(with RPWL) (Start The Fire: RPWL Liv e) 2010 "Should I Wait" with Twentyeight) (In The Beginning) External links Official website Ray Wilson on Myspace picture gallery - Ray Wilson & Stiltskin live in Poznan - Jacek Bakutis Ray Wilson & Stiltskin official Polish forum Interview Guitars 101 Chapter and verse review Chris Stewart Christopher 'Chris' Stewart (born 1950),284 was the original drummer and a found ing member of Genesis. He is now a farmer and an author. Background and musical career A classmate of Tony Banks and Peter Gabriel at Charterhouse School, Stewart join ed them in a school band called The Garden Wall, and they later formed another b and with schoolmates Mike Rutherford and Anthony Phillips, called Anon. This ban d eventually became Genesis in January 1967. Stewart appears on the band's first two singles, "The Silent Sun"/"That's Me" and "A Winter's Tale"/"One-Eyed Hound ." (These tracks appear as bonus tracks on many reissues of Genesis' first album From Genesis to Revelation. Also, a stereo mix of "The Silent Sun" was included on the album.) Although several demos from Stewart's time with Genesis appear o n the Genesis Archive 1967-75 box set, he is not credited with playing on any of them. (Peter Gabriel seems to have played drums on a couple, and the rest do no t feature drums.) Farmer and author At the recommendation of Jonathan King, Stewart was asked to leave the band in t he summer of 1968 due to poor technique. He was replaced by John Silver. After t ravelling and working throughout Europe, Stewart settled and bought a farm named "El Valero" in the Alpujarras region of Andalucia, Spain where he lives and wor ks with his wife Ana Exton and daughter Chlo. He came in last place for the posit ion of local councillor in the 27 May 2007 local elections in rgiva representing the Green Party,285 where he received 201 votes (roughly 8%). He is now better known for his autobiographical books, Driving Over Lemons: An O ptimist in Andalucia (1999, ISBN 0-9535227-0-9) and the sequels, A Parrot In The Pepper Tree (ISBN 0-9535227-5-X) and The Almond Blossom Appreciation Society (2 006, ISBN 0-9548995-0-4), about his work farming in Spain. All three are also av ailable as audiobooks (Lemons ISBN 0-14-180143-3; Parrot ISBN 0-14-180402-5), an d Almond ISBN 0752885979, narrated by Stewart. Stewart's publisher, Sort of Books, announced plans to release yet another Stewa rt memoir in 2009, this one focused on sailing, entitled Three Ways to Capsize a Boat: An Optimist Afloat.286 Stewart has also contributed to two books in the Rough Guides series: the Rough

Guide to Andalucia and the Rough Guide to China. External links Chris Stewart's official website. Biography and news Chris Stewart discography at Discogs Sort of Books, a small British publisher initially founded to help Stewart publ ish his debut book (see About us) Information on the Alpujarras Contemporary English writer in the Alpujarras val ley, in Spain Chris Stewart's blog about thrifty-living in Spain. John Silver Jonathan (John) Silver (born 1950) was the second drummer for the English rock b and Genesis. He replaced Chris Stewart in the summer of 1968 and appears on thei r first full length album, From Genesis to Revelation, and on the Genesis Archiv e 1967-75 box set. He left the band in August 1969 and was replaced by John Mayh ew. He lives in London with his wife, Lucy, and children, Leo, Max, and Libby. In 1973 Anthony Phillips, Mike Rutherford and Phil Collins recorded a song dedic ated to Silver, called "Silver Song".287 This recording and other versions of th e song have been included on albums by Phillips. Silver also appears on the 1973 recording "Fantomas Opening Theme" which appears on Phillips' Archive Collectio n Volume II. John Mayhew John Mayhew Born 27 March 1947Ipswich, England Origin London, England, UK Died 26 March 2009 (aged 61)Scotland Genres Classical, rock, progressive rock Instruments Drums, percussions Associated acts Genesis John Mayhew (27 March 1947 - 26 March 2009) was the third drummer (as well as pe rcussionist and vocalist) for the progressive rock band Genesis. He replaced pre vious drummer, John Silver, in August 1969. He appears on the album Trespass as well as the Genesis Archive 1967-75 box set. He was replaced in August 1970 by P hil Collins. Career Believed to have been born in 1947, he grew up in Ipswich with his brother Paul who was some ten years older. However his parents parted and John, who by then w as in his teens, went with his father. After that he saw very little of his brot her, who had remained with John's mother. He inherited his love of music from hi s mother, and played with bands in the Ipswich area, moving to the London scene in the late sixties. In early 2009 Paul Mayhew had begun a search for him, havin g not seen John for 18 years and having had little to do with him since the earl y 1970s.288 Genesis Mayhew joined Genesis in the summer of 1969 to replace departing drummer John Si lver, who was moving to Cornell University in the US to study leisure management . Despite popular legend having it that he was recruited via the time-honoured m ethod of an advert in the Melody Maker Mayhew said in a 2006 interview 289 that he was contacted by Mike Rutherford after the bassist had found his phone number , which Mayhew had been leaving 'all over London.' Come audition time the band, recalls keyboardist Tony Banks, were impressed by Mayhew's long-haired appearance and professionalism, as well as the fact that he brought his own drums with him. Mayhew apparently sealed the deal by performing an impressive drum roll around

the kit, ending with a triumphant cymbal splash, which neither of his Genesis pr edecessors could have managed. As well as being a professional musician, Mayhew was also handy with a tool kit and installed some proper panelling and seating i n the band's transport, a former bread delivery van. There were some struggles bet ween the working-class Mayhew and his public school-educated peers, who were bet ween three and four years younger than him, but he said his time with Genesis wa s one of the 'one of the best years of my life.'290 He famously earned himself a good-natured rebuke from his bandmates when, upon being offered a wage of 15 per week by new record company Charisma (approximately 181 as of 2011), insisted tha t 10 was more than enough! Nevertheless he stayed with the band for eleven months until he was dismissed in July 1970 to make way for a more creatively-minded dr ummer.291 Post-Genesis For many years Mayhew's post-Genesis life was a mystery to most fans. It was sai d that his Trespass royalty cheque had gone unclaimed, and there was speculation that he was dead or missing. In 1982 he moved to Australia, where he eventually found work as a carpenter (he also became an Australian citizen). In 1989 he br iefly returned to England to visit his ailing mother.292 Strangely, Phil Collins would appear in a 1985 episode of Miami Vice playing a c on artist named Phil Mayhew. Whether or not this was an inside joke has never be en revealed. In 2006, he attended the Genesis Convention in London (along with Anthony Philli ps and Steve Hackett), even playing drums for a tribute band's performance of "T he Knife" (from Trespass). Death John Mayhew died of a heart-related condition on 26 March 2009. His brother had believed he was living in New Zealand. It transpired that Mayhew had moved to Scotland some years previously and was working as a carpenter for a furniture company.293 John was working in NZ as drummer certainly during 1979-80 He was drumming and r ecording with Kelly & Friend. He then went over to Australia. External links 2006 interview with John Mayhew Albums ''From Genesis to Revelation'' From Genesis to Revelation Studio album by Genesis Released 7 March 1969 Recorded August 1968 at Regent Studios, London Genre Baroque pop Length 43:25 Label Decca (UK) London (USA) Producer Jonathan King Genesis chronology From Genesis to Revelation(1969) Trespass(1970) From Genesis to Revelation is the first album by Genesis, released in March 1969 on Decca Records in England (London Records in North America). It was produced by Jonathan King, who discovered them in 1967 while the members of Genesis were pupils at Charterhouse School, King's alma mater. Production Genesis originally consisted of Peter Gabriel, Tony Banks, Mike Rutherford, and Anthony Phillips, without a drummer. Once one of their demo tapes caught the att

ention of Jonathan King, he took them under his wing and, with the addition of s choolmate Chris Stewart on drums, recorded "The Silent Sun" as their first singl e. It was later described by the band as a "Bee Gees pastiche" written specifica lly to win King's approval. Its February 1968 release on Decca Records was not a commercial success. Neither was the follow-up "A Winter's Tale" three months la ter. After replacing Chris Stewart with John Silver, King had them compose an al bum of songs loosely based on the Bible. The album was recorded in August 1968 d uring school holidays, and later overdubbed with strings and horns, to the band' s chagrin. King sequenced the songs together like a concept album, with no gaps in between the tracks. Release and reception Professional ratings Review scores Source Rating Allmusic 294 Sputnikmusic (2.0) (Poor)295 From Genesis to Revelation was issued several months later in a black sleeve wit h its title scribed in gothic gold on the top lefthand side. With little else to go by, the record shops stacked the LP in the religious sections. Its initial s ales tally was 650 copies. Once the band began achieving worldwide success, From Genesis to Revelation briefly dented the US charts in 1974, peaking at #170. The band's name was omitted from the sleeve because Decca had recently discovere d that an obscure American act was also calling itself Genesis and asked the ban d to consider changing its name to avoid confusion, which King declined.296 The American "Genesis" in question was likely the LA-based group that released an LP called In The Beginning on the Mercury label in 1967.297 Aftermath Genesis split with both Decca and Jonathan King, preferring to strike out on the ir own musical terms. Although King had more experience and was aiming to presen t Genesis in a marketable way, they were feeling more and more constrained by Ki ng's attempts to curtail and limit their increasingly lengthy and adventurous ne w compositions. The band went professional in the autumn of 1969, and after repl acing John Silver with John Mayhew on drums, Genesis began formulating the music that would lead to Trespass the following year and were soon signed to Charisma Records. Despite their artistic disagreements with King, Rutherford maintains t hat Genesis owes the producer a debt of gratitude: Jonathan King, for all his faults - he has a funny reputation in England - did g ive us a fantastic opportunity. Because in those days, in England, you couldn't get in the studio. I mean, now a new group can very easily get a chance to go an d record a single, just something, you know, to show there's something going for them. In those days, to get any sort of record contract, was really magical. An d he gave us a chance to do a whole record. You've got a bunch of musicians who were really amateur, could barely play well, were barely a group, and were able to go in one summer holiday and make a record.298 Although initially released on Decca Records, From Genesis to Revelation has sin ce been licensed to many smaller labels, who often issue it with different artwo rk or different titles.299 It is because of these licensing reasons that the alb um was excluded from the 2008 box set, "Genesis 19701975", which covers the rest of the band's era with singer Peter Gabriel. On 27 July 1990, the album was reissued in a two disc set. The second disc inclu ded the four tracks included on And the Word Was....., four early versions of so ngs on the album, and ten interviews.300 On 25 October 2010, the album was released as a special edition on iTunes. It in cludes the bonus tracks from the 1990 reissue.301 Track listing All songs by Tony Banks/Peter Gabriel/Anthony Phillips/Mike Rutherford. Copyrigh t Jonjo Music Co. Ltd.

Original 1969 Release Side 1: "Where the Sour Turns to Sweet" 3:16 "In the Beginning" 3:47 "Fireside Song" 4:20 "The Serpent" 4:40 "Am I Very Wrong?" 3:33 "In the Wilderness" 3:33 Side 2: "The Conqueror" 3:42 "In Hiding" 2:40 "One Day" 3:22 "Window" 3:35 "In Limbo" 3:32 "Silent Sun" 2:15 "A Place to Call My Own" 2:00 And the Word Was... (1987 Reissue) "The Silent Sun (mono)" 2:17 "That's Me (mono)" 2:41 "Where the Sour Turns to Sweet" 3:16 "In the Beginning" 3:44 "Fireside Song" 4:58 "The Serpent" 3:58 "Am I Very Wrong?" 3:31 "In the Wilderness" 3:39 "The Conqueror" 3:22 "In Hiding" 2:38 "One Day" 3:21 "Window" 3:33 "In Limbo" 3:30 "Silent Sun" 2:13 "A Place to Call My Own" 1:59 "A Winter's Tale (mono)" 3:31 "One-Eyed Hound (mono)" 2:36 Bonus Disc (1990 Reissue) "A Winter's Tale" 3:31 "One-Eyed Hound" 2:31 "That's Me" 2:38 "Silent Sun (Single Version)" 2:12 "Image Blown Out" 2:11 "She is Beautiful" 3:46 "Try a Little Sadness" 3:18 "Patricia" 3:05 "Interviews" 21:53 Bonus Disc (2005 Reissue) "Patricia (demo 1967)" 3:08 "Try a Little Sadness (demo 1967)" 3:21 "She is Beautiful (demo 1967)" 3:48 "Image Blown Out (demo)" 2:49 "The Silent Sun (single A-side)" 2:15 "That's Me (single B-side)" 2:40 "A Winter's Tale (single A-side)" 3:32 "One-Eyed Hound (single B-side)" 2:34 "Where the Sour Turns to Sweet (demo 1968)" 3:16 "In the Beginning (demo 1968)" 3:32 "In the Wilderness (rough mix without strings 1968)" 2:59 "One Day (rough mix 1968)" 3:08 "Image Blown Out (rough mix 1968)" 2:13 Related Songs "Hidden in the World of Dawn" 3:10

"Sea Bee" 3:05 "The Mystery of the Flannan Isle Lighthouse" 2:36 "Hair on the Arms and Legs" 2:42 Tracks 14 are 1967 demos "The Magic of Time" 2:01 "Hey!" 2:28 Tracks 56 are 1968 demos "Build Me a Mountain" 4:13 1968 rough mix All these tracks are available on Genesis Archive 1967-75 released in 1998. Personnel Peter Gabriel vocals, flute Anthony Phillips guitar, vocals Tony Banks organ, piano, vocals Mike Rutherford bass guitar, guitar, vocals John Silver drums, vocals, except on "Silent Sun" Chris Stewart drums on "Silent Sun" Strings & Horns Arranged & Conducted By Arthur Greenslade & Lou Warburton Production Produced By Jonathan King Recorded & Engineered By Brian Roberts & Tom Allom Releases UK LP Releases Decca LK 4990 (1969): Mono 1st issue, contains insert with art, lyrics and cred its. Record has red labels with an unboxed Decca logo and a red "peep hole" on t he back of the cover. Mono copies are extremely rare and fetch very high prices (upwards of $1,200 USD for a copy in good condition). Decca SKL 4990 (1969): Stereo 1st issue, contains insert with art, lyrics and c redits. Record has blue labels and a blue "peep hole" on the back of the cover. On the labels, 1st issues contain both the boxed Decca logo and the unboxed logo . The labels were used interchangeably. The unboxed logos are more rare. Decca SKL 4990 (1974): Reissue, retitled In The Beginning U.S. LP Releases London XPS 643 (1974): 1st issue, with art, lyrics and credits. London LC50006 (1977): 2nd issue, retitled In the Beginning London 820 496-2 (1987): CD reissue, retitled And the Word Was..... This release included four additional mono tracks. The first two appear before t he contents of the original album (which are in stereo), the other two afterward : A mono version of "The Silent Sun" "That's Me" "A Winter's Tale" "One-Eyed Hound" This reissue marked the first U.S. availability of From Genesis to Revelation on CD. It was apparently meant to capitalise upon the group's (and likely Gabriel' s) surging popularity in the U.S., as suggested by the timing of its release (cl osely on the heels of Invisible Touch) and its liner notes which document the ba nd's early history, up to And Then There Were Three, which was not familiar to mos t of the group's American audience.302 External links From Genesis to Revelation at Discogs (list of releases) ''Tresspass'' Trespass Studio album by Genesis Released 23 October 1970 Recorded Trident Studios, June July 1970 Genre

Progressive rock, progressive folk Length 42:56 Label Charisma/Virgin (UK) Impulse, ABC, MCA, Geffen (USA) Producer John Anthony Genesis chronology From Genesis to Revelation(1969) Trespass(1970) Nursery Cryme(1971) Trespass is the second studio album by Genesis and was recorded and released in 1970. Their last with guitarist Anthony Phillips, Trespass had a folk-flavoured progressive rock sound that was a marked departure from their earlier work. The compositions were generally much longer and more complex than those on Genes is's first album, and the recordings have a muted, pastoral sound. The band was unhappy with John Mayhew's drumming skills and replaced him with Phil Collins fo llowing Anthony Phillips's departure. Trespass was the first of several Genesis albums to be recorded at London's Trid ent Studios. Although the album was not a commercial success in the UK (it event ually reached No.98 for one week in 1984), it was a critical one despite its lac k of sales. However, the album fared much better in Belgium, where it reached No . 1, leading to the band's first overseas concerts in that country in March of 1 971. Background After a year of Genesis playing shows almost nightly during 1969 and 1970 since the band left Decca, Tony Stratton-Smith approached Genesis and signed the band to Charisma. By mid-1970, Genesis had written and performed enough songs to fill over two full-length albums. The songs that the band felt were not strong enoug h to fit on Trespass, such as "Everywhere is Here," "Grandma," "Little Leaf," "G oing out to Get You," "Shepherd," "Moss," "Let Us Now Make Love," and "Pacidy," were discarded by the time lead guitarist Anthony Phillips left the band.303 Tho ugh most of Genesis's songs were composed by the group as a whole, in a 1985 int erview Mike Rutherford said that Trespass was the only Genesis album where every single song was composed by all the band members equally; every other album by Genesis had at least a few songs which were chiefly written by one or two indivi duals, with only minor contributions from the rest of the band.304 Track listing All songs by Tony Banks, Peter Gabriel, Anthony Phillips and Mike Rutherford. Side one "Looking for Someone" 7:06 "White Mountain" 6:45 "Visions of Angels" 6:51 Side two "Stagnation" 8:50 "Dusk" 4:13 "The Knife" 9:00 Releases "Trespass" was first released in the UK on the Charisma label in October 1970, a nd reissued on the same label in 1974. In the United States, Trespass was first issued on ABC's Impulse! label. It was reissued by the main ABC Records label in 1974; then, after MCA Records bought out ABC, it was reissued on the MCA label. In 2003, MCA was absorbed by Geffen Records. A SACD / DVD double disc set (including new 5.1 and Stereo mixes) was released 1 1 November 2008. Reception Professional ratings Review scores Source Rating

Allmusic 305 Trespass was largely ignored by the music press at the time of its release. Roll ing Stone printed an extremely brief but unambiguously negative review of the 19 74 reissue, saying "It's spotty, poorly defined, at times innately boring, and s hould be avoided by all but the most rabid Genesis fans."306 Allmusic's later re trospective review was only slightly more forgiving, summarizing that the album "is more interesting for what it points toward than what it actually does." They also commented that the guitars are so low in the mix that they are almost inau dible, leaving Banks's keyboard instruments to prominence. They considered this troublesome because Banks having a noticeable role "isn't the Genesis that every one came to know."307 Personnel Peter Gabriel lead vocals, flute, accordion, percussion Anthony Phillips electric and acoustic guitars, dulcimer, backing vocals Mike Rutherford electric bass, acoustic and nylon guitars, cello, backing vocal s Tony Banks organ, piano, Mellotron, guitar, backing vocals John Mayhew drums, percussion, backing vocals Production John Anthony Producer Robin Geoffrey Cable Engineer Nick Davis Mixing (2008 release) Tony Cousins Mastering (2008 release) U.K. LP Releases Charisma Records CAS 1020 (1970): 1st issue, scroll label, gatefold cover with art and credits. Separate lyrics sheet enclosed. Charisma Records CAS 1020 (1974): Reissue, Mad Hatter label, gatefold cover wit h art and credits. Separate lyrics sheet enclosed. U.S. LP Releases ABC/Impulse AS-9205 (1970): 1st issue, gatefold cover with art, lyrics and cred its. ABC ABCX-816 (1974): Reissue, black label, gatefold cover. ABC ABCX-816 (1976): Reissue, rainbow label, gatefold cover. MCA MCA-37151 (1981): Budget reissue. No gatefold cover. ''Nursery Cryme'' Nursery Cryme Studio album by Genesis Released 12 November 1971 Recorded August 1971 at Trident Studios Genre Progressive rock, hard rock Length 39:29 Label Charisma Producer John Anthony Genesis chronology Trespass(1970) Nursery Cryme(1971) Foxtrot(1972) Nursery Cryme is the third studio album by Genesis and was recorded and released in 1971. It is also the first album to feature the classic five-piece line-up o f Peter Gabriel, Tony Banks, Mike Rutherford, Phil Collins and Steve Hackett; th e latter two replacing John Mayhew and Anthony Phillips, on drums and guitar res pectively, in 1970 and 1971. This line-up remained consistent until A Trick of t

he Tail, when Phil Collins became lead singer instead of Peter Gabriel after his departure from the band in 1975. Album history Although not a success upon release in their homeland, Nursery Cryme became an u nexpected hit in Italy, reaching number 4 in the LP charts308 spurring on Genesi s' European successwith the album eventually reaching No.39 in the UK charts for one week in May 1974, and the re-issue reached No.68 for one week in March 1984. The album also marked the beginning of a steady, cohesive line-up for Genesis. Sound Like Trespass, the preceding Genesis album, Nursery Cryme was recorded at London 's famous Trident Studios. Trident was one of only a handful of British studios to have 16-track equipment, which was state of the art for the time. For some time before Hackett's recruitment, Genesis had performed live as a four -piece, with Banks substituting for guitar by playing lead solos on his Hohner " Pianet" electric piano, played through a fuzz box. This technique can be heard o n "The Musical Box" and the intro to "The Return of the Giant Hogweed". In addit ion, the band purchased their own Mellotron Mark II (from King Crimson).309 Bank s employed the Mk II "three violins" sound in "The Fountain Of Salmacis" and "Se ven Stones", while the climax of "The Return of the Giant Hogweed" uses fuzzed M k. II "combined brass". Rutherford also began using the standalone electronic ba ss pedal unit Dewtron "Mister Bassman". Songs Though credited solely to Banks/Collins/Gabriel/Hackett/Rutherford, "The Musical Box" began as an instrumental piece written by Anthony Phillips called "F#" (la ter released as "Manipulation" on the Box Set remaster). The lyrics are based on a Victorian fairy story written by Gabriel, about two children in a country hou se. The girl, Cynthia, kills the boy, Henry, by removing his head with a croquet mallet. She later discovers Henry's musical box. When she opens it, Henry retur ns as a spirit, and starts aging very quickly. This causes him to experience a l ifetime's sexual desires in a few moments, and he tries to persuade Cynthia to h ave sexual intercourse with him. However, his nurse arrives and throws the music al box at him, destroying them both. The album cover shows Cynthia holding a cro quet mallet, with a few heads lying on the ground. In live performances, Peter Gabriel would wear an "old man" mask for the final v erse and unzip the chest part of his black jumpsuit. Dramatic lighting would be used each time he shouted "NOW!" "The Musical Box" was featured in their live re pertoire right up to Phil Collins' departure after the We Can't Dance tour in 19 92, albeit with only the closing section being included as part of a medley. A Genesis tribute band, The Musical Box, is named after the song. "For Absent Friends" is a song about two widows going to church and praying for their deceased husbands. It is the first song by the band to feature drummer Phi l Collins as the lead vocalist and was the first song written by the new members Collins and Steve Hackett within the band context. Progressive death metal band Opeth wrote a short instrumental with the same name, as a tribute to Genesis on their 2002 release, Deliverance. Guitarist Steve Hackett recorded a waltz versi on of the song for Watcher of the Skies: Genesis Revisited, with vocals by Colin Blunstone. The lyrics to "The Return of the Giant Hogweed" tell an apocalyptic story about a "regal hogweed" being brought from Russia by a Victorian explorer to the Royal Gardens at Kew. The inspiration for this story is a large, phototoxic weed, Her acleum mantegazzianum, which poses a hazard in the United Kingdom and other coun tries. The song was a staple of Genesis' live performances. "The Fountain of Salmacis" tells the story of the nymph Salmacis, who in Greek m ythology attempted to rape Hermaphroditus. In the story Salmacis and Hermaphrodi tus become joined as one, which is mirrored in the lyrics where Peter Gabriel si ngs "We shall be joined as one." Pete Lazonby used a sample of the song for the 1994 trance track Sacred Cycles. "Harold the Barrel" tells the story of a restaurant owner who commits suicide. T he song suddenly dies to a droning whisper at the end, symbolising Harold's sudd en death. The meaning of the title is unclear, since the song has nothing to do

with barrels, and Harold himself is not a barrel. Reception Professional ratings Review scores Source Rating Allmusic 310 BBC Music (very favourable)311 Rolling Stone (mixed)312 Track listing All songs written and composed by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford. Side one No. Title Length 1. "The Musical Box" 10:24 2. "For Absent Friends" 1:44 3. "The Return of the Giant Hogweed" 8:09 Side two No. Title Length 1. "Seven Stones" 5:08 2. "Harold the Barrel" 2:59 3. "Harlequin" 2:53 4. "The Fountain of Salmacis" 7:54 B Sides No. Title Length 1. "Happy The Man" 3:09 Personnel Peter Gabriel lead vocals, flute, bass drum, tambourine Steve Hackett electric guitar, 12 string guitar Tony Banks organ, Mellotron, piano, electric piano, 12 string guitar, vocals Mike Rutherford bass, bass pedals, 12 string guitar, vocals Phil Collins drums, vocals, percussion, lead vocal (uncredited) on "For Absent Friends" Artwork The albums' artwork, which depicts scenes from each song, was painted by Paul Wh

itehead. Whitehead was also responsible for the artwork on Genesis Trespass and Foxtrot albums. Release history All releases of Nursery Cryme on Charisma Records in the U.S. were distributed b y Buddah Records. U.S. LP releases Charisma Records CAS-1052 (1971): 1st issue with large "Mad Hatter" label design . Gatefold cover. Charisma Records CAS-1052 (1973): 2nd issue with "pink scroll" label. No gatefol d cover. Charisma Records CAS-1052 (1974): 3rd issue with small "Mad Hatter" label. No ga tefold cover. Atlantic 80030-1 (1982): Reissue with no gatefold cover ''Foxtrot'' Foxtrot Studio album by Genesis Released 6 October 1972 Recorded August 1972 at Island Studios/London Genre Progressive rock Length 51:08 Label Charisma, Virgin, Atlantic Producer David Hitchcock of Gruggy Woof Genesis chronology Nursery Cryme(1971) Foxtrot(1972) Genesis Live(1973) Foxtrot is the fourth studio album by English progressive rock band Genesis and the second from the band line-up which included Peter Gabriel, Tony Banks, Mike Rutherford, Phil Collins, and Steve Hackett. History Foxtrot was also Genesis' first album to enter the UK Top 20, reaching No.12. St ill, it failed to reach the US charts. Nor was it the first Genesis album to cha rt worldwide: Trespass had reached No.1 in Belgium in 1971, shortly followed by Nursery Cryme's No.5 placing in Italy. Foxtrot also reached No.8 in the Italian charts. "Watcher of the Skies" and "Get 'Em Out by Friday" appeared on 1973's Genesis Li ve, while the 23-minute-long "Supper's Ready" was omitted due to space considera tions. Live versions of "Supper's Ready" did appear on 1977's Seconds Out (with Phil Collins on vocals and Chester Thompson on drums), the 1998 box set Genesis Archive 1967-75, and the 2008 box set Genesis 19701975. The title of the album may be a nod to the Mellotron Mark II used by Banks at th e time, which included foxtrot as one of the preset rhythms in its tapeset. The 'fox on the rocks' is mentioned in the lyrics of the "Willow Farm" section of "S upper's Ready", and is featured in the album artwork. This figure in a red dress with a fox's head became one of Gabriel's earliest stage costumes. Reception Professional ratings Review scores Source Rating Allmusic 313 BBC Music

(very favourable)314 Robert Christgau (C)315 In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came No.2 in its list of "40 Cosmic Rock Albums".316 Sound The Mellotron introduction to "Watcher of the Skies" was esteemed enough that th e manufacturers of the mellotron, Streetly Electronics, now supply the "Watcher Mix" sound as a mellotron tape set.317 "Can-Utility and the Coastliners" is based on the legend of King Canute, who sup posedly ordered the seas to retreat to mock the sycophancy of his followers. An early, longer version of the song found its way into pre-album live sets; known as "Bye Bye Johnny", it featured an extended instrumental section in which the M ellotron string sound dominated. "Horizons" (performed solo by Steve Hackett) starts with the central idea of the prelude from Bach's first cello suite and then develops its own piece, baroque style. Artwork So, I'd hear the lyrics and over breakfast or dinner we would throw ideas around. It was a collaboration... It was a great collaboration! Paul Whitehead318 The cover artwork for Foxtrot was created by Paul Whitehead, a former art direct or for the London-based magazine Time Out who also created artwork for the album s Trespass (1970) and Nursery Cryme (1971). All three original paintings were la ter stolen from Charisma Records when it was sold to Virgin Records in 1983. Whi tehead has hypothesized that the staff of Charisma got wind of the imminent sale and responded by looting the building.319 Track listing All songs written and composed by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford.. Side one No. Title Length 1. "Watcher of the Skies" 7:23 2. "Time Table" 4:45 3. "Get 'Em Out by Friday" 8:36 4. "Can-Utility and the Coastliners" 5:44 Side two No. Title Length 5. "Horizons" 1:41 6. "Supper's Ready" I. "Lover's Leap" II. "The Guaranteed Eternal Sanctuary Man" III. "Ikhnaton and Itsacon and Their Band of Merry Men" IV. "How Dare I Be So Beautiful?" V. "Willow Farm"

VI. "Apocalypse in 9/8 (Co-Starring the Delicious Talents of Gabble Ratchet)" VII. "As Sure As Eggs Is Eggs (Aching Men's Feet)" 22:58 Remastered A digitally remastered version was released on CD in 1994 on Virgin Records in E urope and on Atlantic Records in the US and Canada. The remastered CD restores t he original printed lyrics to all of the songs for the first time since the viny l LP was released, in addition to the original album artwork. The original CD re lease omitted the lyrics and parts of the artwork. Track listing No. Title Length 1. "Watcher of the Skies" 7:24 2. "Time Table" 4:40 3. "Get 'Em Out by Friday" 8:37 4. "Can-Utility and the Coastliners" 5:45 5. "Horizons" 1:41 6. "Supper's Ready" 22:51 A SACD/DVD double disc set (including new 5.1 and Stereo mixes) was released in November 2008. Personnel Peter Gabriel lead vocals, flute, oboe, percussion Steve Hackett electric and acoustic guitars Tony Banks organ, acoustic and electric pianos, mellotron, acoustic guitar, bac king vocals Mike Rutherford bass guitar, bass pedals, cello, acoustic guitar, backing vocal s. Phil Collins drums, percussion, backing vocals Production Producer: David Hitchcock Engineer: John Burns, Richard MacPhail Cover artwork: Paul Whitehead ''Selling England by the Pound'' Selling England by the Pound Studio album by Genesis Released 12 October 1973 Recorded August 1973 at Island Studios, London Genre Progressive rock Length 53:21 Label Charisma, Atlantic Producer

Genesis & John Burns Genesis chronology Genesis Live(1973) Selling England by the Pound(1973) The Lamb Lies Down on Broadway(1974) Singles from Selling England by the Pound "I Know What I Like (In Your Wardrobe)"Released: 3 August 1973 Selling England by the Pound is the fifth studio album by the progressive rock b and Genesis and was recorded and released in 1973. It followed Foxtrot and was t he band's commercial peak so far hitting No.3 in the UK320 where it remained on the charts for 21 weeks. The album went gold in the US in 1990. It was also a ma jor breakthrough in terms of critical reception. The album cover is a painting by Betty Swanwick called The Dream. The original p ainting did not feature a lawn mower; the band had Swanwick add it later as an a llusion to the song "I Know What I Like." A digitally remastered version was released on CD in 1994 on Virgin in Europe an d on Atlantic Records in the US and Canada. The remastered booklet features the lyrics and credits which were missing on the original CD, while they had been on the inner sleeve of the LP album. A SACD/DVD double disc set (including new 5.1 and stereo mixes) was released in the UK on 11 November 2008, including extensive interviews with the band and foo tage from concerts performed during 197374. Songs Dancing with the Moonlit Knight "Dancing with the Moonlit Knight" is the first track on the album. An a cappella vocal opens the track. Then, the song progressively gets louder and more upbeat , becoming a rock number. This song is one of several tracks where Tony Banks us ed his newly-acquired Mellotron M400; toward the middle of the song the 8 Voice choir is featured prominently, and in the closing section the strings are used. Guitarist Steve Hackett used the tapping and sweep-picking techniques on this so ng. The lyrics are an ironic commentary on contemporary England that employs referen ces to English staples like Green Shield Stamps. The reference "chewing through your Wimpey dreams" is an allusion to Wimpy Burger Chain that was prevalent in m any UK town high streets, in the early 1970s. The latter reference has some echo es with the theme of "Get 'Em Out by Friday". The album was named after a lyric in this song. The song's melody is repeated in a different form at the closing of "The Cinema Show". The beats of the melody are shifted backwards once. The line "Paperlate, cried a voice in the crowd" was alluded to in the title of the band's 1982 song Paperlate. Firth of Fifth The title of "Firth of Fifth" is a pun on the estuary of the River Forth in Scot land, commonly known as the Firth of Forth. The song starts out with a classical-style grand piano introduction. This sectio n is rhythmically complex, with certain bars in the rare time signatures of 13/1 6 and 15/16, alternating with bars of 2/4.321 This section changes tempo and seg ues into the first section of lyrics, accompanied by drums and a chord progressi on between the organ and guitar. The song then features a flute melody, followed by a synth-driven instrumental section which restates the opening piano theme. Hackett then plays the flute melody using a violinesque guitar tones. Peter Gabr iel then sings a brief section of lyrics before Banks concludes the song on pian o. "Firth of Fifth" is featured on their second compilation album, Platinum Collect ion (2004). Although it is credited to the entire band, Banks would later claim that much of the music was developed from his own ideas. Banks' authorship has b een confirmed by Mike Rutherford322 and Steve Hackett, who called it "one of Ton y's finest."323 Banks and Rutherford wrote the lyrics. Banks would later state i n Hugh Fielder's The Book of Genesis that it was one of the worst sets of lyrics he had been involved with.

From autumn 1973 onwards, the song's piano intro was omitted during live perform ances. Banks felt he could not do the intro justice on the RMI electric piano he used on stage instead of a proper piano, as the RMI was not touch-sensitive. The song appeared in instrumental form (the middle keyboard and guitar solos) as part of the 1992 We Can't Dance tour and 1998 Calling All Stations tour, as wel l as in 2007's Turn It On Again: The Tour. The instrumental segues directly into "I Know What I Like (In Your Wardrobe)" in 1992 and 2007 versions. It also appe ars on Steve Hackett's solo album of re-worked Genesis songs, Watcher of the Ski es: Genesis Revisited (1996), with lead vocal by John Wetton, as well as on Hack ett's live album "The Tokyo Tapes". In 2009 the DJ Absolut sampled parts from the guitar solo for the song "Flashbac k Memories" for the mixtape "Blood On Chef's Apron" with MC's The Game and Raekw on. More Fool Me "More Fool Me" is one of two songs from the Gabriel era to feature Phil Collins on lead vocals (the other being "For Absent Friends" from their 1971 LP Nursery Cryme.) The song is about a man whose lover walks out on him, yet he is "sure it will work out alright." Musically, the song is much simpler and more sparse tha n the rest of the album, as it features only acoustic guitar and vocals. It was written by Phil Collins and Mike Rutherford while sitting on the steps of Island Studios. It became Collins's featured solo vocal spot on the Selling England by the Pound tour. The Battle of Epping Forest "The Battle of Epping Forest" was inspired, according to the liner notes, by a n ews story about two rival gangs' territorial battles. The lyrics play out as suc h, featuring characters such as "Mick the Prick" and "Bob the Knob" as they batt le for turf in east London on a grand scale. The song is characteristic for singer Peter Gabriel's changing of voices for dif ferent characters as well as the frequent changes in tempo and time signature. T he song was performed live during the tour to support Selling England by the Pou nd, featuring Gabriel moving around the stage telling the story. The band's feelings about the song are mixed. In Hugh Fielder's The Book of Gene sis, the band members seem to agree that, although the song has a lot of good id eas, it suffers from having too many lyrics (some which don't always fit the bac kground music) and an altogether too-busy arrangement, making it difficult to pl ay live without mistakes being made. The song was dropped from the band's setlis t after the "Selling England" tour. After the Ordeal "After the Ordeal" was written mainly by Hackett. The first half is an up-tempo classical guitar piece with a majestic piano backing; the second half is a slowe r piece performed on electric guitar. Although Genesis never performed the song live, Hackett plays it on his acoustic trio tours as part of a medley in between Apocalypse in 9/8 (from " ") and "Hairless Heart." According to Banks, both he and Gabriel were against th e inclusion of this song, and they had many arguments with Hackett about this is sue. Although Hackett won out in this case, such disputes over his compositions would eventually lead him to quit the band four years later. The Cinema Show "The Cinema Show" is divided into two main sections: The first section is a gent le 12-string guitar-based piece, featuring vocal harmonies between Gabriel and C ollins, as well as a short flute solo. Afterward, the song segues into a four-an d-a-half minute keyboard solo by Banks, with Rutherford and Collins laying down the rhythm in a 7/8 time signature (this solo has frequently been integrated int o the "In the Cage" medley that appeared in later years). The song ends by switc hing back to 4/4 time and seguing into the following song, "Aisle of Plenty." Wh en performed live, however, "Aisle of Plenty" was not performed; instead, a new ending was added at the end of the 7/8 section, as heard on live album Seconds O ut. The lyrics, written by Banks and Rutherford,or possibly Banks and Gabriel(accord ing to Collins) draw much of their inspiration from the T. S. Eliot poem The Was

te Land. They refer to two characters, Romeo and Juliet (after the famous Romeo Montague and Juliet Capulet), each readying oneself for their date at a cinema s how (with Romeo entertaining high hopes for a sexual encounter with Juliet after ward). The chorus makes reference to Tiresias, a character from Greek mythology who lived as both a man and a woman, and who concluded that women derive more pl easure from sex than men do. Aisle of Plenty "Aisle of Plenty" is not so much its own song as a reprise of "Dancing with the Moonlit Knight", with lyrics following the same thematic connections. This gives the album a book-end effect, a technique that had been popularized on then-rece nt albums by groups such as The Carpenters (on Offering and A Song for You), Kin g Crimson (on In the Wake of Poseidon), and Simon & Garfunkel (on Bookends, an a lbum which took its name from this technique). Genesis used it on later albums l ike A Trick of the Tail and Duke. The acoustic line that opens the song is repea ted several times at the end of "The Cinema Show", thereby "connecting" the two tracks. This track is peppered with word play which may possibly escape those no t familiar with the store names it references: "Easy, love, there's the safeway home, "Thankful for her fine fair discount, Tess co-operates...." At the time, Fine Fare and Safeway were major grocery store chains in the UK, an d both Tesco and the Co-op (The Co-operative Group), were, and still are, names of grocery stores. These lyrics are a pun because the word aisle is associated w ith grocery stores. Reception Professional ratings Review scores Source Rating Allmusic 324 BBC Music (very favourable)325 George Starostin (overall 14/15)326 The Daily Vault (A)327 Rolling Stone (not rated)328 Robert Christgau (B)329 This table needs to be expanded using prose. See the guideline for more informa tion. Track listing All songs written and composed by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford. Side one No. Title Length 1. "Dancing with the Moonlit Knight" 8:04 2. "I Know What I Like (In Your Wardrobe)" 4:07 3. "Firth of Fifth" 9:35 4. "More Fool Me"

3:10 Side two No. Title Length 1. "The Battle of Epping Forest" 11:49 2. "After the Ordeal" 4:13 3. "The Cinema Show" 11:06 4. "Aisle of Plenty" 1:32 Sound and live performance The piano introduction to "Firth of Fifth" has not been included in a performanc e since 1974, in a Drury Lane Theatre concert, when Banks misplayed and Collins covered by starting the song from after the intro. "The Cinema Show" contains a long-form synthesizer solo in which Gabriel and Hackett played no part; during l ive performances, they both left the stage for this section. This solo section w ould later form the melodic centrepiece of the extended instrumentals in the 'In The Cage' Medley (a combination of song excerpts that Genesis would perform liv e years after it had stopped performing other songs from the 1970s). "I Know What I Like (In Your Wardrobe)" was Genesis' first single to receive any sort of chart action, hitting No.21 in the UK in April 1974.330 Trivia According to Steve Hackett, John Lennon was a fan of the album: "When I was with Genesis, I'll never forget being on tour in America in 1973 when we were trying t o make it there and hearing John Lennon say on WNEW New York radio that he `loved' o ur album Selling England By The Pound. Even if I never ever sell another album i n my life I will always remember that. It doesn't get much better than that a trib ute from Lennon, that the great man himself listened to our records. It gave us a heck of a buzz and real encouragement."331 Personnel Peter Gabriel lead vocals, flute, oboe, percussion Phil Collins drums, percussion, backing vocals, lead vocals on "More Fool Me" Tony Banks piano, keyboards, backing vocals Steve Hackett lead guitar Mike Rutherford bass guitar, bass pedals, rhythm guitar, electric sitar, cello on "Dancing With The Moonlight Knight", acoustic guitar on "The Cinema Show" Charts Album Year Chart Position 1973 UK Albums Chart 3 1974 Billboard Pop Albums 70 Certifications Organization Level Date RIAA U.S. Gold

20 April 1990 ''The Lamb Lies Down on Broadway'' The Lamb Lies Down on Broadway Studio album by Genesis Released 18 November 1974 Recorded AugustOctober 1974 at Island Mobile Studios, Wales Genre Progressive rock Length 94:22 Label Charisma, Atco Producer John Burns, Genesis Genesis chronology Selling England by the Pound(1973) The Lamb Lies Down on Broadway(1974) A Trick of the Tail(1976) The Lamb Lies Down on Broadway is a double concept album recorded and released i n 1974 by the British rock band Genesis. It was their sixth studio album and the last album by the group to feature the involvement of lead singer Peter Gabriel . Premise The album tells the surreal story of a half Puerto Rican juvenile delinquent nam ed Rael living in New York City, who is swept underground to face bizarre creatu res and nightmarish dangers in order to rescue his brother John.332 Several of t he story's occurrences and places were derived from Peter Gabriel's dreams, and the protagonist's name is a play on his surname. In the 1991 documentary "Genesi s: A History", Phil Collins remarked, "It's about a 'split personality' (referri ng to the live performance of "it."). In this context, Rael would believe he is looking for John but is actually looking for a missing part of himself. The indi vidual songs also make satirical allusions to mythology, the sexual revolution, advertising, and consumerism. The title track, "The Carpet Crawlers", and "In th e Cage" are live favourites for the band. Both "In the Cage" and "The Carpet Cra wlers" were included in 2007's Turn it On Again: The Tour, with "The Carpet Craw lers" played as the closing number. Background Peter Gabriel was absent from the album's writing and rehearsal sessions due to personal problems his first wife was having difficulties with her first pregnanc y.333 For this reason, most of the music was written by Tony Banks, Phil Collins , and Mike Rutherford, with some contribution from Steve Hackett and, at first, virtually none from Gabriel. Gabriel, for his part, insisted on writing the stor y and all the lyrics himself, which caused friction, in particular because Ruthe rford had originally suggested another project for the band an album based on An toine de Saint Exupry's The Little Prince. Banks and Rutherford did write the wor ds for "The Light Dies Down on Broadway", as Gabriel could not come up with a li nking piece between "Ravine" and "Riding the Scree". In addition, when Gabriel p ut lyrics to a piece of music written by one of the other band members (such as Banks' "The Lamia" and Hackett's "Here Comes the Supernatural Anaesthetist") the composer would often insist on adjusting the lyrics to better fit the music, an action Gabriel did not take kindly to. Gabriel's then-wife Jill noted that he wrote the main melody for "The Carpet Cra wlers", of which he is especially proud.334 Tracks like "Anyway" and "Lilywhite Lilith" were developed from earlier unused 1969 compositions by the band ("Frust ration" and "The Light" respectively) which were likely to have been group effor ts. During the album's pre-production, Gabriel was contacted by filmmaker William Fr

iedkin (at the time enjoying success with The Exorcist), about a possible film p roject after Friedkin read Gabriel's short story on the sleeve of the Genesis Li ve album.335 Despite his bandmates' disapproval, Gabriel left them to work on so me early script drafts. However, the project came to nothing (Friedkin instead w orking with Tangerine Dream to score his next film, Sorcerer), and Gabriel retur ned to the band. Live performance The Lamb Lies Down on Broadway met with mixed reviews, and reached number 10 in the UK, while nearly cracking the U.S. Top 40, reaching number 41 and eventually going Gold. The band went on a world tour upon its release, performing the albu m in its entirety 102 times. The Lamb Tour was slated to begin on 29 October 197 4, but due to an injury to Steve Hackett's hand, the tour was postponed until 12 November.336 Opening night for the tour commenced at the Auditorium Theatre in Chicago, Illinois on 20 November 1974. The final show on The Lamb tour was 22 Ma y 1975 at the Palais des Sports in Besanon, France. (The final show of the tour h ad been scheduled for 27 May 1975 at the Palais des Sports in Paris, but was can celled due to poor ticket sales, as was the penultimate date of 24 May 1975 at t he Parc des Expositions in Toulouse.) Early into the tour, Gabriel decided he wo uld leave Genesis, although he would finish the tour amicably with the band and not go public until August 1975. The tour saw the summation of Peter Gabriel's interest in theatrical presentatio n, masks and costumes, which had initially been something to hide his shy person a behind and to give the band a distinctiveness. In addition to Gabriel's theatr ics, three screens above the band showed slides to accompany the story. For the first half of the show, Gabriel dressed as Rael in leather jacket, T-shi rt and jeans, while relying on lighting and dramatic expression without the use of props or costumes. In the second half, the costumes and other visuals became much more elaborate. During "The Lamia", for instance, Gabriel was surrounded by a spinning cone-like structure decorated with images of snakes. For the last ve rse of the song, the cone would collapse to reveal Gabriel wearing a body suit t hat glowed under the stage's black lights. However, the most notorious of Gabrie l's costumes was the Slipperman, a naked monster with inflatable genitalia and c overed in lumps, who emerged onto the stage by crawling out of a phallus-shaped tube. At the intro to the final song "It," a huge explosion set off twin strobes , and the audience was faced with both Gabriel and a dummy dressed identically, clueless as to which was real. "It" also featured an alternate ending with Gabri el vanishing from the stage in a flash of light and a puff of smoke. Although these visuals were, as in past concerts, meant to enhance the experienc e, the rest of the band became frustrated with the press focusing only on the th eatrical side of the show and not the musicianship. Another problem for the band was that many fans reacted as if Gabriel was the star and the rest of the group merely his backing band. Collins stated in Hugh Fielder's 1984 book, The Book O f Genesis, that backstage after a Lamb concert, "people would steam straight pas t Tony, Mike, Steve and I, go straight up to Peter and say, 'You're fantastic, w e really enjoyed the show.' It was becoming a one-man show to the audience." The show would feature some of the band's most famous instruments, including Mik e Rutherford's double neck that consisted of a MicroFret six string bass and a R ickenbacker 12 string guitar, and Phil Collins' largest drum kit with Genesis fe aturing four timbales, a red seven-piece Ludwig kit (and later a natural finish Premier kit in same configuration,) a Fibes Crystallite snare, a set of five red temple blocks, a vibraphone, a set of orchestral bells, tubular bells, and a se t of tuned tambourines (which can be heard on "In the Cage.") The tour was fraught with other difficulties. According to Tony Banks, the slide s which accompanied the music never worked well and only came close to working p erfectly on four or five occasions. Gabriel often had difficulty getting a micro phone near enough to his mouth to be heard in some of his costumes, especially t he Slipperman. And, during a performance of "It" in one concert in Oslo, a stage manager's error resulted in an explosion so intense that it caused the band to stop playing, fearing for their safety. At the final Lamb concert in Besanon, roadie Geoff Banks, just for a joke and wit

hout telling the band beforehand, put on the dummy's leather jacket and wearing nothing else replaced the Gabriel dummy on stage for the intro to "It." Genesis never had any of their Lamb concerts filmed in their entirety, although several pieces from the show were filmed, including some bootleg footage taken b y audience members. The 5.1 DVD edition of The Lamb, released in November 2008, features a visual "reconstruction" of the concert, utilising all of the band's o riginal slides from the show, some bootleg footage, and photographs. There is al so a nearly-complete audio recording of the performance from 24 January 1975 at the Shrine Auditorium in Los Angeles that is available on the box set, Genesis A rchive 196775, although it has some re-recorded vocals and guitar parts by Gabrie l and Hackett, as both men were dissatisfied with their performances on the orig inal concert recording (as well as technical flaws; e.g. Gabriel's vocals at one point being muffled by the Slipperman costume). In addition, for reasons never properly explained, the band used a re-mixed studio version of "it", also with r e-recorded vocals by Gabriel, instead of the live version of the song. Contrary to Tony Banks' assertion in the accompanying booklet to the Genesis Archive, the tape did not run out; the live version of "it" exists on the King Biscuit Flowe r Hour broadcast of the Shrine concert. In 2004, Genesis considered reuniting for a brief reunion tour of "The Lamb Lies Down On Broadway." All five former band members met in November 2004 to discuss the possible tour, but ultimately Gabriel bowed out due to his solo commitments . In 2007, Banks, Collins, and Rutherford went ahead with the Genesis reunion to ur without Gabriel and Hackett, playing only a couple of "Lamb" songs during the show, the standard live numbers "In the Cage" and "Carpet Crawlers." The trio a ll stated that they still hoped a reunion tour of "The Lamb" with Gabriel and Ha ckett would still happen at some point. In March 2011, Collins announced his ret irement from the music industry, closing off any possibility of a "Lamb" reunion tour.337338 Track listing All songs written by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford. Atco altered two song titles for the US release: "The Carpet Crawl" to "The Carp et Crawlers" and "Here Comes The Supernatural Anaesthetist" to "The Supernatural Anaesthetist" CD disc one Vinyl/Cassette side one "The Lamb Lies Down on Broadway" 4:55 "Fly on a Windshield" 2:47 "Broadway Melody of 1974" 2:11339 "Cuckoo Cocoon" 2:14 "In the Cage" 8:15 "The Grand Parade of Lifeless Packaging" 2:45 Vinyl/Cassette side two "Back in N.Y.C." 5:49 "Hairless Heart" 2:13 "Counting Out Time" 3:45 "The Carpet Crawlers" 5:16 "The Chamber of 32 Doors" 5:44 CD disc two Vinyl/Cassette side three "Lilywhite Lilith" 2:40 "The Waiting Room" 5:28 "Anyway" 3:18 "Here Comes the Supernatural Anaesthetist" 2:50 "The Lamia" 6:57 "Silent Sorrow in Empty Boats" 3:06 Vinyl/Cassette side four "The Colony of Slippermen" 8:14 a. The Arrival b. A Visit to the Doktor c. Raven "Ravine" 2:05 "The Light Dies Down on Broadway" 3:32

"Riding the Scree" 3:56 "In the Rapids" 2:24 "It." 4:58 Personnel Tony Banks keyboards, piano Phil Collins drums, percussion, vibraphone, backing vocals Peter Gabriel vocals, flute, oboe Steve Hackett guitars Mike Rutherford bass, twelve-string guitar, bass pedals plus Brian Eno enossification (treatments) Reception Professional ratings Review scores Source Rating Allmusic 340 BBC Music (very favourable)341 Robert Christgau (B-)342 In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came No.14 in its list of "40 Cosmic Rock Albums".343 The album came 9th in Uncut's "10 best concept albums", where it was described a s an "impressionistic, intense album" and "pure theatre (in a good way) and stil l Gabriel's best work".344 The album's dense lyrical and musical complexity is the subject of a book 345 au thored by Kevin Holm-Hudson, a professor of music theory. Holm-Hudson writes, ". ..The Lamb emerges as one of the richest creative works of the 1970s." Reissues A digitally remastered version of "The Lamb" was released on CD in 1994 on Virgi n in Europe and on Atlantic in the US and Canada. The remastered CD's booklet fe atures the lyrics and story that came with the original vinyl, though some of th e inner sleeve artwork was not reproduced. A re-recorded version of the song "The Carpet Crawlers," titled "The Carpet Craw lers 1999", was released on the compilation album Turn It on Again: The Hits, wi th both Peter Gabriel and Phil Collins contributing lead vocals. A SACD / DVD double disc set (including new 5.1 and Stereo mixes) was released i n November 2008. Charts Year Chart Position 1974 UK album chart 10 Billboard Pop Albums 41 Certifications Organisation Level Date BPI UK Gold 1 February 1975 CRIA Canada Gold 1 May 1978 RIAA U.S.

Gold 20 April 1990 Covers In 1994, Kevin Gilbert and his band Giraffe performed an abbreviated version of the album (12 songs) at Progfest '94, celebrating its 20th anniversary. Gilbert also provided a version of "Back in N.Y.C." for the Genesis tribute album Supper 's Ready (Magna Carta, 1995). In 1998 Jeff Buckley's posthumous album Sketches for My Sweetheart the Drunk was released, featuring a cover version of the song "Back in N.Y.C.". Tony Levin (who has been Gabriel's working bassist through his whole solo caree r) regularly plays "Back in NYC" with his solo band, a recording of which appear s on the live album Double Espresso. In 2000, The Flower Kings covered the title track of the album on their first li ve album Alive on Planet Earth. In 2001, the entire album was performed by a Genesis tribute band called ReGenes is at G2, the second international Genesis fan convention, in Guildford, UK. Thi s included a completely new multimedia show. The band then toured their Lamb sho w all over the UK and Europe. In 2003, Paul Gilbert covered the title track on his album Gilbert Hotel, using acoustic guitar as lead instrument. In 2004, 2005, and 2011, the entire Lamb was performed by the Quebec Genesis tri bute band called The Musical Box during their worldwide tour, celebrating its 30 th anniversary. In 2008, the band Rewiring Genesis (Nick D'Virgilio and Mark Hornsby) released A Tribute to the Lamb Lies Down on Broadway featuring newly interpreted versions of the songs and performances from Nashville studio musicians. On 1 August 2009, Nick D'Virgilio performed the album in its entirety live in Wh ittier, CA. It included "a 15 piece band with a giant horn section" . In 2009, Francis Dunnery covered "Back In N.Y.C.", re-titling it without the abb reviations as "Back In New York City", on his album There's a Whole New World Ou t There. External links The Lamb Lies Down on Broadway Complete Story by Peter Gabriel and Album Links The Annotated Lamb Lies Down on Broadway An interpretation of The Lamb Lies Dow n on Broadway The Lamb Lies Down on Broadway at Allmusic ''A Trick of the Tail'' A Trick of the Tail Studio album by Genesis Released 2 February 1976 (UK) / 20 February 1976 (US) Recorded OctoberNovember 1975, Trident Studios Genre Progressive rock Length 51:11 Label Charisma, Virgin, Atco Producer David Hentschel and Genesis Genesis chronology The Lamb Lies Down on Broadway(1974) A Trick of the Tail(1976) Wind & Wuthering(1976)346 Professional ratings Review scores Source Rating

Allmusic 347 Q 348 Uncut 349 Rolling Stone (not rated)350 A Trick of the Tail is the seventh studio album by the rock band Genesis and the first to feature drummer Phil Collins as full-time lead vocalist following the departure of original vocalist Peter Gabriel. It was released in February 1976. Post-Gabriel Genesis After Peter Gabriel left Genesis, the remaining members held auditions for a per manent lead singer, although some members (most notably Banks) considered contin uing as an instrumental act, while most songs were written without knowledge as to how they would be sung.351 Initially, Phil Collins did not wish to take over from Gabriel, instead teaching the potential lead singers the songs. One of the 400 auditioners, Mick Stickland, came close, but the band and Mick decided again st working together in the end. According to the band members, the backing track s for A Trick of the Tail had already been recorded and were in a key in which M ick was not comfortable singing. When the auditions failed to produce a suitable vocalist, Collins reluctantly went in the studio to sing "Squonk" and the band decided that Collins should be the new vocalist.352 Recording The album was recorded and mixed at Trident Studios in October/November 1975. It also marked the first album that the band would co-produce with David Hentschel . They would work with Hentschel for the next four years. Videos For the first time in their career, Genesis filmed promotional videos for their songs. Three videos were filmed. Banks' "A Trick of the Tail" was the first, whi ch featured the band playing to the track together around a piano. A miniature P hil Collins can be seen hopping around on a piano and a guitar (Collins later re vealed that this video was the most embarrassing of his career). The second vide o was for the song "Ripples," which was a performance clip. The third was for "R obbery, Assault and Battery" which depicted Collins as a bank robber who shoots an elderly man (played by Mike Rutherford) after holding him up and is then purs ued by cops (played by Banks, Hackett and Rutherford), shooting Banks in the pro cess. Chart performance A Trick of the Tail reached No.3 in the UK, remaining on the charts for 39 weeks , and No.31 in the US. Additionally, the album was certified Gold in the US by t he RIAA in March 1990. Also according to Tony Banks in the essay that comes with Platinum Collection, the album doubled the band's previous albums sales. This s uccess was also financially crucial for Genesis who were $400,000 in debt by the time Peter Gabriel left. Track listing All Songs Copyright Control. This album is the first to depart from the practice of crediting all members of Genesis for writing each song. Original release Side one No. Title Lyrics Music Length 1. "Dance on a Volcano" Mike Rutherford Tony Banks, Phil Collins, Steve Hackett, Rutherford 5:53

2. "Entangled" Hackett Banks, Hackett 6:28 3. "Squonk" Banks Banks, Rutherford 6:27 4. "Mad Man Moon" Banks Banks 7:35 Side two No. Title Lyrics Music Length 1. "Robbery, Assault and Battery" Banks, Collins Banks, Collins 6:15 2. "Ripples...*" Rutherford Banks, Rutherford 8:03 3. "A Trick of the Tail" Banks Banks 4:34 4. "Los Endos" (instrumental) Banks, Collins, Hackett, Rutherford 5:46 Total length: 51:11 B Side Extra Track No. Title Writer(s) Length 1. "It's Yourself**" Collins/Hackett/Rutherford/Banks 5:46 All future issues of this track (including live versions) omit the ellipsis. "It's Yourself" is the B-side to "Ripples" as well as a single from the Wind & W uthering album. Remastered The remastered version of the album had slightly different track timings No. Title

Writer(s) Length 1. "Dance on a Volcano" Tony Banks, Phil Collins, Steve Hackett, Mike Rutherford 5.55 2. "Entangled" Banks, Hackett 6.26 3. "Squonk" Banks, Rutherford 6.29 4. "Mad Man Moon" Banks 7.35 5. "Robbery, Assault and Battery" Banks, Collins 6.16 6. "Ripples..." Banks, Rutherford 8.08 7. "A Trick of the Tail" Banks 4.34 8. "Los Endos" Banks, Collins, Hackett, Rutherford 5.46 Working titles for the album Before A Trick of the Tail was released, two songs had working titles. Below is a list of the original working title and finalised song title (in parentheses): "Indians" ("Squonk") "Beloved Summer" ("It's Yourself") Squonk "Squonk" Song by Genesis from the album A Trick of the Tail Released 20 February 1976 Recorded OctoberNovember 1975 Genre Progressive rock Length 6:27 Label Charisma/Virgin (UK)Atco (US) Writer Tony Banks/Mike Rutherford Producer David Hentschel and Genesis A Trick of the Tail track listing "Entangled"(2) "Squonk"(3) "Mad Man Moon"(4)

"Squonk" is based on the North American tale of the squonk which when captured d issolves in a pool of tears. The song features many different sections and was a live favourite at Genesis concerts between 1976 and 1980. According to Collins, in the interviews on the DVD release, this song was intended to be the closest thing Genesis ever got to Led Zeppelin (who were signed to Atlantic Records, the US label for Genesis), presumably because of the incredibly heavy drumming a la 'When the Levee Breaks'. Steve Hackett, in particular, remembers getting an ecs tatic reception when the band opened a show with this song at Madison Square Gar den. Overall, this song is symptomatic of a new direction they would follow well in the 80s, the most notable departure from other earlier work being the change of Collins' drumming style from light, snare-heavy, jazz-rock to full-blooded r ock. This change is mainly due to new producer David Hentschel. The working titl e of the song was Indians. 2007 SACD/CD/DVD Release A new version of A Trick of the Tail was released in the U.K. and Japan on 2 Apr il 2007. It was released in the US and Canada as part of the Genesis 1976-1982 b ox set on 15 May 2007. This includes the entire album in remixed stereo, the ent ire album in surround sound, and related video tracks. Disc 1, in the European and Japanese releases, is a hybrid SACD/CD. The stereo l ayer includes the remixed tracks, and the SACD layer is a multichannel surround sound remix. Disc 1, in the Canadian and U.S. releases, is a standard CD, containing the ster eo remixes. No SACD layer is included.353 Disc 2, in all releases, is a DVD-Video disk containing both audio and video tra cks. This DVD includes three audio mixes of the album: DTS 5.1-channel surround sound, Dolby Digital 5.1-channel surround sound, and Dolby Digital stereo.354 Th e DTS surround sound is a slightly compressed version of the surround sound on t he SACD,355 and the Dolby surround sound is of slightly inferior quality to the DTS.356 Disc 2 also includes the following video tracks: Band interview about this album (2006). Promotional videos: "Robbery, Assault and Battery", "Ripples" and "A Trick of th e Tail". Genesis: In Concert (1977 concert movie filmed during 1976 tour). Songs include "I Know What I Like (In Your Wardrobe)", "Fly on a Windshield", "The Carpet Cra wlers", "The Cinema Show", "Entangled", "Supper's Ready" and "Los Endos". White Rock premiere program, from 1977 show (8 page gallery). Personnel Phil Collins vocals, background vocals, drums, percussion Steve Hackett electric guitar, 12-string guitars Tony Banks organ, synthesisers, pianos, background vocals, 12-string guitar, me llotron Mike Rutherford bass guitar, 12-string guitar, bass pedals Production Arranged By Genesis Produced By Genesis & David Hentschel Recorded & Engineered By Nick "Haddock" Bradford & David Hentschel Tour The tour of 1976 was the first to feature Phil Collins as the band's lead vocali st. In order for Phil to truly focus on singing, the decision was made to bring in another drummer to play during the songs when Phil was singing. A legend at t he time, former Yes drummer (who was at the time on hiatus from King Crimson) Bi ll Bruford was brought in on the tour after he suggested that they might use him to fill in for a bit. This added a bit of star power to the new line up of the band. The resulting tour was widely regarded as a success, and launched the band into a new level of stardom. It is documented on the film "Genesis In Concert" and is included on the 2007 re-issue of A Trick of the Tail. Set List "Dance on a Volcano" "Lamb Stew Medley" "The Lamb Lies Down on Broadway"/"Fly on a Windshield"/"The C

arpet Crawlers" "The Cinema Show" "Robbery, Assault and Battery" "White Mountain" "Firth of Fifth" "Entangled" "Squonk" "Supper's Ready" "I Know What I Like (In Your Wardrobe)" "Los Endos" encore "It"/"Watcher of the Skies" Personnel Phil Collins vocals, percussion, drums Steve Hackett electric guitar, 12-string guitars Tony Banks organ, synthesisers, pianos, background vocals, 12-string guitar, me llotron Mike Rutherford bass guitar, 12-string guitar, bass pedals, background vocals Bill Bruford drums, percussion, glockenspiel, gong External links Video clip for A Trick of the Tail ''Wind & Wuthering'' Wind & Wuthering Studio album by Genesis Released 23 December 1976 (UK)27 December 1976 (US)357 Recorded September October 1976 at Relight Studios/Hilvarenbeek, NL Genre Progressive rock Length 50:54 Label Charisma, Virgin, Atco Producer David Hentschel and Genesis Genesis chronology A Trick of the Tail(1976) Wind & Wuthering(1976)358 Seconds Out(1977) Professional ratings Review scores Source Rating Allmusic359 MSN Music360 Q361 Wind & Wuthering is the eighth studio album by British rock band Genesis, origin ally released in December 1976.362 Tony Banks has said Wind & Wuthering is one of his two favourite Genesis albums. 363 Steve Hackett has also stated that he is "very fond" of this album.364 Chart performance Wind & Wuthering reached number 7 in the UK where it remained on the charts for 22 weeks, and No.26 in the US. In the US, "Your Own Special Way" became the band 's first charting single with Collins as lead vocalist, at #62, and gained FM ai rplay.

Titles The album's title derives from two pieces: The "Wind" comes from "The House of t he Four Winds" (a Chinese restaurant in Manhattan), the title given by Hackett t o a piece that later became the quiet bridge for "Eleventh Earl of Mar"; the "Wu thering" alludes to the novel Wuthering Heights by Emily Bront. The titles of tra cks 7 and 8 are derived from the novel's closing sentence: "I lingered round the m, under that benign sky: watched the moths fluttering among the heath and hareb ells, listened to the soft wind breathing through the grass, and wondered how an y one could ever imagine unquiet slumbers for the sleepers in that quiet earth." "Eleventh Earl of Mar" refers to the historical figure of John Erskine, 11th Ear l of Mar by one reckoning. "Wot Gorilla?" is a reference to touring drummer Chester Thompson having been me ntioned in "Florentine Pogen", a track on Frank Zappa's 1975 album One Size Fits All. "Afterglow" was composed by Tony Banks, who described it as a spontaneous piece that was written in about the same amount of time as it takes to play it and som ewhat resembles "Have Yourself A Merry Little Christmas"; it became a staple on Genesis tours for over 10 years, from the 1977 Wind & Wuthering Tour until the 1 986/7 Invisible Touch Tour.365 It was played as part of the 2007 Turn It On Agai n: The Tour, as part of a medley that also included "In The Cage", "The Cinema S how", and "Duke's Travels."366 A Moog Taurus bass pedal is used to create a dron e effect on which much of the song is structured. Track listing Side one No. Title Lyrics Music Length 1. "Eleventh Earl of Mar" Mike Rutherford Tony Banks, Steve Hackett, Rutherford 7:41 2. "One for the Vine" Banks Banks 10:00 3. "Your Own Special Way" Rutherford Rutherford 6:15 4. "Wot Gorilla?" (Instrumental) Banks, Phil Collins 3:12 Side two No. Title Lyrics Music Length 1. "All in a Mouse's Night" Banks Banks 6:35

2. "Blood on the Rooftops" Hackett Hackett, Collins 5:20 3. "Unquiet Slumbers for the Sleepers" (Instrumental) Hackett, Rutherford 2:23 4. "In That Quiet Earth" (Instrumental) Banks, Hackett, Rutherford, Collins 4:50 5. "Afterglow" Banks Banks 4:10 Related EP No. Title Writer(s) Length 1. "Match of the Day" Rutherford, Banks, Collins 3:30 2. "Pigeons" Rutherford, Banks, Collins 3:16 3. "Inside and Out" Hackett, Rutherford, Banks, Collins 6:48 All tracks from the Single Spot the Pigeon 20 May 1977 2007 SACD/CD/DVD Release A new version of Wind & Wuthering was released in the U.K. and Japan on 2 April 2007. It was released in the US and Canada as part of the Genesis 1976-1982 box set on 15 May 2007. This includes the entire album in remixed stereo, the entire album in surround sound, and related video tracks. Disc 1, in the European and Japanese releases, is a hybrid SACD/CD. The stereo l ayer includes the remixed tracks, and the SACD layer is a multichannel surround sound remix.367 Disc 1, in the Canadian and U.S. releases, is a standard CD, containing the ster eo remixes. No SACD layer is included.368 Disc 2, in all releases, is a DVD-Video disk containing both audio and video tra cks. This DVD includes three audio mixes of the album: DTS 5.1-channel surround sound, Dolby Digital 5.1-channel surround sound, and Dolby Digital stereo.369 Th e DTS surround sound is a slightly compressed version of the surround sound on t he SACD,370 and the Dolby surround sound is of slightly inferior quality to the DTS.371 Disc 2 also includes the following video tracks: Band interview about this album (2006). Genesis on The Mike Douglas Show (U.S. television), 1977 (sourced from bootleg v ideo). Songs include "Your Own Special Way" and "Afterglow". Japanese television appearance, 1977 (sourced from bootleg video). Songs include "Eleventh Earl of Mar", "One For the Vine", and "Your Own Special Way".

World Tour Program, from 1977 tour (13 page gallery). Personnel Steve Hackett guitars, kalimba, autoharp Tony Banks keyboards Mike Rutherford basses, guitars, bass pedals Phil Collins vocals, drums, percussion Production Produced By David Hentschel & Genesis Recorded & Engineered By David Hentschel Assistant Engineers: Pierre Geoffroy Chateau, Nick Bradford Tour Genesis toured in support of Wind & Wuthering between January and July 1977. Thi s tour marked the debut of Chester Thompson as their touring drummer and final t our with guitarist Steve Hackett. The tour was documented on the Seconds Out alb um. Setlist "Squonk" "One For the Vine" "Robbery, Assault And Battery" "Your Own Special Way" (performed on UK shows in January, 1977 and the whole of the North American leg in February and March, 1977) "Lilywhite Lilith"/"The Waiting Room"/"Wot Gorilla" (performed at London's Rainb ow Theatre show on 1 January 1977) "All In a Mouse's Night" (performed on UK shows in January, 1977) "Inside and Out" (performed on South American and second European legs replacing "Your Own Special Way") "Firth of Fifth" "The Carpet Crawlers" "...In That Quiet Earth'" "Afterglow" "I Know What I Like (In Your Wardrobe)" "Eleventh Earl of Mar" "Supper's Ready" "Dance On a Volcano" "Drum Duet" (replacing the instrumental coda of "Dance On a Volcano") "Los Endos" Encore: "The Lamb Lies Down on Broadway" "The Musical Box" (closing section) " The Knife (Earl's court) Personnel Phil Collins Lead Vocals, Drums, Percussion Tony Banks Keyboards, Vocals, 12-string guitar Mike Rutherford Bass guitar, 12-string guitars, bass pedals, vocals Steve Hackett Guitars Chester Thompson Drums, percussion ''Seconds Out'' Seconds Out Live album by Genesis Released 21 October 1977 Recorded Paris, Palais des Sports, 1114 June 1977 (except "The Cinema Show": 1976-Tour) Genre Progressive rock Length 1:35:31 Label Charisma, Virgin, Atlantic

Producer David Hentschel and Genesis Genesis chronology Wind & Wuthering(1976) Seconds Out(1977) ...And Then There Were Three...(1978) Professional ratings Review scores Source Rating Allmusic 372 Rolling Stone (not rated)373 Seconds Out is a live double album by Genesis, released in October 1977. It reac hed No.4 in the UK, remaining in the charts for 17 weeks. The performances were recorded in Paris in 1976 and 1977 on their tours in support of A Trick of the T ail and Wind & Wuthering. At the end of several songs the crowd can be heard enc ouraging the band to play another song by chanting "Une autre!" which literally means "another one". History Seconds Out is the band's second live album following Genesis Live in 1973. Whil e the earlier live set had been released by the band's label to mark time while they recorded Selling England by the Pound, Seconds Out was planned as a major r elease, an authoritative document of Genesis' sound with Phil Collins as frontma n and lead vocalist. The recording includes former Weather Report drummer Cheste r Thompson at the start of his long tenure as concert drummer for the band. Form er Yes and King Crimson drummer Bill Bruford, the first drummer to take over for Collins on the stage, played drums on the band's 1976 tour, from which the reco rding of "The Cinema Show" was taken. Thompson replaced Bruford on the band's 19 77 tour, which was the source of all other songs on the album. Guitarist Steve H ackett left the band during mid-1977 as Seconds Out was being mixed. A critical and commercial success, the album hit No.4 in the UK and No.47 in the US, where their popularity was still gaining steam. Until Genesis Archive 1967-75 (1998), Seconds Out contained the only official li ve recording of Genesis concert staple "Supper's Ready". On the Genesis A History video (1990), Banks dryly jokes that, after Hackett ann ounced his departure from the band, "we just mixed him out of the rest of the al bum and that was it, really." Hackett later said that Banks' remark was simply " British humour". The album's credits include details of which drummer(s) are playing on each song . These include statements like "drums Chester, keyboard solo Phil." These have been misinterpreted as saying that Collins plays the keyboard solo, but in fact they refer to his playing drums during the keyboard solo. Meaning of the title The album's title has a double meaning. The phrase 'Seconds out!' is used by som e boxing374 (and wrestling) officials to indicate that the fighters' ring crew ( their 'seconds'375) must leave the ring because the next round is about to begin e.g. "Seconds out! Round 2". Also, the album is the second Genesis live album i .e. recorded out of the studio. It has also been suggested that the title refers to Hackett's departure because he is the second significant member to be out of the band. This is clearly incorrect, as both Banks and Rutherford regard Anthon y Phillips' departure in 1970 to have been more significant in Genesis history t han Gabriel's departure in 1975. This would make Hackett the third 'significant' band member to leave, and the sixth in total. Song notes "Firth of Fifth" is performed without the piano introduction, beginning immediat ely with the lyrics. A similar recording appears on Genesis Archive 196775. Tony Banks stopped playing the piano introduction in concert during the Selling Engla nd by the Pound tour, as there were no electric pianos in existence at the time

which were sensitive enough to allow Banks to recreate the "classical" feel of t he introduction. This album's version of "I Know What I Like" includes excerpts from "Stagnation" and "Visions Of Angels" (Trespass), "Dancing With the Moonlit Knight" (Selling England by the Pound) and "Blood On The Rooftops" (Wind & Wuthering). Like many of the band's studio albums, this live album also features a "book-end " effect where musical themes and ideas used in the beginning reappear at the en d of the album. The ending of "Los Endos" features themes from the live album's opening track "Squonk". A digitally remastered version was released on CD in 1994 on Virgin in Europe an d on Atlantic in the US and Canada. Both this and the earlier UK CD edition mist rack the transition from 'Dance On A Volcano' to 'Los Endos' a few minutes early . (The original LP banded them together as one track) The version included in th e "Genesis Live 19732007" box set corrects this error. Longtime Genesis producer Nick Davis completed a 5.1 remix of this and other Genesis live albums which wer e released as a box set in September 2009. Track listing All songs by Tony Banks/Phil Collins/Peter Gabriel/Steve Hackett/Mike Rutherford , except where noted. Side one "Squonk" (Banks/Rutherford) 6:39 "The Carpet Crawlers" 5:27 "Robbery, Assault and Battery" (Banks/Collins) 6:02 "Afterglow" (Banks) 4:29 Side two "Firth of Fifth" 8:56 "I Know What I Like (In Your Wardrobe)" 8:45 "The Lamb Lies Down on Broadway" 4:59 "The Musical Box (Closing Section)" 3:18 Side three "Supper's Ready" 24:33 Side four "The Cinema Show" 10:58 Pavillion de Paris 23 June 1976 "Dance on a Volcano" (Banks/Collins/Hackett/Rutherford) 5:09 "Los Endos" (Banks/Collins/Hackett/Rutherford) 6:20 Personnel Phil Collins lead vocals, percussion, drums on "Robbery, Assault and Battery" ( during keyboard solo only), "Firth of Fifth", "The Musical Box", "Supper's Ready " (during "Apocalypse in 9/8" section only), "Cinema Show" (during keyboard solo only) & "Los Endos" Tony Banks keyboards (RMI Electra Piano, Hammmond T. organ, Mellotron 400, ARP Pro Soloist synthesiser), Epiphone 12-string guitar, backing vocals Steve Hackett Gibson Les Paul lead guitar, Hokada 12-string guitar Mike Rutherford Shergold Modulator doubleneck 12-string electric guitar/4-strin g bass guitar, 8-string bass guitar, Moog Taurus bass pedals, backing vocals Additional musicians Chester Thompson drums & percussion on all tracks except "Cinema Show" Bill Bruford drums & percussion on "Cinema Show" ''...And Then There Were Three...'' ...And Then There Were Three... Studio album by Genesis Released 7 April 1978 (UK)23 March 1978 (US) Recorded SeptemberOctober 1977 at Relight Studios/Hilvarenbeek, NL Genre Progressive rock, Rock Length

53:27 Label Charisma, Virgin, Atlantic Producer David Hentschel and Genesis Genesis chronology Seconds Out(1977) ...And Then There Were Three...(1978) Duke(1980) Professional ratings Review scores Source Rating Allmusic 376 Robert Christgau (D+)377 Rolling Stone (negative)378 Q 379 ...And Then There Were Three... is the ninth studio album by the British band Ge nesis and was released in 1978. It is the band's first album as a trio. Background and recording The title ...And Then There Were Three... is a reference to the recent departure of Steve Hackett, reducing Genesis to a trio (which would result in their longe st unchanged line-up, which lasted until 1996). The song "Scenes From a Night's Dream" is based on the adventures of comic strip character Little Nemo, and is t he first Genesis song whose lyrics were written entirely by Phil Collins. "Say I t's Alright Joe" is a torch song about a drunk who goes into a drunken stupor. The album reached No.3 in the UK Albums Chart, and remained in the charts for 32 weeks having been bolstered by the Top 5 success of "Follow You Follow Me", whi ch also became Genesis' first hit US single. ...And Then There Were Three... rea ched No.14 on the US chart, becoming their first Gold (eventually Platinum) albu m there (see RIAA certification). While many of the songs were still progressive in terms of instrumentation and l yrics, the arrangements went from the more classical, movement-style composition of previous albums to the more standard verse/chorus/bridge format of popular s ongwriting. This was the final Genesis album to use a Mellotron. A digitally remastered version was released on CD in 1994 on Virgin in Europe an d Atlantic in the US and Canada. The booklet on the remaster features the lyrics although, the gatefold picture is missing. A SACD / DVD double disc set (includ ing new 5.1 and Stereo mixes) was released on 2 April 2007. It was released as a CD / DVD double disc set in the US and Canada. Album cover The LP sleeve cover was designed by Hipgnosis, the design studio founded by Stor m Thorgerson (best known for his work with Pink Floyd). In an interview, Thorger son called the design a "failure", and described the concept being conveyed: We were trying to tell a story by the traces left by the light trails. It was a torch, a car, and a man with a cigarette. The band was losing members and there were only three of them left. The lyrics of the songs were about comings and goi ngs and we tried to describe this in photographic terms by using time-lapse. So there's a car going off to one side and then the guy gets out of the car, walks over to the front of it, and lights a cigarette. But as he walks he uses a torch and the car he was in leaves. There's a trail left by the car, a trail left by him as he's walking and then he lights a cigarette, which on the cover is where there's a flash of his face.380 Track listing Side one "Down and Out" (Tony Banks, Phil Collins, Mike Rutherford) 5:26

"Undertow" (Banks) 4:46 "Ballad of Big" (Banks, Collins, Rutherford) 4:50 "Snowbound" (Rutherford) 4:31 "Burning Rope" (Banks) 7:10 Side two "Deep in the Motherlode" (Rutherford) 5:15 "Many Too Many" (Banks) 3:31 "Scenes from a Night's Dream" (Banks, Collins) 3:30 "Say It's Alright Joe" (Rutherford) 4:21 "The Lady Lies" (Banks) 6:08 "Follow You Follow Me" (Banks, Collins, Rutherford) 4:02 B sides "The Day the Light Went Out" (Banks) 3:13 "Vancouver" (Rutherford, Collins) 3:03 Both B-sides are from the single "Many Too Many". Working titles for the album Before ...and Then There Were Three... was released, many of the songs had worki ng titles. Below is a list of the original song working titles and finalised son g titles (in parentheses): The Man With The Big Cigar ("Down And Out") Ballad Of Big Jim ("Ballad Of Big") Go West Young Man ("Deep in the Motherlode") Remastered recording "Down and Out" 5:26 "Undertow" 4:46 "Ballad of Big" 4:50 "Snowbound" 4:31 "Burning Rope" 7:09 "Deep in the Motherlode" 5:15 "Many Too Many" 3:31 "Scenes From a Night's Dream" 3:29 "Say It's Alright Joe" 4:21 "The Lady Lies" 6:07 "Follow You Follow Me" 3:59 Production Produced By Genesis & David Hentschel Engineered & Mixed By David Hentschel & Steve Short 2007 SACD/CD/DVD release A new version of ...And Then There Were Three... was released in the UK and Japa n on 2 April 2007. It was released in the US and Canada as part of the Genesis 1 976-1982 box set on 15 May 2007. This includes the entire album in remixed stere o, the entire album in surround sound, and related video tracks. The only except ion is the track "Say It's Alright Joe", which was not remixed because the band was unable to locate the multitrack recordings.381 Disc 1, in the European and Japanese releases, is a hybrid SACD/CD. The stereo l ayer includes the remixed tracks, and the SACD layer is a multichannel surround sound remix.382 Disc 1, in the Canadian and U.S. releases, is a standard CD, containing the ster eo remixes. No SACD layer is included.383 Disc 2, in all releases, is a DVD-Video disk containing both audio and video tra cks. This DVD includes three audio mixes of the album: DTS 5.1-channel surround sound, Dolby Digital 5.1-channel surround sound, and Dolby Digital stereo.384 Th e DTS surround sound is a slightly compressed version of the surround sound on t he SACD,385 and the Dolby surround sound is of slightly inferior quality to the DTS.386 Disk 2 also includes the following video tracks: Band interview about this album (2006). Promotional videos: "Many Too Many" and "Follow You Follow Me". "Three Dates With Genesis" (1978 BBC documentary). Japanese tour program, from 1978 tour (15 page gallery).

Knebworth program, from 1978 festival (4 page gallery). German festival program, from 1978 festival (10 page gallery). Personnel Phil Collins lead and backing vocals, drums, percussion. Tony Banks keyboards, piano, mellotron, synthesisers (ARP 2600, Polymoog). Mike Rutherford basses, guitars, bass pedals. Tour Genesis toured in support of ...And Then There Were Three.. between March and No vember 1978. This tour marked the debut of Daryl Stuermer as their touring lead guitarist, who would also find himself playing bass guitar on the newer material (depicted with an asterisk* below). Setlist Eleventh Earl of Mar In the Cage Burning Rope* Dancing With the Moonlit Knight/The Musical Box (closing section) (Performed fo r one show only, Chicago's Uptown Theatre on 13 October 1978. This show was tape d and broadcast locally to promote the band, and has been released in bootleg in many different forms.) Ripples Ballad of Big* (only played on the European leg and the Northeast US leg of the tour) The Fountain of Salmacis (played sporadically in Europe, a live version perform ed at Knebworth 1978, often mistaken as the version that appears on the CD re-re lease of the live album Three Sides Live) Deep In the Motherlode* One For the Vine Squonk Say It's Alright Joe (was not performed at Knebworth in 1978) Down and Out* (performed early on in the tour before being dropped because of Ph il's voice) The Lady Lies The Cinema Show ...In That Quiet Earth' Afterglow Follow You Follow Me* Dance On a Volcano Drum Duet Los Endos Encore: I Know What I Like (In Your Wardrobe) (Original Genesis vocalist, Peter Gabriel , made a surprise guest appearance with the band at New York's Madison Square Ga rden on 29 July 1978. He shared the vocal duty with Phil Collins on this one son g only. An Audience recording of this is well documented on several well known b ootleg releases.) Apocalypse in 9/8 + As Sure As Eggs is Eggs (Aching Man's Feet) (Only one known performance of this second encore is documented in a bootleg captured on 14 June 1978 at Westfallenhalle, Dortmund, Germany. These two tracks are the closing se ction of a greater 23 minute piece called, "Supper's Ready.") The Lamb Lies Down on Broadway (was played once on the European leg) Personnel Phil Collins Lead Vocals, Drums, Percussion Tony Banks Keyboards, Vocals, 12-String Guitar Mike Rutherford Electric six and Twelve String Guitars, Bass guitar, bass pedal s, vocals with Daryl Stuermer Guitars, Bass guitar* Chester Thompson Drums, percussion ''Duke'' Duke

Studio album by Genesis Released 28 March 1980 Recorded OctoberDecember 1979 at Polar Studios in Stockholm, Sweden Genre Progressive rock, art rock, pop rock Length 55:06 Label Charisma Producer David Hentschel and Genesis Genesis chronology ...And Then There Were Three...(1978) Duke(1980) Abacab(1981) Professional ratings Review scores Source Rating Allmusic 387 Blender 388 Rolling Stone (not rated)389 Q 390 Duke is the tenth studio album by British band Genesis, released in March 1980. Overview The release of Duke followed solo albums by Genesis members Tony Banks (A Curiou s Feeling) and Mike Rutherford (Smallcreep's Day). Phil Collins, meanwhile, had taken an extended leave of absence of the band in o rder to try to save his first marriage.391 During this time he wrote a number of songs on his own. These songs would make up the bulk of his first solo album, F ace Value, released in 1981, after the release of Duke. Banks and Rutherford pic ked two Collins songs, "Please Don't Ask" and "Misunderstanding", for inclusion on the album. Once Duke was released, the song "Turn It on Again" became the band's second UK Top 10 hit, while "Misunderstanding" reached the Top 20 in the US. Duke was originally meant to include a roughly 30-minute suite featuring songs i n the order of "Behind The Lines/Duchess/Guide Vocal/Turn It On Again/Duke's Tra vels/Duke's End," ultimately telling the story of fictional character "Albert." While the band separated these songs on the record to prevent comparisons to the band's most recognisable epic, "Supper's Ready," Genesis did perform the suite live on the "Duke Tour" in 1980, with Collins introducing it with "The Story of Albert." A digitally remastered version was released on CD in 1994 on Virgin in Europe an d Atlantic in the US and Canada. The remastered CD's booklet features all of the original album's artwork and complete lyrics. An SACD / DVD double disc set (including new 5.1 and Stereo mixes) was released on 2 April 2007 (although it will be a CD / DVD double disc set for the US and C anada). Track listing All songs written by Tony Banks, Phil Collins and Mike Rutherford, except where noted. Side A "Behind the Lines" 5:31

"Duchess" 6:26 "Guide Vocal" (Banks) 1:35 "Man of Our Times" (Rutherford) 5:34 "Misunderstanding" (Collins) 3:13 "Heathaze" (Banks) 4:59 Side B "Turn It On Again" 3:50 "Alone Tonight" (Rutherford) 3:56 "Cul-de-sac" (Banks) 5:05 "Please Don't Ask" (Collins) 4:01 "Duke's Travels" 8:40 "Duke's End" 2:08 B Sides "Open Door" (Rutherford) - 3:56 "Evidence of Autumn" (Banks) - 4:58 "Open Door" is from the single Duchess. "Evidence of Autumn" is from the single Misunderstanding. DVD "Turn It on Again" 3:50 Phil Collins would re-record "Behind the Lines" for his debut 1981 solo album Fa ce Value. For their 2007 Turn It on Again: The Tour, Genesis played a medley of "Behind th e Lines" and "Duke's End". For their 2007 Turn It on Again: The Tour, Genesis played a medley of a segue ve rsion of "Duke's Travels" as a transition in the medley of "In the Cage". The 20 07 Version of the "In the Cage" Medley includes: "In the Cage"/"The Cinema Show" /"Duke's Travels"/"Afterglow" Working titles for the album Before Duke was released, some songs had working titles. Below is a list of the original songs working title and finalised song title (in parentheses): The Duke (Behind The Lines) Bring Out Your Dead (Evidence of Autumn)392393 Jazz (Duke's Travels/Duke's End) Remastered Behind the Lines 5.31 Duchess 6.37 Guide Vocal 1.21 Man of Our Times 5.35 Misunderstanding 3.16 Heathaze 5.00 Turn It On Again 3.52 Alone Tonight 3.58 Cul-de-sac 5.05 Please Don't Ask 4.02 Duke's Travels 8.41 Duke's End 2.10 2007 SACD/CD/DVD Release A new version of Duke was released in the UK and Japan on 2 April 2007. It was r eleased in the US and Canada as part of the Genesis 1976-1982 box set on 15 May 2007. This includes the entire album in remixed stereo, the entire album in surr ound sound, and related video tracks. Disc 1, in the European and Japanese releases, is a hybrid SACD/CD. The stereo l ayer includes the remixed tracks, and the SACD layer is a multichannel surround sound remix.394 Disc 1, in the Canadian and U.S. releases, is a standard CD, containing the ster eo remixes. No SACD layer is included.395 Disc 2, in all releases, is a DVD-Video disk containing both audio and video tra cks. This DVD includes three audio mixes of the album: DTS 5.1-channel surround sound, Dolby Digital 5.1-channel surround sound, and Dolby Digital stereo.396 Th e DTS surround sound is a slightly compressed version of the surround sound on t

he SACD,397 and the Dolby surround sound is of slightly inferior quality to the DTS.398 Disk 2 also includes the following video tracks: Band interview about this album (2006). Promotional videos: "Duchess", "Misunderstanding", "Turn it on Again". Live At The Lyceum, London 1980. Songs include "Behind the Lines", "Duchess", "G uide Vocal", "In the Cage", "Afterglow", "Dance on a Volcano" and "Los Endos". World Tour program, from 1980 tour (16 page gallery). Personnel Phil Collins percussion, drums, vocals, drum machine Tony Banks keyboards, vocals, background vocals, 12 string guitar Mike Rutherford basses, guitars, background vocals Additional personnel David Hentschel background vocals Production Recorded at Polar Studios, Stockholm Sweden Tour Genesis toured in support of the Duke album between March and July 1980. The vid eo of the tour was released as Genesis Live in London 1980 in 2007. The tour mar ked the debut of the "Cage" medley, which would be featured on every following t our in one form or another except for the 1992 We Can't Dance Tour and the 1998 tour with Ray Wilson. Setlist Deep In the Motherlode* Dancing With the Moonlit Knight (intro only) The Carpet Crawlers (dropped for U.S. leg) Squonk One for the Vine Behind the Lines/Duchess/Guide Vocal Turn It On Again Duke's Travels/Duke's End Say It's Alright Joe (dropped at end of May 1980 in favour of "Misunderstanding" ) The Lady Lies Ripples Misunderstanding In the Cage The Colony of Slippermen (c) The Raven [excerpt] Afterglow Follow You Follow Me* Dance On a Volcano Drum Duet Los Endos Encore: I Know What I Like (In Your Wardrobe) Back in N.Y.C. (briefly opened shows on the UK leg and was part of the encore in New York in July 1980) The Knife (performed occasionally in the UK leg) The Musical Box (performed once in Philadelphia-16 June/80 & Toronto-24 June/80 ) Tracks 68 comprise Duke's "Hidden Suite", performed on the tour. Personnel Phil Collins Lead Vocals, Drums, Percussion Tony Banks Keyboards, Vocals Mike Rutherford Electric six and Twelve String Guitars, Bass guitar, bass pedals , vocals with Daryl Stuermer Guitars, Bass guitar* Chester Thompson Drums, percussion Charts

Album Year Chart Position 1980 UK album charts 1399 Billboard Pop Albums 11 Singles Year Single Chart Position 1980 "Misunderstanding" Billboard Pop Singles 14 "Turn it on Again" Billboard Pop Singles 58 Certifications Organization Level Date BPI UK Gold 28 March 1980 Platinum 3 July 1980 RIAA USA Gold 21 July 1980 Platinum 11 March 1988 ''Abacab'' Abacab Studio album by Genesis Released 14 September 1981 Recorded May June 1981 at The Farm, Surrey Genre Pop rock, progressive rock Length 47:10 Label Charisma (UK)Atlantic (USA)Vertigo (South America) Producer Genesis Genesis chronology Duke(1980) Abacab(1981) 3X3(1982) Abacab, released in 1981, is the 11th studio album by British band Genesis. It r eached No.1 in the UK, where it remained in the charts for 27 weeks. Background and recording The group initially wrote an album's worth of material which they subsequently d iscarded because they saw themselves as becoming, in Mike Rutherford's words, "a

caricature of ourselves." In what he saw as a major turning point for the group , they made a decision to throw out any songs which sounded like anything they h ad done before.400 The album continues the band's sharp stylistic shift, begun on the preceding alb um Duke, toward a radio-friendly pop music sound. "No Reply At All" features the Earth, Wind & Fire horn section (as did Collins' solo album Face Value earlier in 1981). Genesis produced Abacab solely by themselves. Engineer Hugh Padgham, who assiste d Collins on Face Value, would continue to work on Genesis and Collins recording s through the end of the decade. The album takes its name from an early arrangement of the title track. Rutherfor d said on the US radio show In the Studio with Redbeard (which spotlighted Duke and Abacab in one episode): "There were three bits of music in 'Abacab', and we referred to them as 'section a', 'section b', and 'section c'... and at differen t times, they were in different order. We'd start with 'section a' and then have 'section c'... and at one point in time, it spelled Abacab. On the final versio n, it's not that at all, it's like 'Accaabbaac'." Three songs from the Abacab sessions"Paperlate," "You Might Recall," and "Me & Vi rgil"were issued on the 3 X 3 EP. They were also issued on the non-UK releases of 1982's Three Sides Live. Two other songs from the sessions, "Naminanu" and "Sub marine", appeared as B-sides on the "Abacab" singles, but were originally intend ed to be part of "Dodo/Lurker", where the order would have been "Naminanu/Dodo/L urker/Submarine". "No Reply at All" was performed live by Phish as a tribute to Genesis at the Roc k and Roll Hall of Fame's 2010 induction ceremony. Release The album was released with four different embossed covers simultaneously across the country, all depicting the same collage but with the paper shapes in differ ent colours. The four different cover variants are usually identified by the col our of the largest upper shape adjacent to the title lettering; this shape being coloured navy blue, red, peach, and yellow. Reception Professional ratings Review scores Source Rating Allmusic 401 Rolling Stone 402 Rolling Stone praised the album for shedding the "ivory-tower artistry" of their previous albums, turning to sparse arrangements and "highly rhythmic interplay" and drawing inspiration from popular contemporaries such as XTC and The Police. 403 Allmusic's retrospective review echoed this sentiment with greater emphasis, declaring "Duke showcased a new Genesis... but Abacab was where this new incarn ation of the band came into its own." They also argued that although the album i s far richer in pop hooks and accessibility than the band's previous works, at i t its heart Abacab "is truly modern art rock."404 Track listing All songs by Tony Banks, Phil Collins, and Mike Rutherford, except where noted. Side one "Abacab" 6:56 "No Reply at All" 4:40 "Me and Sarah Jane" (Tony Banks) 6:00 "Keep It Dark" 4:32 Side two "Dodo/Lurker" 7:30 "Who Dunnit?" 3:23 "Man on the Corner" (Phil Collins) 4:27 "Like It or Not" (Mike Rutherford) 4:57

"Another Record" 4:39 B Sides and non-album tracks B-sides "Naminanu" (B-side from the single "Keep It Dark") 3:54 "Submarine" (B-side from the single "Man on the Corner") 4:38 from the EP 3X3 "Paperlate" 3:23 "You Might Recall" 5:31 "Me And Virgil" 6:18 2007 SACD/CD/DVD Release A new version of Abacab was released in the UK and Japan on 2 April 2007. It was released in the US and Canada as part of the Genesis 1976-1982 box set on 15 Ma y 2007. This includes the entire album in remixed stereo, the entire album in su rround sound, and related video tracks. Disc 1, in the European and Japanese releases, is a hybrid SACD/CD. The stereo l ayer includes the remixed tracks, and the SACD layer is a multichannel surround sound remix.405 Disc 1, in the Canadian and U.S. releases, is a standard CD, containing the ster eo remixes. No SACD layer is included.406 Disc 2, in all releases, is a DVD-Video disk containing both audio and video tra cks. This DVD includes three audio mixes of the album: DTS 5.1-channel surround sound, Dolby Digital 5.1-channel surround sound, and Dolby Digital stereo.407 Th e DTS surround sound is a slightly compressed version of the surround sound on t he SACD,408 and the Dolby surround sound is of slightly inferior quality to the DTS.409 Disk 2 includes the following video tracks: Band interview about this album (2006). Promotional videos: "Abacab", "No Reply At All", "Keep It Dark" and "Man On The Corner". World Tour program from 1981 tour (15 page gallery). In popular culture In 1993, when the video game Mortal Kombat was ported to the Sega Genesis, the d evelopment team made a secret code in the game that spelled out "Abacabb" (with two "B"s) on the controller pad. When activated, it would enable uncensored bloo d. This was a deliberate reference to Genesis, one of Ed Boon's favourite bands which happened to share the same name as the console the code was exclusive to. Another Sega Genesis video game has a cheat code that shares the title. 1994's S hadowrun has a secret code entered at the title screen to unlock an in-game chea t menu. The code is "Abbacab."410 In the Kimagure Orange Road manga and anime, the restaurant ABCB was named in ho mage to the album. (The intended pronunciation of the letters in Japanese is sim ilar in pronunciation to "Abacab.") During an on-air discussion about the song, Artie Lange of The Howard Stern Show stated that when he was in high school he would sometimes use "A,B,A,C,A,B" to select answers on multiple choice exams. He claims to have usually got "about ha lf of them right" by using this method. Working titles for the album Before Abacab was released, many of the songs had working titles. Below is the t rack listing for the originally planned double album Abacab was going to be and the original song working titles and finalised song titles (in parentheses): Abacab 06:56 Jangley (You Might Recall) 05:36 (Cut from album, but released as part of the 3 X 3 EP, and original American release of "Three Sides Live") Nationwide (No Reply At All) 04:47 German I & II (Dodo/Lurker) 07:28 Sub (Submarine) 04:21 (Cut from album, released as a B-Side to "Man on the Corne r", Instrumental Track) Vocal 3/4 (Naminanu) 03:55 (Cut from album, released as a B-Side to "Keep It Dar k", Instrumental Track. The song also was created from improvising in the studio

.) Chunky (Me & Virgil) 06:24 (Cut from album, but released as part of the 3 X 3 EP , and original American release of "Three Sides Live") Odd (Keep It Dark) 04:36 Spike (Me & Sarah Jane) 06:02 Westside (Another Record) 04:42 Weirdsynth (Who Dunnit?) 03:41 Lonely Man (Man On The Corner) 04:30 Don (Like It Or Not) 05:00 Paperlate 3:39 (Cut from album, but released as part of the 3 X 3 EP, and origin al American release of "Three Sides Live") Personnel Phil Collins drums, percussion, vocals Tony Banks keyboards Mike Rutherford bass, guitars, drums(Who Dunnit) Engineered by Hugh Padgham Cover by Bill Smith Additional personnel EWF Horns horns Tour Genesis toured in support of the Abacab album between September and December 198 1, beginning in Barcelona, Spain. Shows in New York and Birmingham, England comp rised the Three Sides Live album released the following year. It was the first t our in which audiences booed the band due to the sudden appearance of multiple p op and punk tracks in their setlist and a lack of their earlier progressive numb ers, which fans were to get used to in the eclectic years that followed. The tour also marked the first ever appearance of the Vari-Lite automated lighti ng system, the development of which had been paid for by the band. Set list Behind the Lines Duchess The Lamb Lies Down On Broadway Dodo/Lurker* Abacab* The Carpet Crawlers Me and Sarah Jane* Misunderstanding No Reply At All Firth of Fifth Man On The Corner* Who Dunnit?* In the Cage The Cinema Show (closing section)/Riding the Scree (teaser)/Slippermen Afterglow Turn It On Again Dance On a Volcano Drum Duet Los Endos Encore: "I Know What I Like (In Your Wardrobe)" "Like It Or Not" was played at a few shows on the Northeast US leg. "Me and Virg il" was played at a few shows in Europe. "The Knife" was performed at the last s how in Birmingham on 23 December 1981. Personnel Phil Collins Lead vocals, drums, percussion Tony Banks Keyboards, Vocals Mike Rutherford Electric six string Guitars, bass guitar, bass pedals, vocals, drums on Who Dunnit? with Daryl Stuermer Guitars, bass guitar*

Chester Thompson Drums, percussion ''Three Sides Live'' Three Sides Live Live album by Genesis Released 1 June 1982 Recorded Autumn 1981 Except: "Follow You Follow Me" and "One For The Vine": 1980, "Founta in Of Salmacis": 1978 and "It/Watcher Of The Skies": 1976 Genre Pop rock, progressive rock Length 1:32:42 Label Charisma (UK)Atlantic (USA)Vertigo(South America and some parts of Europe) Producer Genesis Genesis chronology 3X3(1982) Three Sides Live(1982) Genesis(1983) Three Sides Live is the third live album by British Progressive Rock band Genesi s, released in 1982. History The title for this album comes from the original world release, which contained three sides of live material from the band's 1981-82 tour, and a fourth side of studio tracks, three of which formed the British 3 X 3 EP and two of which were B-sides from the sessions for Duke. The studio side is no longer issued as part of the album. Only the UK release featured a fourth live side, consisting of per formances recorded during previous tours. Upon its mid-1982 release, Three Sides Live reached No.2 in the UK and No.10 in the US. The three live sides focus mostly on material from Duke and Abacab. The third si de contains the centrepiece of their last few tours, the "Cage" medley. The medl ey starts with "In the Cage" (from The Lamb Lies Down on Broadway), follows with an instrumental which combined motifs from "The Cinema Show" with a changing se t of melodies from Wind & Wuthering and The Lamb (in the case of the album versi on, a few seconds of "Riding the Scree" and a rather more substantial section fr om "The Colony of Slippermen"), and finishes with "Afterglow". "Paperlate", from 3 X 3, became a Top 10 UK hit and a smaller US success. It ste mmed from Phil Collins' riffing on one of the lines of their 1973 song, "Dancing with the Moonlit Knight". According to Tony Banks on the 2007 CD and DVD reissu e of Abacab, "You Might Recall" was to appear on Abacab, but Atlantic Records fo under Ahmet Ertegn suggested that the band leave the track off in favour of "Who Dunnit?". In 1994, Three Sides Live was remastered and reissued with the UK edition worldw ide. Four of the five additional studio selections from that out of print releas e would be issued in 2000 on the Genesis Archive 2: 1976-1992 box set (all but " Me And Virgil"), and all five songs have since been included on the bonus disc o f the Genesis 1976-1982 box set. Reception Professional ratings Review scores Source Rating Allmusic 411 Allmusic's retrospective review asserted that the performances were impressive a nd exciting throughout, delivering nothing but "lean, crisp, and generally braci

ng accounts of the group's then-current sound."412 Track listing All songs by Tony Banks/Phil Collins/Mike Rutherford, except where noted. Side one "Turn It on Again" 5:16 Nassau Coliseum, Long Island NY 29Nov1981 "Dodo" 7:19 National Exhibition Centre, Birmingham 23Dec1981 "Abacab" 8:47 National Exhibition Centre, Birmingham 23Dec1981 Side two "Behind the Lines" 5:26 Nassau Coliseum, Long Island NY 29Nov1981 "Duchess" 6:43 Nassau Coliseum, Long Island NY 29Nov1981 "Me and Sarah Jane" (Tony Banks) 5:59 National Exhibition Centre, Birmingham 23Dec1981 "Follow You Follow Me" 4:58 Lyceum Ballrooms, London 06May1980 Side three "Misunderstanding" (Phil Collins) 4:06 Savoy Theatre, New York NY 28Nov1981 "In the Cage (Medley Cinema Show/Slippermen)"413 (Tony Banks/Phil Collins/Peter Gabriel/Steve Hackett/Mike Rutherford) 11:53 National Exhibition Centre, Birmingham 23Dec1981 "Afterglow" (Tony Banks) 5:14 National Exhibition Centre, Birmingham 23Dec1981 Side four "One for the Vine" (Tony Banks) 11:04 Theatre Royal Drury Lane, London 05May1980 "The Fountain of Salmacis" (Tony Banks/Phil Collins/Peter Gabriel/Steve Hackett/ Mike Rutherford) 8:37 Knebworth, Hertfordshire, England Jun1978, but see below "it/Watcher of the Skies" (Tony Banks/Phil Collins/Peter Gabriel/Steve Hackett/M ike Rutherford) 7:22 Apollo Theatre, Glasgow, Scotland 08Jul1976 The North American edition and some European editions of Three Sides Live had or iginally featured a side four containing "Paperlate", "You Might Recall", "Me an d Virgil", "Evidence of Autumn" and "Open Door". The album was re-issued identic ally only on CD worldwide with the live performances in 1994. On some editions, "One for the Vine" is divided in two parts. As a result, there are mistakes in the track listing. Part two is listed as "The Fountain of Salma cis", but "The Fountain of Salmacis" is inserted on track 6, "It/Watcher of the Skies". The titles of tracks 4, 5 and 6 of disc 2 should be: "One for the Vine, Pt. 1" (5:03); "One for the Vine, Pt. 2" (6:00); "The Fountain of Salmacis/It/Wa tcher of the Skies" (15:59). While doing the 2009 remix for Three Sides Live, producer Nick Davis was informe d that the version of "The Fountain Of Salmacis" used for Three Sides Live came from tapes marked as "Houston, 22-10-1978". However, "The Fountain Of Salmacis" was dropped from the set two months prior in the beginning of the second America n leg of the tour, never to reappear. Furthermore, radio reels attributed to bei ng from Houston include tracks likely taken from a European venue, which would i ndicate that this was also the case for "The Fountain Of Salmacis" (as this song was played systematically on the European leg of the tour). This would not have been the only time a Genesis radio show had been compiled from different concer ts but being attributed to only one of them; the "Three Sides Live" shows listed above normally figure only as "Nassau, 29-11-1981", in spite of most tracks act ually being from Birmingham, 23-12-1981. Accompanying Video Three Sides Live

Video by Genesis Released 1982 Recorded Savoy Theatre, New York, 28 November 1981 and Nassau Coliseum, Long Island, 29 N ovember 1981 Genre Progressive rock, Rock Length Approx. 2:11:00 Label Charisma, Virgin, Atlantic Three Sides Live is a 1982 concert film of the Abacab tour by British rock band Genesis. It ties in with the double live album of the same name. Directed by Stu art Orme. The live performances (most of which was filmed at the Nassau Coliseum (except a s noted)) are interspersed with interviews with Hugh Fielder and footage of the group travelling with their crew and families. Fielder would later publish an an thology of band interviews (The Book of Genesis) in 1984. First released in 1982, Three Sides Live was later reissued, on both VHS and las erdisc, in October 1991. It was released on DVD, with 5.1 DTS and Dolby Digital sound, in November 2009 as part of The Movie Box DVD set. Track listing "Behind the Lines" "Duchess" "Misunderstanding" "Dodo/Lurker" "Abacab" "No Reply At All" "Who Dunnit?" "In the Cage (Medley Cinema Show Slippermen) "Afterglow" "Me and Sarah Jane" (filmed at the Savoy) "Man on the Corner" (filmed at the Savoy) "Turn It On Again" Personnel Phil Collins lead vocals, drums, percussion Tony Banks keyboards, background vocals Mike Rutherford bass, guitar, background vocals Additional personnel Daryl Stuermer guitar, bass Chester Thompson drums, percussion It/Watcher of the Skies: Tony Banks keyboards Phil Collins vocals, drums Steve Hackett guitar Mike Rutherford bass, guitar Additional personnel Bill Bruford drums Production Produced by Genesis Engineered by Geoff Callingham ("Follow You Follow Me", "The Cinema Show", "One for the Vine", "The Fountain of Salmacis", "It/Watcher of the Skies" by Dave Hen tschel) 2009 New Stereo Mixes : Nick Davis Assisted by Harry Rutherford Technical Assistance : Geoff Callingham Mixed at : The Farm, Surrey 2009 Remastered at : Metropolis Mastering

Remastered by Tim Young Tour Genesis toured in support of the Three Sides Live album in August and September 1982. This tour saw the return of full versions of some of their classic songs s uch as "Dance on a Volcano," and "Supper's Ready." It also featured the instrume ntal version of "Watcher of the Skies" which had last been played on the 1976 to ur with Bill Bruford. Setlist Dance On a Volcano/Behind the Lines (Medley) Follow You Follow Me* Dodo/Lurker* Abacab* Supper's Ready (full length) Misunderstanding Man On The Corner* Who Dunnit?* In the Cage The Cinema Show (closing section)/Riding the Scree (teaser)/The Cinema Show/The Colony of Slippermen (c) The Raven Afterglow Turn It On Again Drum Duet Los Endos Encore: The Lamb Lies Down on Broadway/Watcher of the Skies (Intro and Outro) I Know What I Like (In Your Wardrobe) "Paperlate" and No Reply At All was played at some shows on the US leg. At shows in New York and L.A., "Paperlate" and "No Reply at All" featured the Earth Wind and Fire Horns. Personnel Phil Collins lead vocals, drums, percussion Tony Banks keyboards, vocals, 12-string acoustic guitar Mike Rutherford electric 6 and 12-string guitars, 12-string acoustic guitar, ba ss guitar, bass pedals, vocals, drums on "Who Dunnit?" with Daryl Stuermer guitars, bass guitar* Chester Thompson drums, percussion ''Genesis'' Genesis Studio album by Genesis Released 3 October 1983 Recorded February August 1983 at The Farm, Surrey Genre Pop rock, progressive rock Length 45:59 Label Charisma (UK)Atlantic (USA)Vertigo (South America) Producer Genesis, Hugh Padgham Genesis chronology Three Sides Live(1982) Genesis(1983) Invisible Touch(1986) Genesis is the 12th studio album by Genesis. It was recorded and released in 198 3. It is sometimes referred to as the "Mama" album. In some cases, it has been r eferred to as the "Shapes" or "Gold Shapes" album because of the front cover. Th

e shapes are from the Tupperware "Shape O Toy Ball." The toy consists of a blue and red hollow ball with different shaped holes cut into the surface, into which the shaped pieces can be inserted. Genesis (so named for the fact that all three band members composed every song o n it together) marked the beginning of Hugh Padgham's formal production assistan ce after engineering Abacab. "Mama", a song about a man's obsession with a prostitute, became Genesis' bigges t UK hit, reaching No.20 upon release (and ultimately peaking at No.4), although the song did not do well in the US singles chart. Further successes "That's All " (which became the band's first US Top 10 hit), "Illegal Alien" and "Taking It All Too Hard" ensured that Genesis was well received, and it reached No.1 in the UK, remaining in the charts for 51 weeks. It also reached No.9 in the US, event ually selling over four million copies there alone. A SACD / DVD double disc set (including new 5.1 and Stereo mixes) was released i n October 2007 in Europe and as a CD and DVD double disc set in the US and Canad a a month later. Background A "bit" (fragment of music too short to be used as a complete piece) written dur ing Genesis sessions was later developed into the song "A Call to Arms" on Mike + The Mechanics (1985). Collins and Banks were unenthusiastic about the "bit" an d had voted against developing it.414 Reception Professional ratings Review scores Source Rating Allmusic 415 In their retrospective review, Allmusic criticized the album for lacking coheren cy, but found that a majority of the tracks are outstanding, "balancing such sle ek, pulsating pop tunes as 'That's All' with a newfound touch for aching ballads ." They also praised the band's completely redefining themselves as a pop group. 416 Track listing All songs written by , , and . Side one "Mama" 6:46 "That's All" 4:22 "Home by the Sea" 4:46 "Second Home by the Sea" 6:22 Side two "Illegal Alien" 5:12 "Taking It All Too Hard" 3:54 "Just a Job to Do" 4:44 "Silver Rainbow" 4:27 "It's Gonna Get Better" 5:00 Personnel Phil Collins vocals, drums, percussion Tony Banks keyboards, background vocals Mike Rutherford guitars, bass guitar, background vocals Tour Genesis toured in support of the self-titled album nicknaming the tour The Mama Tour between November 1983 and March 1984. Setlist Dodo/Lurker* Abacab* That's All*

Mama* Old Medley Man On The Corner* Illegal Alien Home by the Sea/Second Home By the Sea* Keep It Dark It's Gonna Get Better Follow You Follow Me* In the Cage The Cinema Show (closing section)/Riding the Scree (teaser)/The Cinema Show/... In That Quiet Earth/The Colony of Slippermen (c) The Raven Afterglow Drum Duet Los Endos Encore: Misunderstanding Turn It On Again (In the Midnight Hour, (I Can't Get No) Satisfaction, Pinball Wizard) The Carpet Crawlers and Who Dunnit?* were played early on in the tour, but were dropped a short while in. Personnel Phil Collins Lead Vocals, Drums, Electric and Acoustic Percussion Tony Banks Keyboards, Vocals Mike Rutherford Guitars, Bass guitar, Bass Pedals, Vocals with Daryl Stuermer Guitars, Bass guitar*, backing vocals on "Illegal Alien" Chester Thompson Drums, percussion The group's road crew - backing vocals on "Illegal Alien" ''Invisible Touch'' Invisible Touch Studio album by Genesis Released 9 June 1986 Recorded October 1985 March 1986 at The Farm, Surrey Genre Pop rock, progressive rock, New Wave Length 45:42 Label Virgin (UK)Atlantic (US) Producer Genesis and Hugh Padgham Genesis chronology Genesis(1983) Invisible Touch(1986) We Can't Dance(1991) Invisible Touch is the 13th studio album by the band Genesis, released in 1986. It reached No.1 in the UK where it remained in the charts for 96 weeks, making i t by far the most commercially successful album of their career, eventually sell ing over 15 million copies worldwide. It received generally favourable reviews f rom critics and produced five US Top 5 singles, including the title track which reached the No.1 spot on the US chart, the only song by Genesis to do so. A SACD and DVD double disc set (including new 5.1 and Stereo mixes) was released in October 2007. Background and recording During the writing process, "Invisible Touch", produced through improvisation, b ecame a standalone piece. It was originally conceived by Tony Banks as a part of the "Domino" suite.

Three songs were cut from the album and subsequently released as B-sides: "Feedi ng the Fire" (on "Land of Confusion"), "I'd Rather Be You" (on "Throwing It All Away"), and "Do the Neurotic" (on "In Too Deep"). In interviews promoting Invisi ble Touch, both Banks and Collins stated that they felt that there may have been enough room on the album for these tracks, but they had to pick and choose whic h songs they felt to be a better fit to the overall sound of the album. The cut songs were later re-released on the Genesis 19831998 box set. Lyrics The lyrics to "Land of Confusion" were written by Mike Rutherford and comment on the political turmoil of the Reagan/Thatcher/Gorbachev era. A video for "Land o f Confusion", featuring the Spitting Image puppets, was nominated for MTV's Vide o of the Year Award, but lost to former lead singer Peter Gabriel's Sledgehammer . Phil Collins's lyrics to "Tonight, Tonight, Tonight", another hit song from th e album, dealt with drug addiction, while "Anything She Does" (lyrics by Tony Ba nks) is about pornography. The lyrics to "Domino", explore various applications of the domino effect. Reception Professional ratings Review scores Source Rating Allmusic 417 Kerrang! 418 Allmusic rated Invisible Touch three out of five stars. Stephen Thomas Erlewine, who reviewed the album, commented that "was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album". However, he said that "[the] songs had big hooks that excused their coldness, and the arty moments sank to th e bottom".419 Mark Putterford of Kerrang! remarks how the album shows "new ideas , new sounds, but still very definitely Genesis".420 Catching Genesis at their commercial peak, Invisible Touch debuted at No.1 in th e UK, while it reached No.3 in the US and went six times platinum there. The alb um was supported by the 198687 Invisible Tour, a concert video of which was relea sed in 1988 and on DVD in 2003. In popular culture In the film American Psycho, protagonist Patrick Bateman proclaims that Invisibl e Touch is the group's "undisputed masterpiece", discussing its virtues at lengt h with two prostitutes he has hired for the evening. The scene represents a chap ter in the Bret Easton Ellis novel where Bateman muses about the significance of the album. "In Too Deep" plays during this sequence.421 During the late 1980s, instrumental excerpts from the track 'Domino' were used o n the BBC TV sports program Grandstand, as a bed over which presenter Desmond Ly nam previewed what was coming up in that day's program. "The Brazilian" is used in the television show Magnum, P.I. episode titled "Unfi nished Business". "Tonight, Tonight, Tonight" was used in the Season 7 episode " Laura" which featured Frank Sinatra in his last acting role. "Land of Confusion" was used in "Freefall," the final episode of the 1980s cop s how Miami Vice (a show on which Phil Collins had guest starred) during a scene i n which the characters Crockett (Don Johnson) and Tubbs (Philip Michael Thomas) were in the middle of a stakeout. The song implied the complexity of the story d uring the finale. "In Too Deep" was also used in the 1986 film Mona Lisa starring Bob Hoskins. Track listing All songs written by Tony Banks, Phil Collins, and Mike Rutherford. "Invisible Touch" 3:29 "Tonight, Tonight, Tonight" 8:53 "Land of Confusion" 4:45 "In Too Deep" 5:02 "Anything She Does" 4:20

"Domino" 10:45 "Throwing It All Away" 3:51 "The Brazilian" 4:50 B-sides No. Title Length 1. "I'd Rather Be You" 4:04 2. "Do The Neurotic" 7:08 3. "Feeding the Fire" 5:53 "I'd Rather Be You" from the single "Throwing It All Away". "Do the Neurotic" from the single "In Too Deep". "Feeding the Fire" from the single "Land of Confusion". Working titles for the songs Before Invisible Touch was released, five songs had working titles. Below is a l ist of the original song working titles and finalised song titles (in parenthese s): "Monkey Zulu" ("Tonight, Tonight, Tonight") "Snake" ("Anything She Does") "Hawkwind" ("Domino") "Zephyr" ("Throwing It All Away") "Savage" ("The Brazilian") Personnel Phil Collins drums, percussion, vocals Tony Banks keyboards, bass pedals Mike Rutherford guitars, bass guitar Tour Genesis toured in support of Invisible Touch between September 1986 and July 198 7. Setlist "Mama" "Abacab" "Land of Confusion" "That's All" "Domino (Part 1: In the Glow of the Night - Part 2: The Last Domino)" "In Too Deep" "The Brazilian" "Follow You Follow Me" "Tonight, Tonight, Tonight" "Home by the Sea"/"Second Home by the Sea" "Throwing It All Away" "In the Cage"*+/"...In That Quiet Earth"*/"Supper's Ready" (Apocalypse in 9/8 an d "As Sure As Eggs Is Eggs" sections)* "Invisible Touch" "Drum Duet" "Los Endos"*+ Encore "Turn It On Again (Medley)"* On the Australian leg, the song "Your Own Special Way" was performed for the fir st time since 1977. The 1987 US and European legs of the tour saw the "Supper's Ready" section of the "In the Cage" medley dropped in favour of "Afterglow"*+. A lso, the key of "Throwing It All Away" was dropped from C# to C. Also the key of "Land of Confusion" lowered from E Flat Minor to C# Minor. Finally, the songs " In Too Deep" and "Follow You Follow Me" were dropped completely.

Tour Band Phil Collins drums, electronic percussion, lead vocals Tony Banks keyboards Mike Rutherford lead guitar, bass guitar+, bass pedals, backing vocals with Daryl Stuermer bass guitar, guitar*, backing vocals Chester Thompson drums Chart positions Album Billboard (North America) Year Chart Position 1986 The Billboard 200 3 Singles Billboard (North America) Year Single Chart Position 1986 "Anything She Does" Mainstream Rock Tracks 40 "Domino, Pt. 1 In The Glow Of The Night/Pt. 2 The Last Domino" Mainstream Rock Tracks 29 "In Too Deep" Mainstream Rock Tracks 25 "Invisible Touch" Adult Contemporary 3 Mainstream Rock Tracks 1 Billboard Hot 100 1 "Throwing It All Away" Adult Contemporary 1 Mainstream Rock Tracks 1 Billboard Hot 100 4 "Land of Confusion" Mainstream Rock Tracks 11 Billboard Hot 100 4 1987 "Tonight, Tonight, Tonight" Adult Contemporary 8 Mainstream Rock Tracks 9 Billboard Hot 100 3 "In Too Deep" Adult Contemporary 1

Billboard Hot 100 3 External links Invisible Touch (Music Video) at VH1 Classic Tonight, Tonight, Tonight (Music Video) at VH1 Classic Land of Confusion (Music Video) at VH1 Classic In Too Deep (Music Video) at VH1 Classic Anything She Does (Music Video) at VH1 Classic Throwing It All Away (Music Video) at VH1 Classic ''We Can't Dance'' We Can't Dance Studio album by Genesis Released 11 November 1991422 Recorded MarchSeptember 1991 at The Farm, Surrey Genre Rock, pop rock, progressive rock Length 71:31 Label Atlantic, Virgin Producer Genesis, Nick Davis Genesis chronology Invisible Touch(1986) We Can't Dance(1991) The Way We Walk, Volume One: The Shorts(1992) Singles from We Can't Dance "No Son of Mine"Released: 21 October 1991 "I Can't Dance"Released: 30 December 1991 "Hold on My Heart"Released: 6 April 1992 "Jesus He Knows Me"Released: 13 July 1992 "Never a Time"Released: 5 November 1992 "Tell Me Why"Released: 8 February 1993 We Can't Dance is the 14th studio album by Genesis, both recorded and released i n 1991. It was released as a single album on CD and Cassette, and as a double al bum on vinyl. The album reached No.1 in the UK, where it remained on the charts for 61 weeks. It was the band's final studio album featuring vocalist/drummer Ph il Collins, who would eventually leave Genesis in 1996 to focus on his solo work . History We Can't Dance was Genesis' first studio album in five years, following the inte rnational success of Invisible Touch in 1986. We Can't Dance reached No.1 in the UK and No.4 in the US, selling several million copies (including 4 million in t he US alone). The album also spawned several hit singles, including "No Son of M ine", "Hold on My Heart", "I Can't Dance" and "Jesus He Knows Me", the latter tw o supported by humorous videos. Two songs were cut from the album, because "ther e wasn't enough room on the record." These two songs are "On the Shoreline", and "Hearts on Fire". Both songs were released as B-Sides. Contrary to popular belief, "Since I Lost You" is not about a broken relationshi p. The lyrics were written by Phil Collins for friend Eric Clapton. On 20 March 1991, Clapton's four-year-old son Conor died after falling from the 53rd-story w indow of his mother's friend's New York City apartment, landing on the roof of a n adjacent four-story building. Collins played it to him before putting it on th e album to get his O.K. At the same time Clapton played Collins "Tears in Heaven ". Most of the songs were created/written by improvisation at Genesis' Fisher Lane Farm ("The Farm") studio.

Following the release of the album Genesis spent 13 weeks on the road playing 55 concerts between May and July 1992, with a 15 date UK tour in October/November. 423 The popular worldwide tour sold out arenas and stadiums (where they mostly p layed on the US leg of the tour). This proved to be Collins' last tour with Gene sis until the band reunited in 2007. During the recording of We Can't Dance a 40 minute documentary called No Admitta nce was produced and broadcasted on the Disney Channel. It has since been includ ed in the bonus DVD released in 2007. The album was re-released as a SACD/DVD double disc set (including new 5.1 and S tereo mixes) in October 2007. Reception Professional ratings Review scores Source Rating allmusic 424 Rolling Stone 425 Rolling Stone chiefly commented on the album's lyrics. They criticized "Tell Me Why" and "Way of the World" for being soulless and impersonal social commentarie s, but regarded most of songs as outstanding, and summarized "Although We Can't Dance doesn't quite achieve the vulnerable grace of Duke or the exuberance of Ab acab, Genesis has nevertheless delivered an elegantly spare and even adventurous album."426 Allmusic similarly criticized the lyrics of "Tell Me Why" and "Way of the World" , calling them "paeans for world understanding that sound miles away from any im mediacy." However, they praised the album for returning to a less pop-oriented d irection, and especially complimented the grittiness of "No Son of Mine", "Jesus He Knows Me", and "I Can't Dance".427 Track listing All songs written by Tony Banks, Phil Collins and Mike Rutherford. CD "No Son of Mine" 6:39 "Jesus He Knows Me" 4:16 "Driving the Last Spike" 10:08 "I Can't Dance" 4:01 "Never a Time" 3:50 "Dreaming While You Sleep" 7:16 "Tell Me Why" 4:58 "Living Forever" 5:41 "Hold on My Heart" 4:37 "Way of the World" 5:38 "Since I Lost You" 4:09 "Fading Lights" 10:16 LP Side One "No Son of Mine" 6:39 "Jesus He Knows Me" 4:16 "Driving the Last Spike" 10:08 Side Two "I Can't Dance" 4:01 "Never a Time" 3:50 "Dreaming While You Sleep" 7:16 Side Three "Tell Me Why" 4:58 "Living Forever" 5:41 "Hold on My Heart" 4:37 Side Four "Way of the World" 5:38

"Since I Lost You" 4:09 "Fading Lights" 10:16 B-sides No. Title Writer(s) Length 1. "On the Shoreline" (Banks, Collins, Rutherford) 4:45 2. "Hearts on Fire" (Banks, Collins, Rutherford) 5:15 "On the Shoreline" from the single "I Can't Dance" "Hearts on Fire" from the single "Jesus He Knows Me" Working titles for the album Before We Can't Dance was released, all songs had working titles. Below is a lis t of the original song working titles and finalised song titles (in parentheses) : "Elephantus" ("No Son of Mine") 6:39 "Do the New One" ("Jesus He Knows Me") 4:16 "Irish" ("Driving the Last Spike") 10:08 "Blue Jeans", "Heavy A Flat" ("I Can't Dance") 4:01 "B. B. Hit", "Still Throwing It All Away" ("Never a Time") 3:50 "Rolling Toms" ("Dreaming While You Sleep") 7:16 "Rickenbacker" ("Tell Me Why") 4:58 "Hip Hop Brushes" ("Living Forever") 5:41 "Burt Bacharach" ("Hold on My Heart") 4:37 "Spaghetti West" ("Way of the World") 5:39 "Song for Conor" ("Since I Lost You") 4:09 "Nile" ("Fading Lights") 10:17 Tour The "We Can't Dance" tour featured shows in large arenas and stadiums throughout North America and Europe. It would be the band's final full-length tour until t he 2007 Turn it On Again reunion tour. The tour is captured live on the albums T he Way We Walk, Volume One: The Shorts, The Way We Walk, Volume Two: The Longs a nd the concert video The Way We Walk - Live in Concert. The set list featured much of the "We Can't Dance" album as well as the "Invisib le Touch" and "Genesis" albums. The only material from the 1970s played on a reg ular basis was featured in a new "Old Medley" of songs which replaced the "Cage" medley of past tours. Typical set list: Land of Confusion No Son of Mine Driving the Last Spike Old Medley: Dance on a Volcano / The Lamb Lies Down on Broadway / The Musical Bo x (Closing Section) / Firth of Fifth / I Know What I Like / That's All / Illegal Alien / Your Own Special Way / Follow You Follow Me / Stagnation / I Know What I Like (Reprise) Fading Lights Jesus He Knows Me Dreaming While You Sleep That's All Home by the Sea Hold on My Heart Domino The Drum Duet I Can't Dance

Encore: Tonight, Tonight, Tonight / Invisible Touch Encore #2: Turn It on Again Also played on the tour were "Throwing it All Away", "Mama" (during the first fe w shows in North America) and "The Carpet Crawlers" (one time only in Southampto n, England). Both "Way of the World" and "Living Forever" were rehearsed for inc lusion in the tour set list but ultimately didn't make it with "Way of the World " being dropped only four days before the first show of the tour. Personnel Phil Collins drums, percussion, lead vocals Tony Banks keyboards, vocals Mike Rutherford guitars, bass guitar, vocals with Daryl Stuermer guitars, bass guitar, vocals Chester Thompson drums Charts Album Billboard (North America) Year Chart Position 1991 The Billboard 200 4 Certifications Country Certification(sales thresholds) Germany 5 Platinum428 Singles Billboard (North America) Year Single Chart Position 1991 "I Can't Dance" Mainstream Rock Tracks 2 "No Son of Mine" Adult Contemporary 8 Mainstream Rock Tracks 3 The Billboard Hot 100 12 1992 "Driving the Last Spike" Mainstream Rock Tracks 25 "Hold on My Heart" Adult Contemporary 1 The Billboard Hot 100 12 "I Can't Dance" Adult Contemporary 26 The Billboard Hot 100 7 "Jesus He Knows Me"

Adult Contemporary 27 Mainstream Rock Tracks 24 The Billboard Hot 100 23 Top 40 Mainstream 12 "Never a Time" Adult Contemporary 4 The Billboard Hot 100 21 Top 40 Mainstream 12 External links No Son of Mine (Music Video) at VH1 Classic Jesus He Knows Me (Music Video) at VH1 Classic I Can't Dance (Music Video) at VH1 Classic Hold on My Heart (Music Video) at VH1 Classic ''Calling All Stations'' Calling All Stations Studio album by Genesis Released 1 September 1997 Recorded JanuaryJune 1997 at The Farm, Surrey Genre Rock Length 1:07:42 Label Virgin (UK) Atlantic (US) Producer Nick Davis, Tony Banks and Mike Rutherford Genesis chronology The Way We Walk, Volume Two: The Longs(1993) Calling All Stations(1997) Genesis Archive 196775(1998) Calling All Stations, (also known as ...Calling All Stations...) is the 15th stu dio album by rock band Genesis. It was recorded following Phil Collins's departu re from the band in 1996, and was released in 1997. The band returned, to a cert ain degree, to Genesis's roots as an album-oriented band. Of the three singles excerpted from the album, all three made the charts,429 but only "Congo" was a major hit, breaking the top 40 in the UK430 and at least thr ee other European countries.431432 Calling All Stations reached No.2 in the UK.433 It reached No.54 in the US durin g five weeks in the chart.434 Background Vocalist Ray Wilson, who had fronted a short-lived but popular grunge-influenced outfit called Stiltskin, was brought on board after a lengthy auditioning perio d. Wilson's darker vocals were more reminiscent of Peter Gabriel than Collins. N ir Zidkyahu and Nick D'Virgilio (Spock's Beard) were called in to supply the dru ms. While Calling All Stations sold well throughout Europe, it failed to find an aud ience in the United States, despite an elaborate publicity launch at Cape Canave ral in Florida. As a result of the slim North American sales, the American leg of the tour was c ancelled. Following the conclusion of the European tour 1998, Banks and Rutherfo

rd put Genesis on an extended hiatus, leaving Calling All Stations as the band's last studio release. Ray Wilson was keen to continue and has continued to inclu de all era Genesis songs on his solo tour, including touring a World of Genesis set. The 1998 European tour had the songs from the Phil Collins era transposed to a l ower key to accommodate to Ray Wilson's limited vocal range, something Tony Bank s and Mike Rutherford had to work out during the rehearsals. In the 2007 reunion tour this was done again, but with Phil Collins on vocals. The music videos for "Congo" and "Shipwrecked" featured Wilson, Rutherford, Bank s and Zidkyahu surrounded by extensive use of water imagery. "Not About Us," how ever featured just Banks, Rutherford and Wilson. A SACD / DVD double disc set (including new 5.1 and Stereo mixes) was released i n September 2007 and was re-released as a CD/DVD double disc in the US and Canad a in November 2007. Reception Professional ratings Review scores Source Rating Allmusic 435 Blender 436 Rolling Stone 437 The album met with resoundingly negative reviews upon its release. Both Allmusic and Rolling Stone commented that Ray Wilson was a fitting new vocalist for Gene sis, but that the album is wholly lacking in good material. Both also commented on the album's odd mix of art rock and pop, saying that it failed to capture any of the likable elements of either genre; Rolling Stone summarized it as "a Mike and the Mechanics artrock album."438439 Track listing All songs written by Tony Banks and Mike Rutherford, except where noted. "Calling All Stations" 5:43 "Congo" 4:51 "Shipwrecked" 4:23 "Alien Afternoon" 7:51 "Not About Us" (Banks, Rutherford, Ray Wilson) 4:38 "If That's What You Need" 5:12 "The Dividing Line" 7:45 "Uncertain Weather" 5:29 "Small Talk" (Banks, Rutherford, Wilson) 5:02 "There Must Be Some Other Way" (Banks, Rutherford, Wilson) 7:54 "One Man's Fool" 8:46 Note: The CD liner notes state that track 7, "The Dividing Line", is 8:59. B Sides "Papa He Said" - 4:09 "Banjo Man" (Banks, Rutherford, Wilson) - 4:22 "Phret" - 4:05 "7/8" - 5:13 "Anything Now" - 7:03 "Sign Your Life Away" - 4:45 "Run Out Of Time" - 6:36 "Nowhere Else To Turn (Banks, Rutherford, Wilson) - 4:35 "Papa He Said" and "Banjo Man" are from the single "Congo". "Phret" and "7/8" ar e from the single "Shipwrecked". "Anything Now", "Sign Your Life Away" and "Run Out Of Time" are from the single "Not About Us". "Nowhere Else To Turn" is an un released track from the sessions. Singles Congo Maxi-CD

"Congo" (single version) "Papa He Said" "Banjo Man" Congo Enhanced CD "Congo" "Second Home by the Sea" (instrumental version) Enhanced feature with interviews, video of "Congo" and the upcoming Calling All Stations World Tour. Shipwrecked CD1 "Shipwrecked" "No Son of Mine" (acoustic) "Supper's Ready (part i: lover's leap)" (acoustic) "Turn It On Again" (acoustic) Shipwrecked CD2 "Shipwrecked" "Phret" "7/8" Not About Us CD1 "Not About Us" (single version) "Anything Now" "Sign Your Life Away" "Run Out of Time" Not About Us CD2 "Not About Us" "Dancing with the Moonlight Knight" (acoustic) "Follow You Follow Me" (acoustic) "Not About Us" (acoustic) A total of seven previously unreleased songs were included on the single release s as B-sides. One other song recorded at the time, "Nowhere Else to Turn", was n ever officially released. Personnel Ray Wilson vocals Tony Banks keyboards Mike Rutherford guitar, bass Additional musicians Nir Zidkyahu drums on tracks 13, 4 (second half), 5, 7, 1011; percussion on 2 Nick D'Virgilio drums on tracks 4 (first half), 6, 89 Production Producers: Nick Davis, Tony Banks, Mike Rutherford Engineers: Nick Davis, Assisted by Ian Huffam Recorded at The Farm, Surrey, England Technical Assistance: Geoff Callingham, Mike Bowen General Assistance: Dale Newman Sleeve Design: Wherefore ART? Photography: Kevin Westernberg, Peter Robathan Tour Dates Rehearsals for the 47 date European tour took place at Bray Film Studios in Wind sor, England between 5 and 25 January 1998. Date City Country Venue 23 January 1998 Windsor England Bray Film Studios (Pre-tour warm-up gig) 28 January 1998 Budapest Hungary

Sportshall (Warm-up gig) 29 January 1998 Budapest Hungary Sportshall 31 January 1998 Katowice Poland Spodek 2 February 1998 Prague Czech Republic Sportovn hala 4 February 1998 Mannheim Germany Maimarktgelnde 5 February 1998 Leipzig Germany Messehalle 7 6 February 1998 Berlin Germany Velodrom 8 February 1998 Metz France La Galaxie 10 February 1998 Dortmund Germany Westfalenhalle 12 February 1998 Stuttgart Germany Schleyerhalle 13 February 1998 Zurich Switzerland Hallenstadion 15 February 1998 Vienna Austria Stadthalle 17 February 1998 Bologna Italy Palasport Casalecchio 18 February 1998 Rome Italy Palasport 19 February 1998 Milan Italy Filaforum 20 February 1998 Lyon France

Halle Tony Garnier 23 February 1998 Paris France Palais Omnisports de Bercy 25 February 1998 Birmingham England National Exhibition Centre 26 February 1998 Birmingham England National Exhibition Centre 27 February 1998 London England Earls Court Arena 1 March 1998 Glasgow Scotland Scottish Exhibition and Conference Centre 2 March 1998 Newcastle England Telewest Arena 4 March 1998 Cardiff Wales Cardiff International Arena 5 March 1998 Cardiff Wales Cardiff International Arena 6 March 1998 Manchester England Nynex Arena 8 March 1998 Dublin Ireland Point Theatre 10 March 1998 Brussels Belgium Forest National 11 March 1998 Rotterdam Netherlands Ahoy 13 March 1998 Lille France Le Znith 15 March 1998 Angers France Amphitheatre 4000 16 March 1998 Bordeaux France

Patinoire de Meriadeck 18 March 1998 Pau France Le Znith 19 March 1998 Madrid Spain Palacio de los Deportes 20 March 1998 Barcelona Spain Palau Sant Jordi 22 March Marseilles France Le Dome 23 March 1998 Clermont Ferrand France Maison des Sports 24 March 1998 Caen France Le Znith 26 March 1998 Strasbourg France Halle Rhenus 27 March 1998 Munich Germany Olympiahalle 28 March 1998 Erfurt Germany Messehalle 30 March 1998 Hamburg Germany Sporthalle 2 April 1998 Oslo Norway Spektrum 3 April 1998 Stockholm Sweden Globe Arena 5 April 1998 Helsinki Finland Hartwall Areena 30 May 1998 Nrburgring Germany Rock am Ring Festival 31 May 1998 Nrburgring Germany

Rock am Park Festival Personnel Ray Wilson lead vocals, percussion, harmonica Tony Banks keyboards, guitar, backing vocals Mike Rutherford guitar, bass, backing vocals with Anthony Drennan guitar, bass, backing vocals Nir Zidkyahu drums, percussion, backing vocals Other key people Jonathan King Jonathan King King in 2007 Born Kenneth George King6 December 1944London, England Education M.A. (Cantab) Alma mater University of Cambridge Occupation Record producer, impresario, singer, songwriter Known for Discovery of Genesis, Bay City Rollers, 10CC Notable works (As singer, songwriter, or both): "Everyone's Gone to the Moon" (1965), "It's Go od News Week" (1965), "Loop di Love" (1971), "Johnny Reggae" (1971), "Sugar, Sug ar" (1971), "Una Paloma Blanca" (1975), "It Only Takes a Minute" (1976) Parents Jimmy King (died June 1954) and Ailsa (died 24 August 2007) Relatives Jamie and Andy (brothers) Awards British Phonographic Industry Man of the Year, 1997 Website www.kingofhits.com Jonathan King (born Kenneth George King, 6 December 1944) is an English singer, songwriter, impresario and record producer. He is also the author of three novel s, Bible Two (1982), The Booker Prize Winner (1997), and Beware the Monkey Man ( 2010, using the pen name Rex Kenny440), and an autobiography, 65 My Life So Far (2009).441 King first came to prominence as an undergraduate at the University of Cambridge in 1965 when he wrote and sang "Everyone's Gone to the Moon," an international best seller.442 He went on to become a media entrepreneur, discovering and produ cing material for a number of artists, including Genesis, whom he signed up in 1 967, giving them their name and producing their first album, From Genesis to Rev elation.443 He ran Decca Records twice and created his own record label, UK Reco rds, reported as the most successful independent label in the business, and work ed with 10cc and the Bay City Rollers.444 He also became known for a string of 1970s hits, such as "Una Paloma Blanca," "S ugar Sugar", "It Only Takes A Minute", "Johnny Reggae", "Lick A Smurp For Christ mas" and "Loop di Love." Billboard reported in September 1972 that he had produc ed 10 of the Top 30 singles in the UK in the previous 12 months.445 Rod Liddle d escribed him in 2010 as truly talented and fabulously cynical, someone who could "storm the pop charts at will, under a hundred different disguises ..."446 King was sentenced to seven years in prison in 2001 for the sexual assault of fi ve teenage boys between 1983 and 1989.447 He protested his innocence, arguing th at he was unable to defend himself adequately because of the length of time that had passed.448 He was refused leave to appeal but was released on first parole in 2005.449 Early life and education King was born in London, the first child of an American father and English mothe

r. His father was the managing director of a textile firm, and died when King wa s nine. The family moved to Surrey, and King and his two brothers, Jamie and And y, were raised near Dorking. He was sent to Stoke House boarding school and late r Charterhouse, both private schools.450 He took six months off to travel round the world before taking up a place at Trinity College, Cambridge. During his tra vels he met a number of pop managers, including Brian Epstein, manager of The Be atleswho were on tour in Hawaii; Derek Taylor, the Beatles' press officer; Peter Asher of Peter and Gordon and Tommy LiPuma, a record producer. He has an M.A. in English literature.451 1960s1970s While he was still a first year undergraduate, King wrote and sang his first hit , "Everyone's Gone to the Moon", which sold over one million copies in the UK an d 4.5 million around the world.452 It was later performed by Marlene Dietrich, N ina Simone, Frank Sinatra, Bette Midler and many others; it won King a gold disc .453 Whilst still at university, continuing his studies, King wrote and produced othe r hits, such as "It's Good News Week" by Hedgehoppers Anonymous, and, later, "Jo hnny Reggae" by The Piglets. During a visit to his old school, Charterhouse, he was handed a recording by a friend of one of the school bands, which included Pe ter Gabriel as their lead singer. He decided to produce them, choosing their nam e Genesis to mark the start of his production career.454 He produced their first album, From Genesis to Revelation, which was a flop at the time, partly because shops placed it in their religious music sections.455 Bassist Mike Rutherford l ater commented: Jonathan King, for all his faults - he has a funny reputation in England - did g ive us a fantastic opportunity. Because in those days, in England, you couldn't get in the studio. I mean, now a new group can very easily get a chance to go an d record a single, just something, you know, to show there's something going for them. In those days, to get any sort of record contract, was really magical. An d he gave us a chance to do a whole record. You've got a bunch of musicians who were really amateur, could barely play well, were barely a group, and were able to go in one summer holiday and make a record.456 Soon after graduating, he hosted a Saturday evening show on ITV, Good Evening; I 'm Jonathan King, which was broadcast nationally for six months.457 He continued to perform and produce a large number of hits under a variety of names. Among t hese were "Let It All Hang Out" (a cover of the 1967 track by The Hombres), "It Only Takes A Minute" (a cover of the Tavares track), "Sugar, Sugar", "Loop di Lo ve", "Hooked on a Feeling" (a cover of the track by B J Thomas), "Lazybones", "I t's The Same Old Song" (originally by The Four Tops) and "The Sun Has Got His Ha t On". He produced such hits as "Leap Up And Down And Wave Your Knickers In The Air" for St Cecilia and also acts such as the Bay City Rollers, singing all the backing vocals on their first hit, "Keep on Dancing". He was one of only two ori ginal investors of the London production of the play The Rocky Horror Show with Michael White and produced the original cast soundtrack album in one long 48 hou r session over an early weekend. He was twice involved in running Decca Records at the request of the founder Sir Edward Lewis who had also been at Trinity, Cambridge many years earlier.458 In September 1972, he set up his own record label, UK Records,459 which had dozens of hits with artists such as 10cc, whom he also named,460 Terry Dactyl and the D inosaurs "Seaside Shuffle", Roy C "Shotgun Wedding", Carl Malcolm with "Fattie B um Bum", The First Class with "Beach Baby", Lobo "Baby I'd Love You To Want Me", and many others, sometimes three or four on the charts at the same time. King f requently performed under pseudonyms such as "Shag", "Sakkarin", "Bubblerock", " 100 Ton and a Feather" and "Nemo", although, in 1975, a rendition under his own name of the song "Una Paloma Blanca (White Dove)" was awarded the Record of the Year trophy at the Ivor Novello Awards.461 Between 1965 and 1979, King had seven teen hits on the UK Singles Chart under a variety of pseudonyms and his own name , five of which made the Top 10.462 In April 1978, standing under his real name as a Royalist candidate he polled 2,350 votes (5.3%) in the Epsom and Ewell by-e lection. The Guardian reported he sold over 40 million records as a singer durin

g his active career.463 1980s1990s King moved on from the music industry in the 1980s to further his involvement in television and radio. He presented a daily talk show on New York's WMCA radio f rom 1012 weekday mornings throughout 1980 and 1981 and regularly reported from th e U.S. on Top of the Pops. A spinoff series, Entertainment USA, was very success ful on BBC2, getting over nine million viewers each week. He also created the Yo uth TV show No Limits which topped the BBC ratings. He hosted the ITV programme The Ultra Quiz. King wrote a page in The Sun for eight years called "Bizarre USA " and his criticism of Band Aid and Live Aid provoked 18,500 letters in one day. He wrote regular features in many other newspapers and magazines such as the Ma il and the Sunday Times. He also completed two published novels, Bible Two and T he Booker Prize Winner.464 He continued some music projects, including the bizar re supergroup project "Gogmagog" with ex members of Iron Maiden, Def Leppard, Wh itesnake, and other classic rock bands.465 In 1987, he suggested in his Sun column that the Pet Shop Boys had borrowed the melody of Cat Stevens's 1970 song "Wild World" for their UK #1 single "It's a Si n". King also released his own cover version of "Wild World" as a single, using a similar musical arrangement to "It's a Sin", in an effort to demonstrate his c laims. The Pet Shop Boys sued The Sun, accepting out-of-court damages from the n ewspaper that they donated to charity. King had done the same in the 1970s with his version of "He's So Fine" to the arrangement of George Harrison's "My Sweet Lord", which was played in the plagiarism court case, which The Chiffons eventua lly won. King wrote and hosted the BRIT Awards for the BBC in 1987 and he returned to pro duce them from 1990 to 1992. He produced "A Song for Europe", the BBC quest for a Eurovision Song Contest winner.466 The 1996 entrant by Gina G, "Ooh Aah... Jus t a Little Bit", went to number one in the UK Singles Chart, and the 1997 entry by Katrina and the Waves, "Love Shine a Light", won the contest.467 He is also r esponsible for the concept and format of the Record of the Year shows on British television, regularly shown in December, which continue online.468 At the end o f the Thatcher government, he released "We Can't Let Maggie Go"; it did not char t. In 1993, he founded The Tip Sheet, which continues online as a message board pro moting unknown and unsigned musical acts.469 In 1995/1996 he hosted the 10-12 daily show on Talk Radio in the UK, now TalkSpo rt. In 1997 he was awarded the British Phonographic Industry Man of the Year Award w ith a message of support from the then-prime minister Tony Blair for his "import ant contribution to one of this country's great success stories."470 2000s2010s King was arrested in November 2000 after a man approached Max Clifford, a Britis h publicist, with allegations. He was released on 150,000 bail, 50,000 of it put u p by Simon Cowell, the impresario, and was re-arrested, after the media publicit y, in January 2001.471 He was tried in September 2001 and received a seven-year sentence for six offences against five boys aged 1416 committed between 1983 and 1989.472 He was acquitted in a second case against him when a witness, whom King maintained he had never met, said that he had consented to sex and had been old er at the time than he had initially told police.473 Several commentators felt the prosecution was unfair, among them Charles Shaar M urray, Howard Jacobson, Lynn Barber, Richard Stott and Danny Hammill.474475 King maintained his innocence, protesting that there was no statute of limitations f or sex offences, which he said meant he had been unable to defend himself adequa tely because of the length of time that had passed; that there was no requiremen t to corroborate the allegations; and that the complainants were allowed to main tain their anonymity.476 He sought leave to appeal, which was refused in January 2003, and was released on parole in March 2005.477 He continues to protest his innocence. In January 2006 the BBC reported that the Criminal Cases Review Commission had a greed to examine his case. King argued that he was in New York in September 1985

when one of the incidents is alleged to have taken place in King's home in Lond on. He said he had not presented this evidence at his trial because the date of the alleged offences on the charge sheet had been changed after he had completed his defense.478 In 2008 it was reported that the European Court of Human Rights was considering his application for an appeal.479 In June 2006 he spoke about the need for prison reform at a meeting of Inside Ti me, the national newspaper for prisoners, alongside former MP Jonathan Aitken.48 0 In 2007 he produced a collection of mainly new songs, entitled Earth to King, on e of which attracted criticism for appearing to defend the serial killer Dr. Har old Shipman.481 In May 2008 he released a 96-minute film called Vile Pervert: The Musical, which included 21 characters played by King, caricaturing the police, media, PR indus try, legal system, and his accusers. It has received over 60,000 full length vie ws and downloads since release. 482 In December 2009 he published his autobiography, 65 My Life So Far.483 He released a new film, Me Me Me, in May 2011. It premiered in London's West End and screened at the Cannes Film Festival that year.484485486 In October 2011, BBC Director-General Mark Thompson apologised to Jonathan King, following the removal of King's performance of It Only Takes a Minute from a 19 76 episode of Top of the Pops that was repeated on BBC Four. Thompson stated: "W e accept that this should not have happened and we would like to apologise for a ny upset this caused." King had accused the BBC of a "Stalinist" revision of his tory.487 Single discography Year Title UK Singles Chart488 Credited to 1965 "Everyone's Gone to the Moon" #4 Jonathan King 1970 "Let It All Hang Out" #26 Jonathan King 1971 "It's the Same Old Song" #19 Weathermen 1971 "Sugar Sugar" #12 Sakkarin 1971 "Lazy Bones" #23 Jonathan King 1971 "Johnny Reggae" #3 The Piglets 1971 "Hooked on a Feeling" #23 Jonathan King 1972 "Flirt!"

#22 Jonathan King 1972 "Loop di Love" #4 Shag 1974 "(I Can't Get No) Satisfaction" #29 Bubblerock 1975 "Una Paloma Blanca (White Dove)" #5 Jonathan King 1975 "Chick-a-Boom (Don't Ya Jes Love It)" #36 53rd and 3rd featuring the Sound of Shag 1976 "In the Mood" #46 Sound 9418 1976 "It Only Takes a Minute" #9 One Hundred Ton and a Feather 1978 "One for You, One for Me" #29 Jonathan King 1978 "Lick A Smurp for Christmas (All Fall Down)" #58 Father Abraphart and The Smurps 1979 "You're the Greatest Lover" #67 Jonathan King 1979 "Gloria" #65 Jonathan King External links Jonathan King website, KingsofHits.com, accessed 12 June 2010. King Discography, accessed 12 June 2010. UK Records discography, Beautiful-Records.com, accessed 12 June 2010. Vile Pervert (movie) website, vilepervert.com, accessed 12 June 2010. Jonathan King autobiography, 65mylifesofar.com, accessed 12 June 2010. JK new film, MeMeMeMovie.com, accessed 15 June 2011. JK novel as Rex Kenny, BewareTheMonkeyMan.com, accessed 09 July 2011. Jonathan King: 'My book's an online hit, millions click on my videos. How about lifting the media ban on me?' Profile in The Independent by Tim Walker, 28 Nove mber 2011. Accessed 29 November 2011. Bill Bruford Bill Bruford Bruford at Moers Festival 2004, Germany Background information Birth name William Scott Bruford Born

17 May 1949Sevenoaks, Kent, England Genres Progressive rock, instrumental rock, jazz/fusion Occupations Musician, songwriter Instruments Drums, percussion Years active 19682009 Labels Polydor, E.G., Voiceprint, Winterfold, Summerfold Associated acts The Breed, Savoy Brown, Mabel Greer's Toy Shop, Yes, King Crimson, UK, Genesis, Earthworks, Chris Squire, Bruford, Anderson Bruford Wakeman Howe, Bruford Levin Upper Extremities, Gong, National Health, Steve Howe, Gordian Knot, Annette Peac ock Website www.billbruford.com William Scott "Bill" Bruford (born 17 May 1949 in Sevenoaks, Kent) is an English drummer, percussionist, composer, producer, and record label owner.489 He was t he original drummer for the progressive rock group Yes, from 1968-1972. Bruford has performed for numerous popular acts since the early 1970s, including a stint as touring drummer for Genesis in 1976. Following his departure from Yes and at various times until 1997, Bruford was the drummer for progressive rock band Kin g Crimson. Bruford moved away from progressive rock to concentrate on jazz, lead ing his own jazz group, Earthworks, for several years. He retired from public pe rformance in 2009, but continues to run his two record labels and to speak about music. His autobiography, Bill Bruford: The Autobiography, was published in ear ly 2009. He began playing the drums when he was thirteen, and was influenced by jazz drum ming, which would manifest itself on early Yes albums and would remain an influe nce on his style throughout his career. He had success in the early seventies du ring his time with Yes playing on their first five albums including the LPs The Yes Album, Fragile, and Close to the Edge. He left Yes in 1972, returning briefl y for the Union album which was released in 1991. Biography Early life Bruford explained that he chose to play drums because he watched American jazz d rummers of the 1960s on BBC TV on Saturday evenings.490 These programmes turned the head of the thirteen-year-old Bruford. He found all the instrumentalists to be fascinating and mysterious, but particularly the drummers. His sister then ga ve him his first pair of brushes as a present.491 He was educated at Tonbridge S chool. He later took a few lessons - while still attending Public School - from Lou Pocock of the Royal Philharmonic, but after that he picked up other techniqu es wherever he found them.492 He said that he never acquired drum technique for the sake of acquiring it, but as a solution to a particular problem, and if he heard something that he couldn' t do, he would learn how to do it. Bruford applied this way of learning to other instruments as well, although acknowledging that he has the 'classic amateur's technique'; meaning that he knows some very difficult bits and that he has some large gaping holes in his knowledge, but his amateurism can sometimes be helpful in forging a style, because he has to work around his weaknesses.493 Bruford's pre-Yes bands included The Breed (196667), a Sevenoaks-based r'n'b/soul band which included future Flash bassist Ray Bennett, future Canned Rock singer /guitarist Doug Kennard and guitarist Stu Murray (since Bruford was at boarding school and not available for all gigs, the band occasionally used another drumme r, Pete Skinner, and sometimes both), a short-lived band named The Noise (1967) with whom he gigged in Italy, and Savoy Brown (1968), his first professional eng agement - which lasted all of three gigs. Yes

Most of the early members of Yes all lived in the same house. They were almost c onfined to the property, because concert bookings came at short notice, so leavi ng the house for a few hours was their only freedom from the confines of the ban d. Bruford likened the lifestyle to that of a fireman. Although seemingly a close-knit band, Bruford remembers the whole era as being v ery argumentative, and hot blooded. There was a constant state of friction betwe en Bruford, Chris Squire, and Jon Anderson, all three of whom were from totally different social backgrounds. Bruford admitted that he found it hard to understa nd Anderson's northern English accent, and Anderson's penchant for speaking in s trange sentences that nobody could understand, which later influenced Yes' lyric s. Bruford also had to contend with Squire's slow and deliberate style of writin g his bass lines, being on time for recording sessions, or just getting ready to leave for shows. These personality traits amongst the three would be a foundati on for Bill's eventual exit from the group in 1972. The band members were no strangers to alcohol, but Bruford doesn't remember a lo t of "sex, drugs and rock n' roll". The whole band used to drink a lot of alcoho l, and they often visited a club in London called the Speakeasy that the band's manager, Roy Flynn, also managed. The Speakeasy stayed open until two or three i n the morning, so Yes could play a gig in England within a hundred-and-fifty mil e radius and still make it back to the Speakeasy at about two o'clock, where the y drank "large amounts" of whisky and Coke.494 Bruford, by 1972, had felt that Yes had come as far as it could, or at least as far as he could contribute to it. He didn't want to spend what he felt was an in ordinate amount of time in the studio debating chords and producing records that he felt would only be in the shadow of Close To The Edge. In addition, his rela tionship with bassist Chris Squire was strained. He later commented, "Chris is, I'm sure, a wonderful guy. But in those days he also very, very late. For all ap pointments and departures and arrivals and sound checks and anything. That, in a way, is the most grievous form of offense that one musician can visit upon anot her... I was a hot-blooded guy back then and I'd had enough of waiting for him, really."495 He also once had a fist-fight with Squire after a concert, because t hey had violently disagreed about who had played badly. Despite these personal i ssues, Bruford played all the drums on Squire's 1975 solo album, Fish Out of Wat er. King Crimson Bruford accepted an invitation from Robert Fripp to join King Crimson, a band he had wanted to join for quite some time. He later compared this to "going over t he Berlin Wall into East Germany" - Bruford stated that "In Yes, there was an en dless debate about should it be F natural in the bass with G sharp on top by the organ. In King Crimson...you were just supposed to know".496 His instinct to re member complicated drum parts was shown when he learned how to play the long per cussion and guitar part in the middle of "21st Century Schizoid Man", "by listen ing to it and just learning it". He admits that his note-reading skills are slower than he would like: "I learned how to read the horizontal lines, but not the vertical notes." Despite this, he has successfully written lots of compositions over the years, albeit slowly.497 Bruford was more interested in artistic pursuits, and the framework of King Crim son appealed to that sensibility in him. He cites the six months that the group contained avant-garde percussionist Jamie Muir as tremendously influential on hi m as a player, opening him up to "musical worlds I had only vaguely suspected ex isted". Violin, viola and keyboard player David Cross was selected to flesh out the sound of the new band. Rehearsals began in September 1972, followed by an ex tensive UK tour. Larks' Tongues in Aspic was released early the next year, and t he group spent the remainder of 1973 touring Britain, Europe, and America. Two albums were released with the four-member line-up (Fripp, Wetton, Bruford, C ross), Starless and Bible Black, and the posthumous live album USA, recorded on some of Cross's final dates with the band. Finally, as a 3-piece (Fripp, Wetton, Bruford) King Crimson recorded Red in July 1974. After the release of Red in Se ptember, Fripp decided to disband King Crimson. Roy Harper

In 1975, Bruford played drums on the majority of Roy Harper's HQ, in addition to the aforementioned work on Fish Out of Water. Genesis live Bruford also spent six months touring with Genesis in 1976, recordings from whic h appeared on the Genesis live albums Seconds Out and Three Sides Live, as well as the theatrical release of Genesis: In Concert. Bruford, who was rehearsing (a s guest percussionist) with Phil Collins' side project Brand X, suggested drummi ng while Collins sang until they found a permanent live drummer (this would be C hester Thompson, in 1977). Collins, a big Bruford fan going back to his early Ge nesis days, approved of the suggestion. Solo career Bill Bruford led his own band in the late 1970s, called simply "Bruford". Member s of the band were initially Dave Stewart (keyboards), Jeff Berlin (bass), Allan Holdsworth (guitar) and Bruford (drums). The first album Feels Good to Me (recorded as a solo project) also had Annette P eacock on vocals, Kenny Wheeler on flugelhorn and John Goodsall on rhythm guitar . The second album, One of a Kind, was entirely instrumental, except for some sp oken lines during the introduction to "Fainting In Coils". There were two live a lbums from this period. Bruford - Rock Goes To College is a 2006 DVD release fro m the eponymous BBC Television series and The Bruford Tapes, compiled from live shows at My Father's Place in Roslyn, Long Island, in 1979 (including one broadc ast on radio station WLIR -- most, but not all, of the tracks on the album are f rom that show),498 with John Clark replacing Holdsworth on guitar. The group's final studio album Gradually Going Tornado continued this lineup wit h bass player Berlin providing vocals on some songs. UK Following his first solo album, he was reunited with King Crimson bassist/vocali st John Wetton in the progressive rock group UK. During his time in the band, fr om 1977 to 1978, the band released its eponymous debut album and conducted one U K tour and a couple of North American tours. After this he was dismissed from th e band, due to his disagreement with Wetton and keyboardist Eddie Jobson's decis ion to fire guitarist Allan Holdsworth, whom he'd brought into the band. He subs equently turned his focus on his own band, Bruford. In 1983 he joined up with former Yes pianist Patrick Moraz, who had played on th e Relayer album; the duo released Music for Piano and Drums that year and Flags in 1985, followed by a short string of live shows. Return to King Crimson Bruford was part of a newly formed King Crimson again in 1981 with a different l ineup, consisting of Bruford, Robert Fripp on guitar, Tony Levin on bass and Cha pman Stick, and Adrian Belew on guitars and vocals. He recorded Discipline, Beat , and Three of a Perfect Pair with them, moving to a kit of both acoustic and el ectronic drums and using his renowned polyrhythmic style, before they disbanded again in 1984. Anderson Bruford Wakeman Howe, and Yes again Anderson Bruford Wakeman Howe (sometimes referred to by the acronym ABWH) was a permutation of the progressive rock band Yes. The group consisted of vocalist Jo n Anderson, drummer Bill Bruford, keyboardist Rick Wakeman, and guitarist Steve Howe, with Tony Levin providing the bass duties since Yes bassist Chris Squire w as involved with the official Yes. Anderson Bruford Wakeman Howe recorded one se lf-titled studio album in 1989. A live recording from their subsequent concert t our was released in 1993. Bruford would rejoin Yes briefly in 1991 and 1992 for the Union album and tour, so titled because it brought together ABWH and the members of Yes prior to the u nion as an eight-member band. His comments about the album and tour: Well, the more money you pay for a record, the more money you interfere with it and this was a big budget record. So, they eventually decided that the guys in F rance (Anderson, Bruford, Wakeman and Howe) needed the assistance of all the oth er Yes guys in California (Chris Squire, Tony Kaye, Trevor Rabin and Alan White) . So, our work was duly e-mailed, I guess, to them. They were then put on and fo und lacking. Then, also put on was a cast of a thousand studio musicians. So, th

e whole thing turned into the most God awful, auto-corrected mess you could poss ibly imagine! The worst record I've ever been on. About the tour: It was just a sort of a summer vacation. It was fun to do in the sense there wer e some 'old pals' and it was possible to do because we didn't have to give rise to any new music. So in as much as the band was just playing repertoire material , there was kind of a 'ticket buy' in the idea of all those, you know, the entir e cast of Dallas on stage at once, kind of thing. And there was some kind of att raction to that. But that was really all it was, I think. And I think I was prob ably an unnecessary spare part. So I didn't enjoy it terribly. But those gigs ca n be quite fun as performing in huge stadiums can be quite fun on a kind of pure ly visceral level. Just kind of being there and enjoying it. I don't venture, ho wever, you'd want to give up your day job to do it.499 Bruford and Steve Howe would later undertake a recording project together in 199 2/1993 to have an orchestra reinterpret some of Yes' works. The resulting album, titled Symphonic Music of Yes, was released on RCA records in 1993. King Crimson, again King Crimson re-emerged once more in 1994 as a six-piece band, consisting of its 1980s lineup along with Trey Gunn on Warr guitars and Pat Mastelotto sharing th e drumming duties with Bruford. This so-called 'double trio' configuration recor ded one full-length album, 1995's THRAK, as well as experimenting with the Proje Kcts, before Levin and Bruford left the band. Bruford's reason for abandoning th e double trio was his frustration with rehearsals, which he felt weren't going a nywhere.500 Earthworks Earthworks was formed in December 1985 and its original line-up (which lasted un til 1993) featured two up-and-coming UK jazz musicians and composers, Django Bat es on keyboards and tenor horn, and Iain Ballamy on saxes. The band reemerged in the 1990s with an acoustic line-up, notably featuring Tim Garland for a period, before splitting up in 2009 due to Bruford's retirement. Bruford used Simmons electronic drums and his melodic drumming, though in the la ter years of his career he returned to using a primarily acoustic drum set. Whil e Bruford has creative freedom with Earthworks, he continues to collaborate with many musicians, including one-time Yes keyboardist Patrick Moraz (with whom he recorded two albums in the 1980s) and bassist Tony Levin. Earthworks has been hi s primary focus in recent years, particularly after his departure from the lates t incarnation of King Crimson. In an interview for The San Diego Union-Tribune (15 May 2003) he said, "I have t his image that I might be a 'rock guy on vacation'. That idea is anathema to mean d I've cured it by making eight albums with Earthworks." He described Earthworks as "seeing music as a social encounter, where you look a nother guy in the eyes across the room, say 'one-two-three-four' and the music b egins. That's where my pleasure lies, for sure" (Los Angeles Times, 16 May 2003) . Recent work With Earthworks put on hold in 2007501 (apart from a brief return in 2008), Bruf ord focused on new collaborationsincluding as a duo with pianist Michiel Borstlap ; and with contemporary composer Colin Riley and collective pianocircusand drum c linics. He retired from public performance on 1 January 2009,502 although he has since p layed live with Ann Bailey's Soul House.503 He retired from studio recording at the same time,504 although his studio work, Skin & Wire, was released later that year. His autobiography was released in early 2009. Abortive projects Bruford has been involved in a number of abortive projects, including a trio wit h Rick Wakeman and John Wetton which made the headlines of Melody Maker in Octob er 1976; Bruford has also told of "an abortive and late rehearsal/audition with bass player Jack Bruce out at his mansion in Essex, once, but nothing came of th at". He was also approached in 1985 by ex-Led Zeppelin guitarist Jimmy Page to b e the drummer for his new band with Paul Rodgers, The Firm, along with bass play

er Pino Palladino. "We rehearsed briefly, but I think decided we were mutually u nsuited..!".505 Awards In 1990, the readers of Modern Drummer Magazine voted him into that magazine's H all of Fame.506 Discography Yes Yes (1969) Time and a Word (1970) The Yes Album (1971) Fragile (1972) Close to the Edge (1972) Yessongs (1973, live) Union (1991) King Crimson Larks' Tongues in Aspic (1973) Starless and Bible Black (1974) Red (1974) USA (1975, recorded live 1974) Discipline (1981) Beat (1982) Three of a Perfect Pair (1984) The Great Deceiver (1992, recorded live 1973-1974) VROOOM (1994) THRAK (1995) B'Boom: Live in Argentina (1995, recorded live 1994) THRaKaTTaK (1996, recorded live 1995) The Night Watch (1997, recorded live 1973) Absent Lovers (1998, recorded live 1984) Live At The Jazz Caf (1999 as part of The ProjeKcts sub-group box set, recorded live 1997) VROOOM VROOOM (2001, recorded live 1995-1996) Appearances Chris Squire - Fish Out of Water (1975) Steve Howe - Beginnings (1975) Roy Harper - HQ (1975) Pavlov's Dog - At the Sound of the Bell (1976) Absolute Elsewhere - In Search Of Ancient Gods (1976) Genesis - Seconds Out (1977, live) Annette Peacock - X Dreams (1978) Steve Howe - The Steve Howe Album (1979) Genesis - Three Sides Live (1982, live) (International edition only, until 1994 when the album was remastered with the US version being deleted.) Annette Peacock - Been In The Streets Too Long (1983) David Torn - Cloud About Mercury (ECM, 1986) Kazumi Watanabe - The Spice of Life (1987) Kazumi Watanabe - The Spice of Life Too (1988) Steve Howe - Turbulence (1991) Genesis - Genesis Archive 2: 1976-1992 (2000, live) Michiel Borstlap - Every Step a Word, Every Word a Song (2004) Michiel Borstlap - In Two Minds (2007) UK U.K. (1978) Live in America (1978, live recording - released 2007) Bruford Feels Good to Me (1978) One of a Kind (1979) Bruford - Rock Goes To College (1979 - released 2006) Gradually Going Tornado (1980) The Bruford Tapes (1980, live recording)

Master Strokes: 1978-1985 (1986, compilation) Duo with Patrick Moraz Music for Piano and Drums (1983) Flags (1985) Anderson Bruford Wakeman Howe Anderson Bruford Wakeman Howe (1989) An Evening of Yes Music Plus (1993) Orchestral project with Steve Howe and Jon Anderson Symphonic Music of Yes (1993) Earthworks Earthworks (1987) Dig? (1989) All Heaven Broke Loose (1991) Stamping Ground: Bill Bruford's Earthworks Live (1994, live) Heavenly Bodies (1997, compilation) A Part & Yet Apart (1999) The Sound of Surprise (2001) Footloose and Fancy Free (2002, live) Random Acts of Happiness (2004, live) Earthworks Underground Orchestra (2006) With The New Percussion Group of Amsterdam Go Between (1987) Bruford with Ralph Towner and Eddie Gomez If Summer Had Its Ghosts (1997) Bruford Levin Upper Extremities Bruford Levin Upper Extremities (1998) B.L.U.E. Nights (2000, live) Gordian Knot Emergent (2003) External links Bill Bruford's official site Bill Bruford discography Bruford/Levin Upper Extremities Review of Random Acts of Happiness album Bill Bruford on Myspace Daryl Stuermer Daryl Stuermer Background information Born November 27, 1952Milwaukee, Wisconsin, United States Genres Progressive rock, rock, jazz rock, pop, pop rock Instruments Guitar, bass, keyboards, vocals Years active 1975present Associated acts Genesis, Phil Collins, Era Website Official site Daryl Mark Stuermer (born November 27, 1952) is an American musician who plays g uitar and bass for Genesis during live shows, and lead guitar for Phil Collins d uring most of his solo tours and albums.507 Biography Stuermer was born on November 27, 1952 in Milwaukee, Wisconsin508 and is a 1970 graduate of St. Francis High School. Discovered playing with his Milwaukee band Sweetbottom, Stuermer auditioned for and won a spot backing up jazz violinist Je an-Luc Ponty509 in 1975, with whom he recorded four albums. In late 1977, Stuerm er, on insistence of friend Alphonso Johnson was recommended as a replacement fo

r Steve Hackett. He joined up with Genesis as touring guitarist and bass player at first and retained that position until 1992, only to resume his role in 2007 on the Genesis Turn It On Again Tour. (While with Genesis, Stuermer alternated g uitar and bass with Mike Rutherford as needed.) In 1982, Stuermer followed Genes is front man Phil Collins as the lead guitarist for Collins' solo career. In doi ng so, he went from what Collins called a "permanent-temporary-part-time member" of Genesis to a "permanent-touring-recording member" of Collins' new group.510 The collaboration has been a successful one for both musicians, and Stuermer has earned co-writer credits on several of Collins' songs. Stuermer has recorded eight solo albums, Steppin' Out, Live and Learn, Another S ide of Genesis, Waiting in the Wings, Retrofit, "The Nylon String Sampler", "Rew ired: the Electric Collection" and most recently Go!. Released in 2002 was a Swe etbottom live reunion album, recorded at Shank Hall in Milwaukee, Wisconsin. He is a graduate of St. Francis High School in St. Francis, Wisconsin, and returned to his hometown in the summer of 2002 to play a free concert. His album Go! was released in early 2007. It contains many older tracks from Stu ermer's Sweetbottom days, and includes appearances from Alphonso Johnson, Kostia , John Calarco, and Eric Hervey. Stuermer rejoined Genesis for their 2007 Turn I t On Again: The Tour reunion effort. His current project is called Daryl Stuerme r - Symphony Concert, which involves band members Kostia, Alan Arber and Eric He rvey and singer Forrest "Woody" Mankowski, recreating classic Genesis material m ixed with Daryl's instrumentals from his solo career. Stuermer has been a Fender Stratocaster user for most of his career with Phil Co llins. His main guitars have been a Candy Apple Red and a 3 Tone Sunburst, thoug h he also played banjo on the Phil Collins song "The Roof Is Leaking". In additi on to the Fender Stratocaster in his tenure with Collins and Genesis, he played Gibson RD Artist bass guitars and Ibanez electric guitars in 1978. He then switc hed to a SUNTECH Model SA-MFSC "Stratocaster Style" guitar from 1978 to 1984 and used a Shergold Bass Guitar (1980), a Fender Precision Bass guitar in 1981/1982 , a Status bass guitar and Ibanez guitar (198384), a Steinberger bass guitar (198 687) and guitars (1986/1987), a Yamaha bass guitar in 1992 and again in 2007. As of 2007 he has largely been using a Godin LGXT electric guitar. He also uses the reintroduced Fender American Standard Stratocaster and the Fender Eric Clapton Signature Stratocaster Discography Solo Albums Title Release Remarks Steppin' Out 1987 GRP Live & Learn 1998 Urban Island Music Another Side of Genesis 2000 Urban Island Music Waiting in the Wings 2001 Urban Island Music Sweetbottom Live the Reunion 2003 Urban Island Music Retrofit 2004 Urban Island Music The Nylon String Sampler 2005 Urban Island Music

Rewired - The Electric Collection 2006 Unicorn Digital/Urban Island, LL Go! 2007 Inside Out Music Jimmy the Greek Lives 2009 Screaming Swami Music With Jean-Luc Ponty Title Release Remarks Aurora 1975 Atlantic Imaginary Voyage 1976 Atlantic Enigmatic Ocean 1977 Atlantic Civilized Evil 1981 Atlantic With George Duke Title Release Remarks I Love The Blues She Heard My Cry 1975 Polydor Liberated Fantasies 1976 BASF With Joan Armatrading Title Release Remarks The Key 1983 A&M With Frida Lyngstad (ABBA) Title Release Remarks Something Going on 1982 Epic (UK) With Tony Banks (musician)Tony Banks (Genesis) Title Release Remarks The Fugitive 1983 Charisma Still 1991 Giant (US) Strictly Inc

1995 Virgin With Mike Rutherford (Genesis) Title Release Remarks Acting Very Strange 1982 Atlantic/WEA With Philip Bailey Title Release Remarks Chinese Wall 1984 Columbia With Phil Collins Title Release Remarks Face Value 1981 Virgin Hello, I Must Be Going! 1982 Atlantic No Jacket Required 1985 Atlantic ...But Seriously 1989 Atlantic Serious Hits... Live! 1990 Atlantic Dance Into the Light 1996 Atlantic A Hot Night in Paris 1998 Atlantic ...Hits 1998 Atlantic Testify 2002 Atlantic The First Final Farewell Tour 2004 Warner Music Vision Phil Collins: Roseland Ballroom 2010 Eagle Vision With Genesis (band)Genesis Title Release Remarks Three Sides Live 1982 Atlantic

Knebworth Concert (Various Artists) 1990 Polydor Genesis Live-The Way We Walk Vol 1 1992 Atlantic Genesis Live-The Way We Walk Vol 2 1993 Atlantic Live Over Europe 2007 2007 Atlantic External links Daryl Stuermer's Website Genesis' Website In-Depth 2007 Interview by Anil Prasad of Innerviews Daryl Stuermer-Genesis Rewired Website Chester Thompson Chester Thompson Chester playing with Genesis during the Turn It On Again Tour (2007) Chester playing with Genesis during the Turn It On Again Tour (2007) Background information Born December 11, 1948Baltimore, Maryland, USA Genres Progressive rock, pop rock, jazz fusion Instruments Drums Years active 1973present Associated acts GenesisPhil CollinsSteve HackettFrank ZappaWeather ReportEraRon Kenoly Website www.chesterthompson.com Chester Cortez Thompson (born December 11, 1948 in Baltimore, Maryland) is an Am erican drummer and session musician.511 Biography Thompson made his name as a session drummer, going on to play in Frank Zappa's t ouring band (as part of the 19731974 lineups which also featured percussionist Ru th Underwood and jazz keyboardist George Duke) and with Weather Report.512 He pl ayed on such noted Zappa albums as One Size Fits All and Roxy & Elsewhere. His longest-standing gig was with Genesis.513 His relationship with the band beg an with the departure of frontman Peter Gabriel. Then-drummer, Phil Collins, ass umed Gabriel's role in live shows but remained behind the drum kit in the studio . Thompson became the touring drummer514 in 1977, playing on their tours in that year and in 1978, 1980, 1981, 1982, 1983/4, 1986/7, 1992 and the 2007 reunion T urn It On Again Tour. Chester is featured on their live albums Seconds Out, Thre e Sides Live and The Way We Walk Volume 1, Volume 2 and Live Over Europe 2007. H e chose not to be involved in the band's Calling All Stations tour, following th e band's failure to invite him to join the studio band following Phil Collins's departure. Thompson has also worked with Phil Collins on his solo concert tours, drumming o n the 1982/83 Hello, I Must Be Going! tour, 1985 No Jacket Required tour, 1990 . ..But Seriously tour, The Tarzan Premiere tour of 1999 and The Final Farewell to ur of 2004/05. Chester also appears on Phil Collins' Serious Hits... Live! live album and DVD, and has released his own solo album, A Joyful Noise. Chester also plays on the Steve Hackett albums, Please Don't Touch and Watcher o f the Skies: Genesis Revisited. Later on, he played on Tony Banks' solo album A Curious Feeling. He also appears on The Tokyo Tapes album released in 1998 which features Steve Hackett and John Wetton amongst many others. He was also a found

ing member of the band Fire Merchants with Brand X guitarist John Goodsall and b assist Doug Lunn and appeared on their first recording in 1989. Chester's playing style is widely acknowledged and respected, and can be seen on numerous live videos of Genesis, from late 1970s up to early 1990s. His live pl aying with the band is a striking mixture of his own style and Collins' own, bei ng equally comfortable with acoustic and electronic drums. In the past, Chester has endorsed Ludwig Drums (1970-March, 1977), Pearl Drums (April, 1977 - July, 1 987), Sonor Drums (19901999) and Paiste cymbals (197090), but now endorses DW drum s since 2000 and Sabian cymbals since 1990. He was also a member Air Pocket, a band centered around the Fowler Brothers. Chester Thompson is Adjunct Instructor at Belmont Universitys School of Music in Nashville/USA. Discography As sideman With Air Pocket 1976: Fly On (East Wind Records) 1985: Hunter 1988: Breakfast for Dinosaurs External links The official Chester Thompson site World of Genesis - Chester Thompson Biography World of Genesis - World of Genesis.com 2002 Chester Thompson interview Drummerworld: Chester Thompson Steve Hackett.com Nir Zidkyahu Nir Zidkyahu (born November 1967, in Rishon Lezion, Israel) is a well-establishe d studio-session drummer, and the brother of Blackfield's drummer Tomer Z. He pl ayed the drums for eight songs on Genesis' 1997 album, Calling All Stations, and subsequently joined the band for their 1998 tour. In 2001, he drummed on John Mayer's breakthrough album, Room for Squares. Since then, he's played drums and percussion for various major artists including Jason Mraz, Joss Stone and Alana Davis. In 2006, he recorded with Flaw on their Endan gered Species record and with Chris Cornell on his second solo album, Carry On, released 2007. Zidkyahu played on several songs of the comeback album, Skyscrape r, for former Journey singer Steve Augeri's original band Tall Stories, released January 23, 2009. In 2009, Zidkyahu went on tour drumming for Billy Squier. Zidkyahu was hired by the company Toontrack to record the drums samples for thei r virtual drummer programs. External links Official website Anthony Drennan Anthony Drennan is an Irish guitarist noted for his involvement with Genesis, Mi ke + the Mechanics and The Corrs whom he has played with throughout most of his career. He was born in Luton, England, but moved back to Ireland at a young age. He has also played with Clannad, Paul Brady, Moving Hearts, Davy Spillane and o ther well-known Irish bands and performers. References "Anthony Drennan appearances". www.allmusic.com. Retrieved 2010-12-09. Miscellany Charisma Records Charisma Founded 1969 Founder Tony Stratton-Smith Status Division of Angel Music Group / EMI Music Distributor(s) B&C Records, Phonogram Records, ABC Records, Buddah Records, PolyGram

Genre Progressive rock Country of origin England Charisma was a record label founded by former journalist Tony Stratton-Smith in 1969. Manager for The Nice, the Bonzo Dog Band and Van der Graaf Generator at th e time, Stratton-Smith was unable to find a record company willing to release an album by one of his favourite groups so he founded his own company and released the Van der Graaf Generator album The Least We Can Do Is Wave To Each Other him self. Charisma's first record label was a distinctive "pink scroll" design. The compan y proudly proclaimed itself "The Famous Charisma Label". Its second logo (used b eginning in 1972) of Sir John Tenniel's drawing of the Mad Hatter (sometimes com bined with a montage of other images from Alice in Wonderland) made the label in stantly recognisable. Its most successful acts were Genesis, Peter Gabriel, Julian Lennon and the Mont y Python comedy team. It also released material by Van der Graaf Generator, The Nice, Lindisfarne and Alan Hull, Hawkwind, The Alan Parsons Project, Clifford T. Ward, String Driven Thing, Jack The Lad, Audience, Vivian Stanshall, Brand X, S ir John Betjeman and Malcolm McLaren. 1970s solo albums of Peter Hammill, Tony B anks and Steve Hackett were also on Charisma Records. In 1983, Charisma Records was acquired by Virgin Records. Charisma continued to operate until 1986, when Virgin absorbed the label following its purchase by EMI . A new version of Charisma, with no connection to the original label other than the name, operated between 1990 and 1992. Some Charisma Records recordings have most recently been re-issued on the EMI label. In the UK, the label has been re vived by EMI's Angel Music Group. Distribution Charisma was initially manufactured and distributed in the United Kingdom as an off-shoot of B&C Records, but it later absorbed that label. During the mid and l ate 1970s Charisma's European distribution was handled by Phonogram Records. In the United States and Canada, Charisma Records recordings were first licenced to other labels such as ABC Records (Trespass by Genesis which was actually fir st issued through ABC's jazz division Impulse Records). The ABC subsidiary Probe Records released The Least We Can Do Is Wave To Each Other by Van der Graaf Gen erator, while the Dunhill Records subsidiary released H to He, Who Am the Only O ne by the same group. Elektra Records in the US released recordings by Charisma Records artists Atomic Rooster, Audience and Lindisfarne. In 1971 Charisma entered into a distribution agreement with Buddah Records and b egan to release albums on the Charisma label in the US. These albums included Pa wn Hearts by Van der Graaf Generator and Nursery Cryme, Foxtrot and Genesis Live by Genesis. Atlantic Records also later released Charisma recordings in the Uni ted States from 1973 to 1974 including many Genesis titles. In 1973, Atlantic st opped distributing Charisma in America; as a result, in the US Charisma's bands signed to various labels such as Mercury Records (Van der Graaf Generator) and A rista Records (Monty Python). In 1978, Charisma signed a new distribution deal w ith Polydor that lasted until 1980. In Canada, many Charisma releases were distr ibuted by PolyGram Canada.515 Between 1980 and 1982, Charisma operated a subsidiary called Pre Records, which was devoted to new wave and reggae acts. Pre's roster included Scars, Prince Far I, Delta 5, Gregory Isaacs, The Monochrome Set and Congo Ashanti Roy. Pre also licensed albums by The Residents and Tuxedomoon from the American label Ralph Re cords. In Europe, Pre's releases were issued on the Charisma label.516517 Collectable "pink scroll" label design The "pink scroll" label design was the first label design used on LPs released b y the Charisma label. In the UK, they were used from Charisma's inception in 196 9 until mid-1972, with the release of Lindisfarne's Dingly Dell LP (CAS 1057). T his was replaced by the large Mad Hatter label, designed by Paul Whitehead of Ge nesis sleeve design fame. In the United States, the pink scroll labels were used in late 1973 and early 1974 on releases distributed by Buddah Records. Releases

distributed by Atlantic Records used the small Mad Hatter design. Because Chari sma had many bands who were relative unknowns when they were signed, many origin al pressings of early UK issues of albums from Charisma bands like Genesis, Audi ence and Van der Graaf Generator with pink scroll labels have become quite rare and sought after by collectors. They were distributed by B&C Records. External links Charisma Label 1969 - 1986 Charisma Records collectors guide ISBN 978-5-90345515-7 The Famous Charisma Discography - A comprehensive discography of all known UK r eleases, plus a history of the label including contributions from ex-Charisma st aff and artists, including a foreword by Michael Palin (ISBN 978-0-9563531-1-5) Collectors Website - Contains discography Tony Stratton-Smith and The Marquee Club Colin Richardson was International Manager for Charisma between 1972 and 1976 Current Charisma label from Angel Music Group UK Charisma Labelography Charisma discography at Discogs Audience website Six of the Best Six of the Best was the name chosen for the reunion concert of the rock band Gen esis with former founding member Peter Gabriel which took place on a wet 2 Octob er 1982 at National Bowl, in Milton Keynes, Buckinghamshire, England. The show w as introduced by Jonathan King. Support bands for the concert were John Martyn, The Blues Band and Talk Talk. Background Vocalist Peter Gabriel left Genesis following The Lamb Lies Down on Broadway tou r in 1975 but after much debate, (Phil Collins had suggested they continue as an instrumental only band) the rest of the band decided to carry on with drummer P hil Collins assuming the additional duties of lead vocalist and frontman. The classic quintet featuring Peter Gabriel, Mike Rutherford (whose birthday it was on the day of the concert), Tony Banks, Steve Hackett and Phil Collins becam e a quartet during the period 1975-1977, helped by an invited drummer on tours ( Bill Bruford Ex-Yes and Ex-King Crimson and then Chester Thompson, who became th e touring drummer for the band until 1992 and in 2007). By 1978, Hackett's departure had left Genesis a trio. Peter Gabriel was continui ng his solo career, doing some experimental music, but in 1982 he and his compan ywhich had funded WOMADfaced economic disaster due to its commercial failure put d own to lack of suitable transport to the venue and publicity. At the suggestion of his and Genesis manager Tony Smith,518 he and his ex-band mates agreed to pla y together for a single show under the name 'Six of the Best' 519 along with Dar yl Stuermer (second guitarist and bassist on live shows 1978-1992, 2007), Cheste r Thompson, and fellow ex-member Steve Hackett (who appeared onstage during the encores after arriving late from South America). The revenues generated by the c oncert allowed the WOMAD creditors to be paid, the festival to be established an d Gabriel to resume his solo career. Set list "Back in N.Y.C." "Dancing With the Moonlit Knight" (Excerpt) "The Carpet Crawlers" "Firth of Fifth" "The Musical Box" "Solsbury Hill" "Turn it on Again" (vocals: Phil Collins; drums: Peter Gabriel) "The Lamb Lies Down On Broadway" "Fly on a Windshield" "Broadway Melody Of 1974" "In the Cage" "Supper's Ready" "I Know What I Like (In Your Wardrobe)" (guitar: Steve Hackett) "The Knife" (guitar: Steve Hackett)

Recording Officially no recording of this concert has ever been released but several audie nce recordings were gathered during 2007 and digitally remastered.

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