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Genesis


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Crista Rodenkirk
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« on: December 01, 2012, 12:36:44 am »



The original Genesis line-up in 1967, with Anthony Phillips, Mike Rutherford, Tony Banks, Peter Gabriel and Chris Stewart.

Genesis are an English rock band that formed in 1967. The band currently consists of its three longest-tenured members - Tony Banks (keyboards) and Mike Rutherford (bass, guitar), who were founder members; and Phil Collins (vocals, drums), who first joined in 1970. Past members Peter Gabriel (vocals, flute), Steve Hackett (guitar) and Anthony Phillips (guitar), also played major roles in the band in its early years. Genesis are among the top 30 highest-selling recording artists of all time, with approximately 150 million albums sold worldwide.[1]
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Crista Rodenkirk
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« Reply #1 on: December 01, 2012, 12:37:31 am »

In the late 1960s, with the release of their first album, Genesis's music was initially 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 second album in mid-1970) they quickly evolved into a progressive rock band with the incorporation of complex song structures and elaborate instrumentation. Their concerts became theatrical experiences with innovative stage design, pyrotechnics, extravagant costumes and on-stage stories. This second phase was characterised by lengthy performances such as the 23-minute "Supper's Ready" and the 1974 concept album, The Lamb Lies Down on Broadway. In the late '70s and early '80s the band's musical direction changed once again, becoming more pop oriented and commercially 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, Duke, and their only number one single in the United States, "Invisible Touch".

Genesis has undergone several personnel changes throughout its history. Stage fright 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 during concerts, Bill Bruford and Chester Thompson played drums for the band as they toured, with Collins joining in briefly during lengthy instrumental passages. In 1977, guitarist Steve Hackett left the band. After Phil Collins left the band in 1996, Genesis recruited Ray Wilson (formerly of Stiltskin). Wilson appeared on the 1997 album Calling All Stations, after which the band announced an indefinite hiatus. 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 into the Rock and Roll Hall of Fame in 2010. The future of the band remains uncertain with Collins's retirement from the music business and the other members' solo work.
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Crista Rodenkirk
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« Reply #2 on: December 01, 2012, 12:38:09 am »

1967–1970: The beginning


Genesis formed in 1967 when Peter Gabriel and Tony Banks were students at Charterhouse School in Godalming. Formed out of school bands Garden Wall and The Anon,[3] Genesis's original line-up consisted of Peter Gabriel (vocals), Anthony Phillips (guitar), Tony Banks (keyboards), Mike Rutherford (bass & guitar) and Chris Stewart (drums).[4] The group (minus Stewart) originally formed as a songwriting partnership with no intention of performing, but with more and more bands writing their own songs, there was no demand for a team of young and inexperienced songwriters.[5]
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Crista Rodenkirk
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« Reply #3 on: December 01, 2012, 12:38:49 am »



Charterhouse School alumnus Jonathan King attended a concert at Charterhouse in 1968 while the band were 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 Angels[6]), recalling that he had "thought it was a good name... it suggested the beginning of a new sound and a new feeling."
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Crista Rodenkirk
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« Reply #4 on: December 01, 2012, 12:39:25 am »



The resulting album, From Genesis to Revelation, was released on Decca Records in 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 Bee 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 first 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 holds the rights to the songs on the From Genesis to Revelation album and has re-released it many times under a variety of names, including In the Beginning, Where the Sour Turns to Sweet, Rock Roots: Genesis, ...And the Word Was and, most recently, The Genesis of Genesis.
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Crista Rodenkirk
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« Reply #5 on: December 01, 2012, 12:40:11 am »



Silver was replaced by John Mayhew before the recording of Trespass. Genesis then 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 performances also captured the interest of Charisma founder Tony Stratton-Smith.[5]
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Crista Rodenkirk
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« Reply #6 on: December 01, 2012, 12:41:01 am »




Trespass, which was made from many of the songs the band had written during their earliest live shows, was the template for the band's albums in the 1970s – lengthy, sometimes operatic pieces resembling the style of progressive rock bands such as King Crimson, Yes and Gentle Giant, along with the occasional shorter and more accessible, sometimes humorous, number. Trespass included progressive rock elements such as elaborate arrangements and time signature changes, as in the nine-minute song "The Knife".

Ill health and recurring stage fright caused Phillips to leave the band in the summer of 1970.[9] Phillips would later record many solo albums, sometimes in collaboration with other Genesis members. Phillips's departure traumatised Banks and Rutherford, causing the band to doubt whether it could continue.[10] However, the remaining members decided to carry on, replacing Mayhew with Phil Collins on drums, and Phillips with Steve Hackett, formerly of Quiet World, on guitar in January 1971.
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Crista Rodenkirk
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« Reply #7 on: December 01, 2012, 12:42:02 am »




1971–1975: The classic era
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Crista Rodenkirk
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« Reply #8 on: December 01, 2012, 12:42:28 am »

Collins and Hackett made their studio debut in 1971 on Nursery Cryme, which features "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 Hackett within the band. Two engineers were hired and then quit before John Burns took over during the recording of their next album,[11] and this began a successful three-album collaboration between Burns and the group.

The next album, Foxtrot, was released in October 1972 and contains what has been described as "one of the group's most accomplished works",[12] 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 presence, which involved numerous and elaborate costumes and surreal spoken song introductions, made the band a popular live act.[13]
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Crista Rodenkirk
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« Reply #9 on: December 01, 2012, 12:43:30 am »



A live album, Genesis Live, was recorded on the Foxtrot tour in 1973, shortly before the band's upcoming studio album was released.[11]

Selling England by the Pound was released in November 1973 and was well received by critics and fans.[14] Gabriel insisted on the title, a reference to a current Labour Party slogan, in an effort to counter the impression that Genesis were becoming too US-oriented.[15] 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 singles charts.
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Crista Rodenkirk
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« Reply #10 on: December 01, 2012, 12:44:17 am »



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-picking", which was popularised in the 1980s by Yngwie Malmsteen.[16] These guitar techniques were incorporated in the song "Dancing with the Moonlit Knight". At the same time, the band signed with new manager Tony Smith, who published all subsequent Genesis songs through his company Hit & Run Music Publishing.

In 1974, Genesis recorded a double disc concept album The Lamb Lies Down on Broadway which was released on 18 November. In contrast to the lengthy tracks featured 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 journey of Rael, a Puerto Rican youth living in New York City, and his quest to establish his freedom and identity.[17] During his adventure, Rael encounters several bizarre characters including the Slippermen and The Lamia, the latter being borrowed from Greek mythology and influenced by a poem by Keats.
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Crista Rodenkirk
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« Reply #11 on: December 01, 2012, 12:45:02 am »



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 soon regretted by the band members, since it lacked the variety of playing material from throughout their career and compelled them to perform songs which didn't work well live.[5] During their live performances, Genesis pioneered the use of lasers 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, which allowed Gabriel to sweep the audience with various light effects.
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Crista Rodenkirk
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« Reply #12 on: December 01, 2012, 12:45:59 am »




Creating the ambitious The Lamb Lies Down on Broadway album strained relations between band members, particularly Banks and Gabriel, who were good friends.[4] Gabriel 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, burbling, sequenced synth sounds and shattering glass loops in the track "The Waiting Room", as well as the vocal effects in the track "The Grand Parade of Lifeless Packaging" coined "Enossifications", were produced by the ambient composer Brian Eno.
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Crista Rodenkirk
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« Reply #13 on: December 01, 2012, 12:47:24 am »



During the Lamb Lies Down on Broadway tour, Gabriel announced to his bandmates that he had decided to leave the band,[18] citing estrangement from the other members, 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 letter to fans, delivered through the music press at the end of the tour, entitled Out, Angels Out, Gabriel explained that the "...vehicle we had built as a co-op to serve our songwriting became our master and had cooped us up inside the success we had wanted. It affected the attitudes and the spirit of the whole band. The music had not dried up and I still respect the other musicians, but our roles had set in hard."[19] 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.[20]
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Crista Rodenkirk
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« Reply #14 on: December 01, 2012, 12:48:24 am »



Gabriel's first solo album, Peter Gabriel 1977, features the hit single "Solsbury Hill", an allegory that refers to his departure from the band.
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