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Philip David Charles Collins LVO (born 30 January 1951)[8][9] is an English drummer, singer, songwriter, multi-instrumentalist, record producer, and actor. He was the drummer and later became singer of the rock band Genesis, and is also a solo artist. Between 1982 and 1989, Collins scored three UK and seven US number-one singles in his solo career. When his work with Genesis, his work with other artists, as well as his solo career is totalled, he had more US Top 40 singles than any other artist during the 1980s.[10] His most successful singles from the period include "In the Air Tonight", "Against All Odds (Take a Look at Me Now)", "One More Night", "Sussudio", "Two Hearts" and "Another Day in Paradise". Born and raised in west London, Collins played drums from the age of five and completed drama school training, which secured him various roles as a child actor. He then pursued a music career, joining Genesis in 1970 as their drummer and becoming lead singer in 1975 following the departure of Peter Gabriel. Collins began a solo career in the 1980s, initially inspired by his marital breakdown and love of soul music, releasing a series of successful albums, including Face Value (1981), No Jacket Required (1985), and ...But Seriously (1989). Collins became "one of the most successful pop and adult contemporary singers of the '80s and beyond".[1] He also became known for a distinctive gated reverb drum sound on many of his recordings.[11] In 1996, Collins left Genesis to focus on solo work; this included writing songs for Disney’s Tarzan (1999) for which he received an Oscar for Best Original Song for “You'll Be in My Heart”. He rejoined Genesis for their Turn It On Again Tour in 2007. Following a five-year retirement to focus on his family life,[12][13] Collins released an autobiography and began his Not Dead Yet Tour, which runs from June 2017 until October 2019. Collins's discography includes eight studio albums that have sold 33.5 million certified units in the US and an estimated 150 million worldwide, making him one of the world's best-selling artists.[14] He is one of only three recording artists, along with Paul McCartney and Michael Jackson, who have sold over 100 million records worldwide both as solo artists and separately as principal members of a band.[15][16] He has received eight Grammy Awards, six Brit Awards (winning Best British Male Artist three times), two Golden Globe Awards, one Academy Award, and a Disney Legend Award.[17] He was awarded six Ivor Novello Awards from the British Academy of Songwriters, Composers and Authors, including the International Achievement Award. He received a star on the Hollywood Walk of Fame in 1999, and was inducted into the Songwriters Hall of Fame in 2003 and the Rock and Roll Hall of Fame as a member of Genesis in 2010. He has also been recognised by music publications with induction into the Modern Drummer Hall of Fame in 2012, and the Classic Drummer Hall of Fame in 2013.[18][19] Contents 1 Early life 2 Career 2.1 1963–1970: Early acting roles and Flaming Youth 2.2 1970–1978: Joining Genesis and becoming lead singer 2.3 1978–1984: Solo debut with Face Value and Hello, I Must Be Going! 2.4 1984–1989: No Jacket Required and commercial ubiquity 2.5 1989–1996: ...But Seriously, Both Sides, and leaving Genesis 2.6 1996–2006: Big Band, Dance into the Light, Disney work, and Testify 2.7 2006–2015: Genesis reunion, Going Back, and retirement 2.8 2015–present: Out of retirement and touring 3 Drumming and impact 3.1 Equipment 4 Cameo film and television appearances 5 Critical and public perceptions 5.1 Criticism 5.2 Praise 6 Personal life 6.1 Family and relationships 6.2 Wealth 6.3 Court case 6.4 Health 6.5 Honorary degrees 6.6 Politics 6.7 Other interests 7 Activism 8 Awards and nominations 9 Discography 10 Tours 11 Filmography 12 Books 13 See also 14 Notes 15 References 16 External links Early life Philip David Charles Collins was born on 30 January 1951 in Chiswick, Middlesex (now part of the London Borough of Hounslow), England,[20] to Greville Philip Austin Collins (1907–1972), an insurance agent, and Winifred June Collins (née Strange, 1913–2011), a theatrical agent.[21][22] He was one of two boys, his brother being Clive Collins, who would later become a noted cartoonist.[23] Collins was given a toy drum kit for Christmas when he was five. His uncle later made him a makeshift set that he used regularly. As Collins grew older, these were followed by more complete sets bought by his parents.[24] He practiced by playing to music on the television and radio.[25] According to Barbara Speake, founder of the stage school Collins later attended, "Phil was always special; aged five he entered a Butlins talent contest singing Davy Crockett, but he stopped the orchestra halfway through to tell them they were in the wrong key."[26] His professional acting training began at the age of 14, at the Barbara Speake Stage School, a fee-paying but non-selective independent school in East Acton, west London, whose talent agency had been established by his mother.[27][28] Collins studied drum rudiments as a teenager, first learning basic rudiments under Lloyd Ryan and later studying further under Frank King. Collins recalled: "Rudiments I found very, very helpful – much more helpful than anything else because they're used all the time. In any kind of funk or jazz drumming, the rudiments are always there."[29] He never learned to read and write conventional musical notation, and instead used a system he devised himself.[25] He later regretted this, saying: "I never really came to grips with the music. I should have stuck with it. I've always felt that if I could hum it, I could play it. For me, that was good enough, but that attitude is bad."[29] The Beatles were a major early influence on Collins, including their drummer Ringo Starr.[30][31][32] He also followed the lesser-known London band the Action, whose drummer he would copy and whose work introduced him to the soul music of Motown and Stax Records.[30] Collins was also influenced by the jazz and big band drummer Buddy Rich,[33] whose opinion on the importance of the hi-hat prompted him to stop using two bass drums and start using the hi-hat.[29] While attending Chiswick County School for Boys, Collins formed a band called the Real Thing, and later joined the Freehold, with whom he wrote his first song, "Lying Crying Dying".[34] Career 1963–1970: Early acting roles and Flaming Youth Collins began a career as a child actor while at the Barbara Speake Stage School and won his first major role as the Artful Dodger in the London stage production of Oliver!, the musical adaptation of the Charles Dickens novel Oliver Twist.[35] He was an extra in the Beatles' film A Hard Day's Night (1964) among the screaming teenagers during the television concert sequence which was filmed at Scala Theatre in central London.[36] This was followed by a role in Calamity the Cow (1967), produced by the Children's Film Foundation; he was to appear in Chitty Chitty Bang Bang (1968) as one of the children who storm the castle, but the scene was cut.[37] Collins auditioned for the role of Romeo in Romeo and Juliet (1968)[38] but the role went to Leonard Whiting.[39] Despite the beginnings of an acting career, Collins gravitated towards music. His first record deal came as the drummer for Hickory, with guitarists Ronnie Caryl and Gordon Smith, and keyboardist Brian Chatton. After changing their name to Flaming Youth they recorded an album, Ark 2, released in October 1969 on Uni Records, which premiered with a performance at the London Planetarium.[40] A concept album inspired by the media attention surrounding the 1969 moon landing, Ark 2 featured each member sharing lead vocals. Though a commercial failure, it received some positive reviews; Melody Maker named it "Pop Album of the Month", describing it as "adult music beautifully played with nice tight harmonies".[41] After a year of touring, the group disbanded in 1970. By this time Collins had played in the Cliff Charles Blues Band and auditioned for Vinegar Joe and Manfred Mann Chapter Three.[42] He played percussion on "Art of Dying" by George Harrison for his album All Things Must Pass (1970). Harrison acknowledged Collins's contribution in the remastered edition released in 2000.[30] 1970–1978: Joining Genesis and becoming lead singer In mid-1970, the rock band Genesis advertised for "a drummer sensitive to acoustic music" and a "12-string acoustic guitarist" following the departures of drummer John Mayhew and guitarist Anthony Phillips.[43][44] Collins recognised Charisma Records owner Tony Stratton-Smith's name in the advert; he and Caryl decided to audition for the roles. The audition took place at the home of the parents of singer Peter Gabriel in Chobham, Surrey. They arrived early; Collins took a swim in the pool and memorised the pieces before his audition.[45] He recalled: "They put on Trespass, and my initial impression was of a very soft and round music, not edgy, with vocal harmonies, and I came away thinking Crosby, Stills and Nash."[46] In August 1970, Collins became the new drummer with Genesis. Caryl's audition was unsuccessful; bassist/guitarist Mike Rutherford thought he was not a good fit for the group (they selected Steve Hackett in January 1971 as their new lead guitarist, following a stint with Mick Barnard).[46] From 1970 to 1975, Collins played drums and percussion, and sang (largely backing) vocals on Genesis albums and in their live shows. His first album recorded with the band, Nursery Cryme, was recorded and released in 1971. "For Absent Friends", an acoustic track written by Collins and Hackett, is the first Genesis song with Collins on lead vocals.[47] He sang "More Fool Me" on their 1973 album Selling England by the Pound.[48] In 1973, he and Hackett were among the musicians that performed on the solo debut of ex-Yes guitarist Peter Banks. In 1974, during the recording of The Lamb Lies Down on Broadway, Collins played drums on Brian Eno's second album Taking Tiger Mountain (By Strategy) after Eno had contributed electronic effects known as "Enossification" on "In the Cage" and "Grand Parade of Lifeless Packaging".[49] "Dance on a Volcano" (1976) MENU0:00 The first track from Genesis's A Trick of the Tail was Collins's début as the group's full-time lead singer. A progressive rock track with complex time signatures, it contrasts with the style of his later work. Problems playing this file? See media help. In August 1975, following The Lamb Lies Down on Broadway tour, Gabriel left Genesis. The band placed an advert for a replacement in Melody Maker and received around 400 replies. After a lengthy auditioning process, during which he sang backup vocals for applicants, Collins became the band's lead vocalist during the recording of their album A Trick of the Tail.[50] The album was a commercial and critical success, reaching number 3 in the UK charts and 31 in the US;[51] Rolling Stone wrote that Genesis had managed to turn the possible catastrophe of Gabriel's departure into their first broad-based American success."[52] For the album's 1976 tour, Collins accepted an offer from former Yes and King Crimson drummer Bill Bruford to play drums while Collins sang vocals. Collins played percussion on the album Johnny the Fox by Thin Lizzy.[53] Genesis bandmate Mike Rutherford on bass with Collins on drums, performing in Toronto, 3 June 1977 Wind & Wuthering was the last Genesis album recorded with Hackett before he left the group in 1977. Bruford was replaced by Chester Thompson, who has since been a mainstay of Genesis' live lineup as well as of Collins' solo backing band. In 1977, Collins, Banks, and Rutherford decided to continue Genesis as a trio. As the decade closed, Genesis began to shift from their progressive rock roots to a more radio-friendly pop rock sound. The 1978 album ...And Then There Were Three... featured their first UK Top 10 and U.S. Top 40 single, "Follow You Follow Me".[54][55] In 1975, Collins sang and played drums, vibraphone and percussion on Hackett's first solo album, Voyage of the Acolyte;[56] performed on Eno's albums Another Green World, Before and After Science, and Music for Films;[57] and replaced drummer Phil Spinelli of the jazz fusion group Brand X before recording their 1976 debut album, Unorthodox Behaviour. His time with Brand X gave Collins his first opportunity to use a drum machine and a home 8-track tape machine.[58] He sang on Anthony Phillips' solo album The Geese & the Ghost, and the second Brand X album, Moroccan Roll.[59] 1978–1984: Solo debut with Face Value and Hello, I Must Be Going! In December 1978, Genesis went on hiatus while Collins went to Vancouver, British Columbia, Canada, to focus on his family; his marriage had become strained after his extensive touring.[60] Having failed to save the relationship, Collins returned to the UK in April 1979, by which time Banks and Rutherford were recording their solo albums. With time to spare before recording a new Genesis album, Collins played on the Brand X album Product and its accompanying tour, played on John Martyn's album Grace and Danger, and started writing his first solo album, Face Value, at his home in Shalford, Surrey.[60] After Banks and Rutherford rejoined Collins, work began on the Genesis album Duke, released in 1980.[61] Face Value was released in February 1981. It features a rework of "Behind the Lines" from Duke in a more funk and dance-oriented style. Collins sang and performed keyboards and drums.[62] He cited his divorce as the main influence on the album's lyrics and themes,[63] and said: "I had a wife, two children, two dogs, and the next day I didn't have anything. So a lot of these songs were written because I was going through these emotional changes."[64] Collins produced the album in collaboration with Hugh Padgham, with whom he had worked on Peter Gabriel's self-titled 1980 album.[65] Face Value was an international success, reaching number one in seven countries worldwide and number seven in the US, where it went on to sell 5 million copies.[51][66] "In the Air Tonight", the album's lead single, became a hit and reached number two in the UK charts. The song is known for the gated reverb effect used on Collins's drums, a technique developed by Padgham when he worked as an engineer on Gabriel's song "Intruder", on which Collins played drums.[65] Following an invitation by record producer Martin Lewis, Collins performed live as a solo artist at an Amnesty International benefit show The Secret Policeman's Other Ball at the Theatre Royal, Drury Lane in London in September 1981, performing "In the Air Tonight" and "The Roof Is Leaking".[67] Collins also worked again with John Martyn in this year, producing his album Glorious Fool.[68] Collins performing in 1981. In September 1981, Genesis released Abacab. This was followed by its 1981 supporting tour and a two-month tour in 1982 promoting the Genesis live album Three Sides Live. In early 1982, Collins produced and played on Something's Going On, the third solo album by Anni-Frid Lyngstad of ABBA,[69] and performed most of the drum parts on Pictures at Eleven, the first solo album by Led Zeppelin singer Robert Plant.[70] In October 1982, Collins took part in the one-off Genesis reunion concert Six of the Best held at the Milton Keynes Bowl in Buckinghamshire, which marked the return of Gabriel on lead vocals and Hackett on guitar.[71] Collins's second solo album, Hello, I Must Be Going!, was released in November 1982. His marital problems continued to provide inspiration for his songs, including "I Don't Care Anymore" and "Do You Know, Do You Care". The album reached number 2 in the UK and number 8 in the US, where it sold 3 million copies.[54][66] Its second single, a cover of "You Can't Hurry Love" by the Supremes, became Collins's first UK number one single and went to number 10 in the US.[51] Collins supported the album with the Hello, I Must Be Going! tour of Europe and North America from November 1982 to February 1983. Following the tour, Collins played drums on Plant's second solo album, The Principle of Moments,[70] and produced and played on two tracks for Adam Ant's album "Strip", "Puss 'n Boots" and the title track.[72] In May 1983, Collins, Banks and Rutherford recorded a self-titled Genesis album; its tour ended with five shows in Birmingham, England in February 1984. The latter shows were filmed and released as Genesis Live – The Mama Tour.[73] 1984–1989: No Jacket Required and commercial ubiquity "Against All Odds" MENU0:00 "Against All Odds" from the soundtrack of the same name (1984), is a power ballad which became his first Billboard Hot 100 #1 single. It again featured his gated reverb drum sound. Problems playing this file? See media help. In February 1984, Collins released "Against All Odds", the main theme for the film of the same title. The song was produced by Arif Mardin,[74] and is one of the few songs released by Collins that he did not co-produce himself. The single, more pop-orientated and commercially accessible than Collins's previous work, became his first solo single to top the Billboard Hot 100, reached number two on the UK Singles Chart, and earned him the Grammy Award for Best Pop Vocal Performance, Male.[55] In 1984, Collins contributed to the production on Chinese Wall, the third solo album from Earth, Wind & Fire vocalist Philip Bailey, which included a duet from the two musicians, "Easy Lover". The song went to No. 1 in the UK the following year.[51][75] He also produced and played drums on several tracks on Behind the Sun by Eric Clapton, which was released in March the following year. In November, Collins was part of the charity supergroup Band Aid in aid of Ethiopian famine relief and played drums on its single "Do They Know It's Christmas?", which was recorded at Sarm West Studios in Notting Hill, London.[76][77] Collins arranged his touring schedule in early 1985 to accommodate the possibility of appearing at the Academy Awards in case "Against All Odds" was nominated for Best Original Song. Not aware of his prominence as a musical performer, a note to Collins's label from telecast co-producer Larry Gelbart explaining the lack of invitation stated: "Thank you for your note regarding Phil Cooper [sic]. I'm afraid the spots have already been filled." Collins instead watched actress and dancer Ann Reinking perform his song.[78] Reinking's performance was described by one critic as an "absurdly inept rendition" of the song.[79] The Los Angeles Times said: "Reinking did an incredible job of totally destroying a beautiful song. The best that can be said about her performance is that the stage set was nice."[80] Collins would introduce it at subsequent concerts by saying: "I'm sorry Miss Ann Reinking couldn't be here tonight; I guess I just have to sing my own song."[79] Collins released his most successful album, the Diamond-certified No Jacket Required, in February 1985. It reached No. 1 in both the UK and the US.[51] It contained the US number-one hits "One More Night" and "Sussudio" as well top ten hits "Don't Lose My Number" and "Take Me Home". It also contains the lesser known "Who Said I Would", and "Only You Know and I Know". The album featured contributions from the Police's vocalist, Sting, ex-bandmate Peter Gabriel, and Helen Terry as backing vocalists. He also recorded the successful song "Separate Lives", a duet with Marilyn Martin for the film White Nights (1985), and a US #1, for the movie White Nights.[55] Collins had three US number-one songs in 1985, the most by any artist that year.[55] No Jacket Required won three Grammy Awards including Album of the Year.[81] No Jacket Required was criticised for being "too commercial", despite favourable reviews from many music critics. A positive review by David Fricke of Rolling Stone ended, "After years on the art-rock fringe, Collins has established himself firmly in the middle of the road. Perhaps he should consider testing himself and his new fans's expectations next time around."[82] "Sussudio" attracted negative attention for sounding too similar to Prince's "1999", a charge that Collins did not deny,[83] and its hook line has been named as the most widely disliked element of his career.[84] In 1986, No Jacket Required earned Collins the first two of his six Brit Awards, winning Best British Male and Best British Album.[85] On 13 July 1985 Collins played at Live Aid at the old Wembley Stadium (exterior pictured) in London, before taking a transatlantic Concorde flight to perform at the Philadelphia leg of the event later that day In July 1985, Collins took part in the Live Aid concerts, a continuation of the fundraising effort started by Band Aid. Collins was the only performer to appear at the London concert at Wembley Stadium and the U.S. concert at JFK Stadium in Philadelphia on the same day. After he performed "Against All Odds" and "In the Air Tonight" and sang alongside Sting, Collins travelled to Philadelphia via Concorde to perform his solo material, play drums for Clapton, and drum with Plant and Jimmy Page for a Led Zeppelin reunion. The latter performance was poorly received and later disowned by the band.[86] Page later said that Collins had not learned his parts for the set.[87] Collins responded that the band "weren't very good", that a "dribbling" Page had made him feel uncomfortable, and only continued with the set rather than leave the stage in order to avoid negative attention.[88] The music press noted Collins's astronomical success as a solo artist had made him more popular than Genesis.[89] Before the release of No Jacket Required, Collins insisted that he would not leave the band. "The next one to leave the band will finish it," Collins told Rolling Stone magazine in May 1985. "I feel happier with what we're doing now, because I feel it's closer to me. I won't be the one." Collins added, "Poor old Genesis does get in the way sometimes. I still won't leave the group, but I imagine it will end by mutual consent."[89] In October 1985, Collins reunited with Banks and Rutherford to record the next Genesis album, Invisible Touch. Its title track was released as a single and reached No. 1 in the US, the only Genesis song to do so. The group received a Grammy Award (their only one) and a nomination for the MTV Video Music Award for Video of the Year in 1987 for the single "Land of Confusion" which featured puppet caricatures created by the British satirical team Spitting Image.[90] The video was directed by Jim Yukich and John Lloyd. Reviews of Invisible Touch were mixed and many comparisons were made with Collins's solo work, but Rolling Stone's J. D. Considine praised the album's commercial appeal, stating, "every tune is carefully pruned so that each flourish delivers not an instrumental epiphany but a solid hook".[91] March 1986 saw the release of "No One Is to Blame", a hit single by Howard Jones which included Collins on drums, backing vocals, and co-production alongside Padgham.[92] Collins was one of the drummers, backing vocalists, and producers on Eric Clapton's 1987 album August.[93] Collins's first film role since embarking on his music career came in 1988 with the British romantic comedy drama-crime film Buster. He starred as Buster Edwards, a criminal convicted for his role in the Great Train Robbery. Reviews for the film were mixed and controversy ensued over its subject matter; Prince Charles and Princess Diana declined an invitation to the film's première after it was accused of glorifying crime.[94] However, Collins's performance opposite Julie Walters received good reviews and he contributed four songs to the film's soundtrack. His slow ballad rendition of "A Groovy Kind of Love", originally by the Mindbenders, became his only single to reach No. 1 in the UK and the U.S. The film also spawned the hit single "Two Hearts", which he co-wrote with Lamont Dozier; the two artists won a Golden Globe for Best Original Song and receive an Oscar nomination in the same category. "Big Noise" and "Loco in Acapulco" were also by Collins and Dozier, the vocals for the latter were performed by the Four Tops. Film 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 film.[95] 1989–1996: ...But Seriously, Both Sides, and leaving Genesis "Another Day in Paradise" MENU0:00 A sample of "Another Day in Paradise" from ...But Seriously (1989). Collins wrote the song to bring attention to the problem of homelessness. It became his final Billboard Hot 100 #1 single. Problems playing this file? See media help. In 1989, Collins worked on his fourth studio album ...But Seriously, and appeared on The Who Tour 1989, performing the role of young Tommy's wicked Uncle Ernie in a reprisal of the rock opera Tommy (a part originally played by their late drummer, Keith Moon).[96] In November, Collins released ...But Seriously, which became another huge success, featuring as its lead single the anti-homelessness anthem "Another Day in Paradise", with David Crosby singing backing vocals. "Another Day in Paradise" reached No. 1 on the Billboard charts at the end of 1989, and won the Grammy Award for Record of the Year in 1991; it was also one of Germany's most successful singles of all time.[97][98] It became the final U.S. number-one single of the 1980s. Despite its success, the song was also heavily criticised and became linked to allegations of hypocrisy made against Collins.[99][100] Responding to criticism of the song, Collins stated: "When I drive down the street, I see the same things everyone else sees. It's a misconception that if you have a lot of money you're somehow out of touch with reality."[101] ...But Seriously spent 15 weeks at number one in the UK and three weeks at number one in the U.S.[54] The best-selling album of 1990 in the UK, it is listed among the best-selling albums in UK chart history.[102] Other songs from the album included "Something Happened on the Way to Heaven" (No. 4 U.S., No. 15 UK), "Do You Remember?" (not released in the UK, but No. 4 in the U.S.), and "I Wish It Would Rain Down" (the latter featuring Eric Clapton on guitar; No. 3 U.S., No. 7 UK).[54][55] Songs about apartheid and homelessness demonstrated Collins's turn to political themes. A live album, Serious Hits... Live!, followed, which reached the top ten around the world. In February 1990 Collins performed “Another Day in Paradise” at the 1990 Brit Awards in London, a song that won British Single of the Year, and in September 1990 he performed "Sussudio" at the 1990 MTV Video Music Awards in Los Angeles.[103] He also played drums on the 1989 Tears for Fears hit single, "Woman in Chains".[104] Collins with his two Genesis bandmates, Tony Banks (left) and Mike Rutherford (right) in 1991. Collins toured with Genesis the following year, his last with the band until 2007 After a hiatus of five years, Genesis reconvened for the 1991 album release We Can't Dance, Collins's last studio album with the group to date. It became the band's fifth consecutive No. 1 album in the UK and reached No. 4 in the U.S., where it sold over 4 million copies. It features the singles "Jesus He Knows Me", "I Can't Dance", "No Son of Mine", and "Hold on My Heart". Collins performed on their 1992 tour. At the 1993 American Music Awards, Genesis won the award for Favorite Pop/Rock Band, Duo, or Group.[105] Collins co-wrote, sang and played on "Hero" on Thousand Roads by David Crosby.[106] Collins's record sales began to drop with the 1993 release of Both Sides, a largely experimental album that, according to Collins, included songs that "were becoming so personal, so private, I didn't want anyone else's input".[107] Featuring a less polished sound and fewer up-tempo songs than his previous albums, Both Sides was a significant departure. Collins used no backing musicians and he performed all the vocal and instrumental parts at his home studio, using rough vocal takes for the final product. The album was not as well received by radio. Its two biggest hits were "Both Sides of the Story" and "Everyday". In 1995, Collins turned down the chance to contribute to Tower of Song, an album of covers of Leonard Cohen songs, due to his touring commitments.[108] Collins left Genesis in March 1996 to focus on his solo career.[34] 1996–2006: Big Band, Dance into the Light, Disney work, and Testify Collins performing with his big band at the Umbria Jazz Festival in Perugia, Italy, 1996 After leaving Genesis, Collins formed the Phil Collins Big Band, seating himself on drums, and toured mostly summer jazz festivals in Europe in July 1996 with a set of jazz renditions of songs by Genesis and his solo career. Dance into the Light, Collins' sixth solo album, was released in October 1996 and reached No. 4 in the UK and No. 23 in the US. The album was received negatively by the music press and sold less than his previous albums. Entertainment Weekly reviewed by saying that "even Phil Collins must know that we all grew weary of Phil Collins".[109] Singles from the album included "Dance into the Light", which reached No. 9 in the UK, and the Beatles-inspired "It's in Your Eyes".[51] The album achieved Gold certification in the US. Collins toured the album through 1997 with his Trip into the Light World Tour, covering 82 dates. On 15 September 1997, Collins performed "Take Me Home" at the Music for Montserrat benefit concert in London, performing alongside Paul McCartney, Elton John, Eric Clapton, Mark Knopfler and Sting.[110] In June and July 1998, the Phil Collins Big Band toured the US and Europe; their show in Paris was released as A Hot Night in Paris. The tour was his last for six years. His first compilation album ...Hits was released in 1998 and sold well, returning Collins to multi-platinum status in the US. The album's one new track, a cover of the Cyndi Lauper hit "True Colors", was produced by Kenneth "Babyface" Edmonds[111] and received considerable airplay on U.S. Adult Contemporary stations while peaking at No. 2.[112] In 1995, Collins shared lead vocals on "The Carpet Crawlers 1999", a re-recorded version of the Genesis track from The Lamb Lies Down on Broadway that remained unreleased until their 1999 compilation, Turn It On Again: The Hits. Collins' star on the Hollywood Walk of Fame was awarded to the musician for his contribution to recording. It is located at 6834 Hollywood Boulevard Collins wrote, performed, and produced on the soundtrack to the Disney feature film Tarzan (1999). Its lead song, "You'll Be in My Heart", spent 19 weeks at No. 1 on the Billboard Adult Contemporary chart—the longest time ever up to that point. Collins also sang German, Italian, Spanish and French versions of the Tarzan soundtrack for the respective film versions. In 2000, the song won Collins an Academy Award and a Golden Globe Award, both for Best Original Song. Collins performed "Two Worlds" at that year's ceremony and the Disney-themed Super Bowl halftime show. In June 1999, Collins was awarded a star on the Hollywood Walk of Fame.[113] In 2000, Collins became partially deaf in one ear due to a viral infection.[114] In June 2002, he accepted an invitation to drum for the house band at the Party at the Palace concert held on the grounds of Buckingham Palace, an event which celebrated Queen Elizabeth II's Golden Jubilee.[115] In 2002 Collins received the Disney Legend award.[116] On 11 November 2002, Collins released his seventh solo album, Testify. Metacritic's roundup of album reviews found this record to be the worst-reviewed album at the time of its release, though it has since been surpassed by three more recent releases.[117] The album's single "Can't Stop Loving You" (a Leo Sayer cover) was a number-one Adult Contemporary hit. Testify sold 140,000 copies in the U.S. by year's end.[118] Disney hired Collins and Tina Turner to perform on the soundtrack to its 2003 animated feature Brother Bear, which included the song "Look Through My Eyes".[119] In the same year he was inducted into the Songwriters Hall of Fame.[120] From June 2004 to November 2005, Collins performed his First Final Farewell Tour, a reference to the multiple farewell tours of other popular artists.[121] In 2006, he worked with Disney on a musical production of Tarzan.[122] 2006–2015: Genesis reunion, Going Back, and retirement Collins performing with Genesis at the Wachovia Center, Philadelphia, Pennsylvania, U.S., 2007 Collins reunited with Banks and Rutherford and announced Turn It On Again: The Tour on 7 November 2006, nearly 40 years after the band first formed. The tour took place during summer 2007, and played in twelve countries across Europe, followed by a second leg in North America. During the tour Genesis performed at the Live Earth concert at Wembley Stadium, London.[123] In 2007 they were honoured at the second annual VH1 Rock Honors, performing "Turn It On Again", "No Son of Mine" and "Los Endos" at the ceremony in Las Vegas.[124] On 22 May 2008 Collins received his sixth Ivor Novello Award from the British Academy of Songwriters, Composers and Authors when he was presented the International Achievement Award at a ceremony held at the Grosvenor House Hotel, London.[125] In October 2009, it was reported that Collins was to record a Motown covers album. He told a German newspaper, "I want the songs to sound exactly like the originals", and that the album would feature up to 30 songs.[126] In January 2010, Chester Thompson said that the album had been completed and would be released some time soon. He also revealed that Collins managed to play the drums on the album despite a spinal operation.[127] The resulting album, Going Back, was released on 13 September 2010. It reached number one on the UK Albums Chart.[128] In summer 2010, Collins played six concerts with the music from Going Back. These included a special programme, Phil Collins: One Night Only, aired on ITV1 on 18 September 2010. Collins also promoted Going Back with his first and only appearance on the BBC's music series Later... with Jools Holland, broadcast on 17 September 2010.[129] In March 2010, Collins was inducted into the Rock and Roll Hall of Fame as a member of Genesis at a ceremony in New York City.[130] As of January 2011, Collins has spent 1,730 weeks in the German music charts—766 weeks of them with Genesis albums and singles and 964 weeks with solo releases.[131] On 4 March 2011, citing health problems and other concerns, Collins announced that he was taking time off from his career, prompting widespread reports of his retirement.[132] On 7 March his UK representative told the press, "He is not, has no intention of, retiring."[133] However, later that day, Collins posted a message to his fans on his own website, confirming his intention to retire to focus on his family life.[13][134] In July 2012, Collins's greatest hits collection ...Hits re-entered the U.S. charts, reaching No. 6 on the Billboard 200.[135] In November 2013, Collins told German media that he was considering a return to music and speculated that this could mean further live shows with Genesis, stating: "Everything is possible. We could tour in Australia and South America. We haven't been there yet."[136] Speaking to reporters in Miami, Florida in December 2013 at an event promoting his charity work, Collins indicated that he was writing music once again and might tour again.[137] On 24 January 2014, Collins announced in an interview with Inside South Florida that he was writing new compositions with fellow English singer Adele.[138] Collins said he had no idea who Adele was when he learned she wanted to collaborate with him.[139] He said "I wasn't actually too aware [of her]. I live in a cave."[138][140] Collins agreed to join her in the studio after hearing her voice.[139] He said, "[She] achieved an incredible amount. I really love her voice. I love some of this stuff she's done, too."[141] However, in September 2014, Collins revealed that the collaboration had ended and he said it had been "a bit of a non-starter".[142] In May 2014, Collins gave a live performance of "In the Air Tonight" and "Land of Confusion" with young student musicians at the Miami Country Day School in Miami, Florida.[143] Collins was asked to perform there by his sons, who are students at the school.[144] In August 2014, Collins was reported to have accepted an invitation to perform in December at a benefit concert in Miami in aid of his Little Dreams Foundation charity. He ultimately missed the concert due to illness.[145] 2015–present: Out of retirement and touring Collins on stage at the Royal Albert Hall, London on 7 June 2017 In May 2015, Collins signed a deal with Warner Music Group to remaster his eight solo albums with previously unreleased material.[146] In October, he announced that he was no longer officially retired and is planning to tour and write a new album.[147][148] By mid-2016, all eight of his studio albums were remastered and reissued as deluxe editions with a bonus disc with demos and live versions of some of his songs. Collins redid the artwork on his albums to look the same as the originals, but with an older self displayed, the only exception being his 2010 album Going Back, which featured a new cover.[149] His autobiography, Not Dead Yet, was released on 25 October 2016.[150] At a press conference held at the Royal Albert Hall in London on 17 October 2016, Collins announced the Not Dead Yet Tour, a European tour (named after his autobiography) due to occur in June 2017 with five concerts at the Royal Albert Hall in London, and five each at the Lanxess Arena in Cologne and at the AccorHotels Arena in Paris.[151] After tickets for his five Royal Albert Hall shows sold out in 15 seconds, Collins announced his biggest-ever solo show in Hyde Park, London on 30 June.[152] Later on, two other shows in June 2017 in Liverpool and Dublin were added to the tour while two shows (out of five shows) at the Royal Albert Hall in early June 2017 were postponed and rescheduled for late November 2017.[153] The first concert in November took place in Nottingham, and received positive reviews.[154] James Hall writing in The Telegraph stated, "Unlike the body, the voice is largely unravaged by time. It’s still soulful, sometimes silky, occasionally bruised."[154] The concert finished with an encore of "Take Me Home" which saw an arena-sized singalong.[154] On 27 November 2017, Collins announced the South American leg of his tour which spanned 22 February to 23 March 2018.[155] These shows also included opening sets by the Pretenders.[156] On 7 May 2018, Collins announced a North American leg to his Not Dead Yet Tour scheduled for October 2018.[157] On 21 March 2019, Collins announced he will be touring the US again later in 2019, starting in Dallas on 23 September.[158] Collins announced on Twitter[159] that two albums were released on 31 May 2019 being, Other Sides and Remixed Sides. They are both digital releases and parts of the album have already been released.[160] Drumming and impact In his book on the "legends" who defined progressive rock drumming, American drummer Rich Lackowski wrote: "Phil Collins's grooves in early Genesis recordings paved the way for many talented drummers to come. His ability to make the drums bark with musicality and to communicate so convincingly in odd time signatures left many a drummer tossing on the headphones and playing along to Phil's lead."[161] In 2014, readers of Rhythm voted Collins the fourth most influential progressive rock drummer for his work on the 1974 Genesis album The Lamb Lies Down on Broadway.[162] In 2015, MusicRadar named Collins one of the six pioneers of progressive rock drumming.[163] In 2005, Planet Rock listeners voted Collins the fifth greatest rock drummer in history.[164] Collins was ranked tenth in "The Greatest Drummers of All Time" list by Gigwise and number nine in a list of "The 20 greatest drummers of the last 25 years" by MusicRadar in 2010.[165][166] In 1987, Collins looked back at his fast playing in Brand X and early Genesis: "I actually can't play like that anymore".[167] Foo Fighters drummer Taylor Hawkins cites Collins as one of his drumming heroes.[168] He said, "Collins is an incredible drummer. Anyone who wants to be good on the drums should check him out – the man is a master."[169] In the April 2001 issue of Modern Drummer, Dream Theater drummer Mike Portnoy named Collins in an interview when asked about drummers he was influenced by and had respect for.[170] In another conversation in 2014, Portnoy lauded his "amazing progressive drumming" back in the early and mid-1970s.[171] Rush drummer Neil Peart praised his "beautiful drumming" and "lovely sound" on the 1973 Genesis album Selling England by the Pound, which he called "an enduring masterpiece of drumming".[163] Marco Minnemann, drummer for artists including Joe Satriani and Steven Wilson, described Collins as "brilliant" for the way "he composes his parts, and the sounds he gets". He said, "Phil is almost like John Bonham to me. I hear his personality, his perspective." He singled out the drumming on "In the Air Tonight" as an example of "ten notes that everybody knows" and concluded "Phil is a insanely talented drummer."[172] Other drummers who have cited him as an influence or expressed admiration for his drumming work are Brann Dailor of Mastodon,[173] Nick D'Virgilio of Spock's Beard and Big Big Train,[174] Jimmy Keegan of Spock's Beard,[175] Matt Mingus of Dance Gavin Dance,[176] John Merryman of Cephalic Carnage,[177] and Craig Blundell of Steven Wilson and Frost*.[178] According to Jason Bonham, his father "respected Phil Collins’ drumming very much" and one of his favourite songs was Genesis' "Turn It On Again", which he used to love playing with him.[179] Modern Drummer readers voted for Collins every year between 1987 and 1991 as Pop/Mainstream Rock drummer of the year. In 2000, he was voted as Big Band drummer of the year. In 2012, he was inducted into the Hall of Fame.[18] Equipment Collins has used Gretsch drums since 1983.[180] Collins is a left-handed drummer, and uses Gretsch drums, Noble & Cooley solid snare drums, Remo heads, Sabian cymbals and he uses his signature Promark sticks. Past kits he used were made by Pearl and Premier.[180] Other instruments associated with Collins's sound (particularly in his post-1978 Genesis and solo career) include the Roland TR-808, Roland TR-909, the Simmons SDS-V electronic drum set, and the Linn LM-1 and LinnDrum drum machines.[181] Collins also used a Roland CR-78, Sequential Circuits Prophet-5 synthesizer, Fender Rhodes electric piano, and a vocoder for his voice.[182] Other Korg instruments include the Wavestation, the Karma and the Trinity.[183] Cameo film and television appearances Collins had cameo appearances in Steven Spielberg's Hook (1991) and the AIDS docudrama And the Band Played On (1993). He starred in Frauds, which competed for the Palme d'Or at the 1993 Cannes Film Festival.[184] He supplied voices to two animated features: Amblin's Balto (1995) and Disney's The Jungle Book 2 (2003). A long-discussed but never completed project was a film titled The Three Bears; originally meant to star Collins, Danny DeVito, and Bob Hoskins. He often mentioned the film, though an appropriate script never materialised.[185] Collins's music is featured in the satirical black comedy film American Psycho, with psychotic lead character Patrick Bateman (played by Christian Bale) portrayed as an obsessive fan who reads deep meaning into his work, especially with Genesis, while describing his solo music as "...more commercial and therefore more satisfying, in a narrower way." Bateman delivers a monologue praising Collins and Genesis during a sequence in which he engages the services of two prostitutes while playing "In Too Deep" and "Sussudio". Collins told The New Musical Express: “I don’t think him being a psychopath and liking my music is linked – my music was just omnipresent in that era."[186] Collins twice hosted the Billboard Music Awards on television, which were produced and directed by his longtime music video and TV special collaborators, Paul Flattery and Jim Yukich of FYI (Flattery Yukich Inc). He also appeared in an episode of the series Miami Vice, entitled "Phil the Shill", in which he plays a cheating con-man. In the 1980s he appeared in several comedy sketches with The Two Ronnies on BBC One.[187] Collins singing "Land of Confusion" at Knebworth, England in 1992. The song's music video features caricature puppets by the British television show Spitting Image. After Collins saw a caricatured version of himself on the show, he commissioned the show's creators, Peter Fluck and Roger Law, to create puppets of Genesis, as well as all the characters in the video.[188] In 2001, Collins was one of several celebrities who were tricked into appearing in a controversial British comedy series, Brass Eye, shown on public service broadcaster Channel 4. In the episode, Collins endorsed a hoax anti-paedophile campaign wearing a T-shirt with the words "Nonce Sense" and warned children against speaking to suspicious people. Collins was reported by the BBC to have consulted lawyers regarding the programme, which was originally pulled from broadcast but eventually rescheduled. Collins said he had taken part in the programme "in good faith for the public benefit", believing it to be "a public service programme that would be going around schools and colleges in a bid to stem child abduction and abuse". Collins also accused the makers of the programme of "some serious taste problems" and warned it would prevent celebrities from supporting "public spirited causes" in the future.[189] Collins appeared as himself in the 2006 PSP and PS2 video game Grand Theft Auto: Vice City Stories. Set in 1984, he appears in three missions in which the main character, Victor, must save him from a gang that is trying to kill him, the final mission occurring during his concert, where the player must defend the scaffolding against saboteurs while Collins is performing "In the Air Tonight". After this, the player is given the opportunity to watch this performance of "In the Air Tonight" for only 6,000 dollars in the game. "In the Air Tonight" was also featured in the soundtrack of Grand Theft Auto: Vice City Stories and it was also featured in the films Aqua Teen Hunger Force Colon Movie Film For Theaters (2007) and The Hangover (2009).[190] "In the Air Tonight" featured in the 2007 Gorilla commercial for Cadbury's Dairy Milk chocolate. Many believed that Collins himself was the drummer. When asked about Gorilla, Collins jokingly commented that "Not only is he a better drummer than me, he also has more hair. Can he sing too?"[191] The advertisement also helped the song re-enter the New Zealand RIANZ Singles Chart at No. 3 in July 2008, the following week reaching No. 1, beating its original 1981 No. 6 peak. "In the Air Tonight" was also sampled in the song "I Can Feel It" on Sean Kingston's self-titled debut album.[192] Collins was portrayed in the cartoon South Park in the episode "Timmy 2000" holding his Oscar throughout, referring to his 1999 win for "You'll Be in My Heart", which defeated "Blame Canada" from South Park: Bigger, Longer & Uncut. The show's creators admitted resenting losing to Collins, as they felt their other competitors were more worthy.[193] The episode "Cartman's Silly Hate Crime 2000" involves a sled race down the landmark known as Phil Collins Hill, which has an impression of Collins' face in the side. The Phil Collins character returns once more and gets killed off in the episode 200. Collins appears briefly in the Finnish animated sitcom Pasila in the episode "Phil Collins Hangover". The music of this episode is a pastiche of Collins's “Another Day in Paradise”.[194] Collins was mentioned in the Psych episode "Disco Didn't Die. It Was Murdered!" as resembling Shawn Spencer's father, Henry, portrayed by actor Corbin Bernsen.[195] Critical and public perceptions Criticism According to a 2000 BBC biography of Collins, "critics sneer at him" and "bad publicity also caused problems", which "damaged his public profile".[196] Rock historian Martin C. Strong wrote that Collins "truly polarised opinion from the start, his ubiquitous smugness and increasingly sterile pop making him a favourite target for critics".[197] According to Guardian writer Paul Lester, Collins would "regularly" call music journalists to take issue with negative reviews.[198] Over time, he came to be personally disliked;[84] in 2009, journalist Mark Lawson told how Collins's media profile had shifted from "pop's Mr. Nice guy, patron saint of ordinary blokes", to someone accused of "blandness, tax exile and ending a marriage by sending a fax".[199] Collins has rejected accusations of tax avoidance, and, despite confirming that some of the divorce-related correspondence between him and second wife, Jill Tavelman, was by fax (a message from Collins regarding access to their daughter was reproduced for the front cover of The Sun in 1993),[200] he states that he did not terminate the marriage in that fashion.[199] Nevertheless, the British media has often repeated the fax claim.[196][201][202][203] Collins has been the victim of scathing remarks in regard to his alleged right-wing political leanings. Caroline Sullivan, a music critic of The Guardian, referred to his cumulative negative publicity in her 2007 article "I wish I'd never heard of Phil Collins", writing that it was difficult for her to hear his work "without being riven by distaste for the man himself".[201] According to Jeff Shannon in The Seattle Times, Collins is the "target of much South Park derision".[204] A New Musical Express writer also observed the series' "endless lampooning" of Collins.[205] Several critics have commented on Collins's omnipresence, especially in the 1980s and early 1990s.[84][197][206][207][208] Journalist Frank DiGiacomo wrote a 1999 piece for New York Observer titled The Collins Menace; he said, "Even when I sought to escape the sounds [of Collins] in my head by turning on the TV, there would be Mr. Collins ... mugging for the cameras—intent on showing the world just how hard he would work to sell millions of records to millions of stupid people."[206] In his 2010 article Love don't come easy: artists we love to hate, The Irish Times critic Kevin Courtney expressed similar sentiments. Naming Collins as one of the ten most disliked pop stars in the world, he wrote: "[Collins] performed at Live Aid, playing first at Wembley, then flying over to Philadelphia via Concorde, just to make sure no one in the U.S. got off lightly. By the early 1990s, Phil phatigue [sic] had really set in."[84] Appraising Collins's legacy in a 2013 review of the American Psycho musical (adapted from a 2000 film incorporating his music), The Guardian critic Tom Service described Collins as "un-stomachable" and his music as "perfectly vacuous". He also compared him unfavourably with pop contemporaries such as the Pet Shop Boys and the Human League, whose music he said had endured far more successfully. Service described Collins's most popular album No Jacket Required (1985) as "unlistenable to today", reserving particular criticism for "Sussudio".[209] Collins received acerbic comments in the press following reports about his retirement in 2011. He was dubbed "the most hated man in rock" by The Daily Telegraph,[12] and by FHM as "the pop star that nobody likes".[12] Rolling Stone journalist John Dioso acknowledged "the incredible, overwhelming popularity" Collins and Genesis achieved, but said that he had become "a negative figure in the music world" and that the reaction to his legacy was strongly unfavourable.[210] Tim Chester of the New Musical Express alluded to the widespread disdain for Collins in an article titled, "Is It Time We All Stopped Hating Phil Collins?" He described Collins as "the go-to guy for ironic appreciation and guilty pleasures" and stated he was responsible for "some moments of true genius (often accompanied, it must be said, by some real stinkers)". He also argued that "Genesis turned shit at the precise point he jumped off the drum stool" to replace the departing Peter Gabriel as frontman, and said of the unrelenting derision he has suffered, "a lot of it he brings on himself." He said that Collins was "responsible for some of the cheesiest music ever committed to acetate".[211] Erik Hedegaard of Rolling Stone mentioned that Phil Collins hate sites had "flourished" online, and acknowledged that he had been called "the sellout who took Peter Gabriel's Genesis, that paragon of prog-rock, and turned it into a lame-o pop act and went on to make all those supercheesy hits that really did define the 1980s".[212] According to author Dylan Jones in his 2013 publication on 1980s popular music, many of Collins's peers "despised" him.[213] Some fellow artists have made negative comments about Collins publicly. In 1990, former Pink Floyd frontman Roger Waters criticised Collins's "ubiquitous nature", including his involvement in the Who's 1989 reunion tour.[214] David Bowie dismissed some of his own 1980s output as his "Phil Collins years/albums".[215][216] In addition to the song's negative press from music journalists, singer-songwriter and political activist Billy Bragg criticised Collins for writing "Another Day in Paradise", stating: "Phil Collins might write a song about the homeless, but if he doesn't have the action to go with it he's just exploiting that for a subject."[217] On the closing track of their 2014 album What Have We Become?, titled "When I Get Back to Blighty", former Beautiful South collaborators Paul Heaton and Jacqui Abbott included the lyric "everyone around us agrees that Phil Collins must die", which musicOMH critic David Meller remarked in his review "is delivered with willing, almost pleasurable conviction by Abbott".[218] Oasis songwriter Noel Gallagher criticised Collins on multiple occasions,[219][220] including the comment: "Just because you sell lots of records, it doesn't mean to say you're any good. Look at Phil Collins."[221] Collins said he has "at times, been very down" about Noel Gallagher's comments.[12] Gallagher's brother, Oasis singer Liam, also recalled the "boring" Collins's chart dominance in the 1980s and stated that, by the 1990s, it was "time for some real lads to get up there and take charge".[222] Appearing on the BBC television series Room 101 in 2005, in which guests discuss their most hated things and people, Collins nominated the Gallaghers to be sent into the titular room. He described them as "horrible" and stated: "They're rude and not as talented as they think they are. I won't mince words here, but they've had a go at me personally."[223] Collins acknowledged in 2010 that he had been "omnipresent". He said of his character: "The persona on stage came out of insecurity ... it seems embarrassing now. I recently started transferring all my VHS tapes onto DVD to create an archive, and everything I was watching, I thought, 'God, I'm annoying.' I appeared to be very cocky, and really I wasn't."[224] Collins concedes his status as a figure of contempt for many people and has said that he believes this is a consequence of his music being overplayed.[12][219] In 2011 he said: "The fact that people got so sick of me wasn't really my fault. … It's hardly surprising that people grew to hate me. I'm sorry that it was all so successful. I honestly didn't mean it to happen like that!"[12][225] He described criticism of his physical appearance over the years as "a cheap shot",[213] but has acknowledged the "very vocal element" of Genesis fans who believe that the group sold out under his tenure as lead singer.[226] Collins denied that his retirement in 2011 was due to negative attention[13] and said that his statements had been taken out of context. He said: "I have ended up sounding like a tormented weirdo who thinks he was at the Alamo in another life, who feels very sorry for himself, and is retiring hurt because of the bad press over the years. None of this is true."[134][211] Praise Paul Lester of The Guardian wrote in 2013 that Collins is one of several pop acts that "used to be a joke" but are "now being hailed as gods".[198] Collins has become an important figure in U.S. urban music,[227] influencing artists such as Kanye West,[228] Alicia Keys and Beyoncé.[229] His songs have been sampled by various hip-hop and contemporary R&B acts, and performers including Lil' Kim, Kelis and Wu-Tang Clan co-founder Ol' Dirty Bastard covered his work on the 2001 tribute album Urban Renewal.[227] In 2004, DCFC and Postal Service musician Ben Gibbard described Collins as a "great vocalist".[230] Collins has been championed by his contemporary, the heavy metal singer Ozzy Osbourne,[231] David Crosby called him "a dear friend" who has helped him "enormously",[232] Queen guitarist Brian May called him "a great guy and an amazing drummer",[233] and Robert Plant paid tribute to him as "the most spirited and positive and really encouraging force" when commencing his own solo career after the break-up of Led Zeppelin.[70] Collins has been championed by modern artists in diverse genres, including indie rock groups the 1975,[198] Generationals,[234] Neon Indian, Yeasayer, St. Lucia[235] and Sleigh Bells,[236] electronica artist Lorde,[229] and soul singer Diane Birch, who said in 2014, "Collins walks a really fine line between being really cheesy and being really sophisticated. He can seem appalling, but at the same time, he has awesome production values and there's a particular richness to the sound. It's very proficient in the instrumentation and savvy about melodies."[229] Collins performing to 65,000 at Hyde Park, London on 30 June 2017. Music critic Neil McCormick wrote, “He could barely walk but Phil Collins still knocked it out of Hyde Park“.[237] Genesis bandmate Mike Rutherford has praised Collins's personality, saying that "he always had a bloke-next-door, happy-go-lucky demeanour about him: let's have a drink in the pub, crack a joke, smoke a cigarette or a joint".[238] He has been characterised by favourable critics as a "rock god",[238][239] and an artist who has remained "down to earth".[196] In The New Rolling Stone Album Guide, published in 2004, J. D. Considine wrote: "For a time, Phil Collins was nearly inescapable on the radio, and enormously popular with the listening public — something that made him an obvious target for critics. Despite his lumpen-pop appeal, however, Collins is an incisive songwriter and resourceful musician."[207] Creation Records founder Alan McGee wrote in 2009 that there was a "non-ironic revival of Phil Collins" happening. According to McGee: "The kids don't care about 'indie cred' anymore. To them, a great pop song is just that: a great pop song. In this time of revivals, nothing is a sacred cow anymore, and that can only be a good thing for music." Commenting on Collins's popularity with hip-hop acts, he argued: "It's not surprising. Collins is a world-class drummer whose songs immediately lend themselves to being sampled."[57] In 2010, Gary Mills of The Quietus made an impassioned defence of Collins: "There can't be many figures in the world of pop who have inspired quite the same kind of hatred-bordering-on-civil-unrest as Collins, and there can't be too many who have shifted anything like the 150 million plus units that he's got through as a solo artist either ... The disgrace of a career bogged entirely in the determined dross of No Jacket Required however is simply not justified, regardless of how Collins gained either his fortune, or his public image."[240] David Sheppard wrote for the BBC in 2010: "Granted, Collins has sometimes been guilty of painting the bull's-eye on his own forehead (that self-aggrandising Live Aid Concorde business, the cringe-worthy lyrics to 'Another Day in Paradise', Buster, etc.), but nonetheless, the sometime Genesis frontman's canon is so substantial and his hits so profuse that it feels myopic to dismiss him merely as a haughty purveyor of tortured, romantic ballads for the middle income world."[241] Rolling Stone journalist Erik Hedegaard expressed disapproval of the widespread criticism which Collins has received, suggesting that he has been "unfairly and inexplicably vilified".[212] Martin C. Strong stated in 2011 that "the enigmatic and amiable Phil Collins has had his fair share of mockers and critics over the years, although one thing is sure, and that is his dexterity and undeniable talent".[197] In a piece the following year, titled "10 Much-Mocked Artists It's Time We Forgave", New Musical Express critic Anna Conrad said Collins had been portrayed as a "villain", and wrote: "Was the bile really justified? ... come on, admit it. You've air drummed to 'In the Air Tonight', and loved it."[205] Guardian journalist Dave Simpson wrote a complimentary article in 2013; while acknowledging "few pop figures have become as successful and yet reviled as Phil Collins", he argued "it's about time we recognised Collins's vast influence as one of the godfathers of popular culture".[227] Personal life Family and relationships Collins has been married and divorced three times. From 1975 to 1980, he was married to Canadian-born Andrea Bertorelli.[200][242] They met as 11-year-old students in a London drama class and reconnected when Genesis performed in Vancouver. They married in England when both were 24.[242] Collins adopted Bertorelli's daughter Joely (b. 1972), who became an actress and film producer.[243] They had a son, Simon Collins (b. 1976), who is the former vocalist and drummer of the progressive rock band Sound of Contact. In 2016, Bertorelli announced that she was taking legal action against Collins pertaining to his account of their relationship in his autobiography.[244] In 1984, Collins married his second wife, American Jill Tavelman. They have one daughter, Lily Collins (b. 1989).[245] The marriage encountered problems that culminated in Collins twice having an affair while touring with Genesis in 1992 with Lavinia Lang, a former drama school classmate. The two were previously engaged, but the relationship ended before they married.[245] In 1994, Collins openly stated that he had fallen out of love with Tavelman and had filed for divorce, which finalised in 1996. As part of the settlement, Collins paid £17 million to Tavelman.[245][246] Collins married his third wife, Orianne Cevey, a Swiss national whom he met on tour and who worked as his translator,[247] in 1999.[248] They have two sons, Nicholas (b. 2001) and Matthew (b. 2004).[249] They lived in the former house of Sir Jackie Stewart in Begnins, Switzerland. In 2006, Collins announced their intention to separate, which was followed by their divorce in 2008. Collins paid £25 million to Cevey, which became the largest settlement in a British celebrity divorce.[250] Collins continued to live in Féchy, Switzerland, while he also maintained homes in New York City and Dersingham, Norfolk.[203] From 2007 to 2016, Collins was in a relationship with American news anchor Dana Tyler.[114] In 2008, Cevey and her two sons moved to Miami, Florida. Collins recalled: "I went through a few bits of darkness; drinking too much. I killed my hours watching TV and drinking, and it almost killed me." He said in 2015 that he had been teetotal for three years.[251] In January 2016, after moving to Miami in the previous year to be closer to his two youngest sons,[251] Collins said he had reunited with Cevey and they were living together in his Miami home.[252] Collins' brother Clive is a noted cartoonist. Phil appeared at his brother's investiture ceremony at Buckingham Palace in 2012 when he was awarded an MBE for services to art, with Phil stating, "I shared a bedroom with him when we were boys and he was always drawing. He used to do Christmas cards and birthdays cards for the family."[23] Wealth In 2012, Collins was estimated to be the second wealthiest drummer in the world, beaten to first place by Ringo Starr.[253] Collins was estimated to have a fortune of £120 million in the Sunday Times Rich List of 2018, making him one of the 25 wealthiest people in the British music industry.[254] Court case Main article: Philip Collins Ltd v Davis On 29 March 2000, Collins launched a case against two former musicians from his band to recoup £500,000 in royalties that were overpaid. Louis Satterfield, 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 during Collins's Seriously, Live! World Tour in 1990. Their claim was they were 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.[255] On 19 April 2000, the High Court in London ruled that the two musicians would receive 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' argument that Satterfield and Davis should have been paid for only the five tracks on which they performed, including the hit "Sussudio".[256] Health Collins had reportedly lost hearing in his left ear in 2000 due to a viral infection; the condition was resolved after the infection was cured.[114] In September 2009, it was reported that Collins could no longer play the drums, due to a recent operation to repair a dislocated vertebra in his neck. A statement from Collins on the Genesis band website said, "There isn't any drama regarding 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 drums or piano. I am not in any 'distressed' state; stuff happens in life."[257] However, in 2010 Collins alluded to feelings of depression and low self-esteem in recent years, stating in an interview that he had contemplated suicide, but he resisted for the sake of his children.[258] In October 2014, Collins told John Wilson on BBC Radio 4's Front Row that he still could not play the drums; he said the problem was not arthritis but an undiagnosed nerve problem where he was unable to "grip the sticks".[259] He confirmed in a 2016 interview that he was still unable to drum with the left hand;[114] however, he has also said that after major back surgery, his doctor advised him that if he wanted to play the drums again, all he needed to do was practice as long as he took it step by step.[260][261] In his 2016 autobiography Not Dead Yet, Collins acknowledged that he had struggled with an alcohol problem following his retirement and third divorce; however, he also stated in the book that he had been sober for three years.[262] In 2017, Collins announced he would postpone two scheduled tour stops, on the 8th and 9 June. According to his official Facebook page, "Phil suffers from 'drop foot' as a result of a back operation which makes it difficult to walk. He rose in the middle of the night to go to the toilet and slipped in his hotel room, hitting his head in the fall on a chair. He was taken to hospital where he had stitches for a severe gash on his head close to his eye."[263][264] In 2018, reports indicated that Collins walked with the assistance of a cane[265] and had performed recent concerts while sitting in a chair.[266] Honorary degrees Collins has received several honorary degrees in recognition of his work in music and his personal interests. In 1987 he received an honorary doctorate of fine arts at Fairleigh Dickinson University.[267] In 1991 he received an honorary doctorate of music at the Berklee College of Music.[268] On 12 May 2012 he received an honorary doctorate of history at the McMurry University in Abilene, Texas,[269] for his research and collection of Texas Revolution artefacts and documents (see other interests section). Politics Collins has often been mentioned erroneously in the British media as being a supporter of the Conservative Party and an opponent of the Labour Party.[201][270] This derives 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 please turn out the lights", which stated that Collins was among several celebrities who were planning to leave Britain in the event of a Labour victory.[271][272] Collins is sometimes reported in the British press to have left the UK and moved to Switzerland in protest at the Labour Party's victory in the 1997 general election.[273][274] Shortly before the 2005 election (when Collins was living in Switzerland), Labour supporter Noel Gallagher was quoted: "Vote Labour. If you don't and the Tories get in, Phil Collins is threatening to come back and live here. And let's face it, none of us want that."[220][275] However, Collins has since stated that although he did once claim many years earlier that he might leave Britain if most of his income was taken in tax, which was Labour Party policy at that time for top earners, he has never been a Conservative Party supporter and he left Britain for Switzerland in 1994 purely because he started a relationship with a woman who lived there. He said of Gallagher: "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, misunderstood quote."[276] Despite his statement that he did not leave Britain for tax purposes, Collins was one of several wealthy figures living in tax havens who were singled out for criticism in a 2008 report by the charity Christian Aid.[277] The Independent included Collins as one of their "ten celebrity tax exiles", erroneously repeating that he had left the country when Labour won the 1997 general election and that he threatened to return if the Conservatives won in 2005.[278] Referring to the 1997 general election in his article "Famous men and their misunderstood politics" for MSN, Hugh Wilson stated: "Labour won it in a landslide, which just goes to show the influence pop stars really wield". He also wrote that Collins's reported comments and subsequent move to Switzerland led to "accusations of hypocrisy" since he had "bemoaned the plight of the homeless in the song 'Another Day in Paradise'", making him "an easy target when future elections came round".[100] The Paul Heaton and Jacqui Abbott song "When I Get Back to Blighty", from their 2014 album What Have We Become?, made reference to Collins as "a prisoner to his tax returns".[218] Questioned about his politics by Mark Lawson in an interview for the BBC, broadcast in 2009, Collins said: "My father was Conservative but it wasn't quite the same, I don't think, when he was alive. Politics never loomed large in our family anyway. I think the politics of the country were very different then."[199] In a 2016 interview in The Guardian, Collins stated that talking about politics to The Sun was one of his biggest regrets. When asked whether he had ever voted Conservative, he said: "I didn’t vote, actually. And that’s not something I’m proud of. I was just so busy that I rarely was here."[279] Collins is a member of the Canadian charity Artists Against Racism and has worked with them in the past on campaigns like radio PSAs.[280] Other interests Collins has a long-standing interest in the Alamo. He has collected hundreds of artefacts related to the famous 1836 battle in San Antonio, Texas, narrated a light and sound show about the Alamo, and has spoken at related events.[281] His passion for the Battle of the Alamo has also led him to write the book The Alamo and Beyond: A Collector's Journey, published in 2012.[282] A short film was released in 2013 called Phil Collins and the Wild Frontier which captures Collins on a book tour in June 2012.[283] On 26 June 2014, a press conference was held from the Alamo, where Collins spoke, announcing that he was donating his entire collection to the Alamo via the State of Texas.[284] On 11 March 2015, in honour of his donation, Collins was named an honorary Texan by the state legislature.[285] Like Rod Stewart and Eric Clapton, Collins is a model railway enthusiast.[286] Activism Collins has performed at the Secret Policeman's Ball, a benefit show co-founded by Monty Python member John Cleese on behalf of Amnesty International. He made his first appearance at the 1981 show held in London’s Theatre Royal, Drury Lane, and he subsequently became an activist.[287] Collins was appointed a Lieutenant of the Royal Victorian Order (LVO) in the 1994 Birthday Honours, in recognition of his work on behalf of The Prince's Trust, a leading UK youth charity founded by Charles, Prince of Wales which provides training, personal development, business start up support, mentoring, and advice.[288] Collins has performed at the charity's rock concert numerous times since the 1980s, most recently at the Royal Albert Hall in 2010.[289] Collins has stated he is a supporter of animal rights and People for the Ethical Treatment of Animals (PETA). In 2005 he donated autographed drum sticks in support of PETA's campaign against Kentucky Fried Chicken.[290] In February 2000, Collins and his wife Orianne founded Little Dreams Foundation, a non-profit organisation that aims to "...realise the dreams of children in the fields of sports and art" by providing future prodigies aged 4 to 16 years with financial, material, and mentoring support with the help of experts in various fields.[291] Collins took the action after receiving letters from children asking him how they could break into the music industry. Mentors to the students who have benefited from his foundation include Tina Turner and Natalie Cole. In 2013 he visited Miami Beach, Florida, to promote the expansion of his foundation.[292] Collins supports the South African charity 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/AIDS and extreme poverty. He donates all the royalties earned from his music sales in South Africa to the organisation.[293][294] Awards and nominations Main article: List of awards and nominations received by Phil Collins Discography Main articles: Phil Collins discography and Genesis discography Studio albums Face Value (1981) Hello, I Must Be Going! (1982) No Jacket Required (1985) ...But Seriously (1989) Both Sides (1993) Dance into the Light (1996) Testify (2002) Going Back (2010) Tours The Hello, I Must Be Going Tour (1982–1983) The No Jacket Required World Tour (1985) The Seriously, Live! World Tour (1990) The Both Sides of the World Tour (1994–1995) The Trip into the Light World Tour (1997) Big Band Jazz Tour (1998) The First Final Farewell Tour (2004–2005) Up Close & Personal: Phil Collins Plays 60's Motown & Soul (2010) Not Dead Yet Tour (2017–2019) Filmography 1964: A Hard Day's Night (uncredited as a young fan in the crowd during a Beatles performance) 1965: R3 (episode: "Unwelcome Visitor") 1967: Calamity the Cow 1968: Chitty Chitty Bang Bang (as Vulgarian Child) (scene cut) 1985: Miami Vice (episode: "Phil the Shill") 1986: The Two Ronnies (2 episodes) 1988: Buster (as Buster Edwards) 1988: Mickey's 60th Birthday (himself; TV special) 1991: Hook (as Inspector Good) 1993: Frauds (as Roland Coping) 1993: And the Band Played On (as Eddie Papasano; TV movie) 1995: Balto (voice of Muk and Luk) 2003: The Jungle Book 2 (voice of Lucky) Books 2012: The Alamo and Beyond: A Collector's Journey 2016: Not Dead Yet: The Autobiography Genesis were an English rock band formed at Charterhouse School, Godalming, Surrey, in 1967. The most successful and longest-lasting line-up consisted of keyboardist Tony Banks, bassist/guitarist Mike Rutherford and drummer/singer Phil Collins. Significant former members were original lead singer Peter Gabriel, original lead guitarist Anthony Phillips, and second lead guitarist Steve Hackett. The band moved from folk music to progressive rock in the 1970s, before moving towards pop at the end of the decade. They have sold 21.5 million copies of their albums in the United States, with worldwide sales of between 100 million and 150 million. Formed by five Charterhouse pupils including Banks, Rutherford, Gabriel, and Anthony Phillips, Genesis were named by former pupil Jonathan King, who arranged for them to record several unsuccessful singles and their debut album From Genesis to Revelation in 1968. After splitting with King, the group began to tour professionally, signed with Charisma Records and recorded Trespass (1970) in the progressive rock style. Following the departure of Phillips, Genesis recruited Collins and Hackett and recorded Nursery Cryme (1971). Their live shows also began to be centred on Gabriel's theatrical costumes and performances. They were first successful in mainland Europe, before entering the UK charts with Foxtrot (1972). In 1973, they released Selling England by the Pound (1973), which featured their first UK top 30 single "I Know What I Like (In Your Wardrobe)". The concept album The Lamb Lies Down on Broadway followed in 1974, and was promoted with a transatlantic tour featuring an elaborate stage show. Following the Lamb tour, Gabriel left Genesis in August 1975 to begin a solo career. After an unsuccessful search for a replacement, Collins took over as lead singer, while Genesis gained popularity in the UK and the US. Following A Trick of the Tail and Wind & Wuthering (both 1976), Hackett left, reducing the band to Banks, Rutherford, and Collins. Genesis' next album ...And Then There Were Three... produced their first UK top ten and US top 30 single in 1978 with "Follow You Follow Me", and they continued to gain success with Duke (1980), Abacab (1981), and Genesis (1983), reaching a peak with Invisible Touch (1986), which featured five US top five singles. Its title track reached number one in the US. After the tour for We Can't Dance (1991), Collins left Genesis in 1996 to focus on his solo career. Banks and Rutherford recruited Ray Wilson for Calling All Stations (1997), but a lack of success in the US led to a group hiatus. Banks, Rutherford and Collins reunited for the Turn It On Again Tour in 2007. Though Genesis have not been active since that tour, the trio (along with Gabriel and Hackett) participated in interviews for the 2014 BBC documentary Genesis: Together and Apart. Their discography includes fifteen studio and six live albums, six of which topped the UK chart. They have won numerous awards and nominations, including a Grammy Award for Best Concept Music Video with "Land of Confusion", and inspired a number of tribute bands recreating Genesis shows from various stages of the band's career. In 2010, Genesis were inducted into the Rock and Roll Hall of Fame. Contents 1 History 1.1 1967–1969: Formation, early demos, and From Genesis to Revelation 1.2 1969–1970: First gigs, signing with Charisma, and Trespass 1.3 1970–1972: Collins and Hackett join and Nursery Cryme 1.4 1972–1974: Foxtrot and Selling England by the Pound 1.5 1974–1975: The Lamb Lies Down on Broadway and Gabriel's departure 1.6 1975–1977: Collins on lead vocals, A Trick of the Tail, Wind & Wuthering and Hackett's departure 1.7 1977–1980: ...And Then There Were Three... and Duke 1.8 1980–1985: Abacab and Genesis 1.9 1985–1996: Invisible Touch, We Can't Dance, and Collins's departure 1.10 1996–2006: Wilson on lead vocals, Calling All Stations, and hiatus 1.11 2006–present: 2007 tour, reunion speculations, and BBC documentary 2 Musical style 3 Legacy 3.1 Influence 4 Band members 5 Discography 6 References 6.1 Footnotes 6.2 Bibliography 7 External links History 1967–1969: Formation, early demos, and From Genesis to Revelation The group formed at Charterhouse School in Godalming, Surrey. The founding members of Genesis, singer Peter Gabriel, keyboardist Tony Banks, guitarist Anthony Phillips, bassist and guitarist Mike Rutherford, and drummer Chris Stewart, met at Charterhouse School, a public school in Godalming, Surrey. Banks and Gabriel arrived at the school in September 1963, Rutherford in September 1964, and Phillips in April 1965.[8] The five were members in one of the school's two bands; Phillips and Rutherford were in Anon with singer Richard Macphail, bassist Rivers Jobe, and drummer Rob Tyrrell, while Gabriel, Banks, and Stewart made up Garden Wall.[8] In January 1967, after both groups had split, Phillips and Rutherford continued to write together and proceeded to make a demo tape at a friend's home-made studio, inviting Banks, Gabriel, and Stewart to record with them in the process. The five recorded six songs: "Don't Want You Back", "Try a Little Sadness", "She's Beautiful", "That's Me", "Listen on Five", and "Patricia", an instrumental.[8][5] When they wished to have them professionally recorded they sought Charterhouse alumnus Jonathan King, who seemed a natural choice as their publisher and producer following the success of his 1965 UK top five single, "Everyone's Gone to the Moon".[9] A group friend gave the tape to King who was immediately enthusiastic.[10] Under King's direction, the group, aged between 15 and 17, signed a one-year recording contract with Decca Records.[11] From August to December 1967,[12] the five recorded a selection of potential singles at Regent Sound Studios on Denmark Street, London, where they attempted longer and more complex compositions, but King advised them to stick to more straightforward pop.[13] In response Banks and Gabriel wrote "The Silent Sun", a pastiche of the Bee Gees, one of King's favourite bands, which was recorded with orchestral arrangements added by Arthur Greenslade.[8] The group exchanged various names for the band, including King's suggestion of Gabriel's Angels and Champagne Meadow from Phillips, before taking King's suggestion of Genesis, indicating the start of his production career. King chose "The Silent Sun" as their first single, with "That's Me" on the B-side, released in February 1968.[14][15] It achieved some airplay on BBC Radio One and Radio Caroline but it failed to sell. A second single, "A Winter's Tale" / "One-Eyed Hound", followed in May 1968 which also sold little.[16] Three months later, Stewart left the group to continue with his studies.[15] He was replaced by fellow Charterhouse pupil John Silver.[17] King felt the group would achieve greater success with an album.[17] The result, From Genesis to Revelation, was produced at Regent Sound in ten days during their school's summer break in August 1968.[18] King assembled the tracks as a concept album which he produced, while Greenslade added further orchestral arrangements to the songs, something the band were not informed of until the album was released. Phillips was particularly upset about Greenslade's additions.[19] When Decca found an American band already named Genesis, King refused to change his group's name. He reached a compromise by removing their name from the album cover, resulting in a minimalist design with the album title printed on a plain black background.[20] When the album was released in March 1969 it became a commercial failure, because record shops put the album in the "Religious" section upon seeing the cover.[15] Banks recalled the album "after a year or so, had sold 649 copies".[21] A third single, "Where the Sour Turns to Sweet" / "In Hiding", was released in June 1969.[16] None of the releases were commercially successful and led to the band's split with King and Decca.[22] King continues to hold the rights to the album which has seen numerous reissues. In 1974, it peaked the US chart at No. 170.[15][23] When the album was recorded, the band went their separate ways for a year; Gabriel and Phillips stayed at Charterhouse to finish exams, Banks enrolled at Sussex University, and Rutherford studied at Farnborough College of Technology.[24] They regrouped in mid-1969 to discuss their future as their offers in further education would result in the group splitting up. Phillips and Rutherford decided to make music a full-time career as they were starting to write more complex music than their earlier songs with King.[25] After Banks and Gabriel decided to follow suit, the four returned to Regent Sound in August 1969 and recorded four more demos with Silver: "Family" (later known as "Dusk"), "White Mountain", "Going Out to Get You", and "Pacidy". The tape was rejected by each record label that heard it.[26] Silver then left the group to study leisure management in the United States. His replacement, drummer and carpenter John Mayhew, was found when Mayhew looked for work and left his phone number "with people all over London"[15][27][28] 1969–1970: First gigs, signing with Charisma, and Trespass In late 1969, Genesis retreated to a cottage that Macphail's parents owned in Wotton, Surrey to write, rehearse, and develop their stage performance.[29] They took their work seriously, playing together for as much as eleven hours a day.[30] Their first live gig as Genesis followed in September 1969 at a teenager's birthday.[8][31] It was the start of a series of live shows in small venues across the UK which included a radio performance broadcast on BBC's Night Ride show, on 22 February 1970[32] and a spot at the Atomic Sunrise Festival held at the Roundhouse in Chalk Farm a month later.[33] During this time, the band met with various record labels regarding contract offers. Initial discussions with Chris Blackwell of Island and Chris Wright of Chrysalis were unsuccessful. In March 1970, during the band's six-week Tuesday night residency at Ronnie Scott's Jazz Club in Soho, members of Rare Bird, who Genesis had supported earlier, recommended the band to producer and A&R man John Anthony of Charisma Records.[8] Anthony attended one of their shows and enjoyed them enough to convince his boss, label owner Tony Stratton-Smith, to watch their next appearance.[34] Stratton-Smith recalled, "Their potential was immediately apparent ... the material was good and their performance was good ... It was a long shot, because they needed time to find their strength ... but I was prepared to make that commitment".[8] Stratton-Smith agreed to a record and management deal within two weeks, paying Genesis an initial sum of £10 a week (equivalent to £200 in 2019).[35][36] Genesis stayed at Wotton until April 1970,[37] by which time they had enough new material for a second album.[38] Recording for Trespass began in June at Trident Studios, London with Anthony as producer and David Hentschel hired as assistant engineer.[39] The album included longer and more complex songs than their first with folk and progressive rock elements with various time signature changes, as in the nine-minute song "The Knife".[40] Trespass is the first in a series of three Genesis album covers designed by Paul Whitehead. He had completed the cover before the band decided to include "The Knife" on the album. Feeling the cover no longer reflected the album's overall mood, the band persuaded Whitehead to slash a knife across the canvas and have the result photographed.[41] Released in October 1970, Trespass reached No. 1 in Belgium in 1971[42] and No. 98 in the UK in 1984.[43] "The Knife" was released as a single in May 1971.[37] Rolling Stone briefly mentioned the album with a negative view following its 1974 reissue: "It's spotty, poorly defined, at times innately boring".[44] "Genesis seemed to be dying a death around our second album," Gabriel told Mark Blake. "We couldn't get arrested. So I got a place at the London School of Film Technique."[45] "That was the closest we came to busting up. For some reason we felt so close that if one left, we thought we couldn't carry on. Of all the changes we've been through, surviving Ant leaving was the hardest." —Mike Rutherford.[46] After Trespass was recorded, ill health and developing stage fright caused Phillips to leave Genesis. His last show with the band took place in Haywards Heath on 18 July 1970.[32] He felt the increased number of gigs affected the group's creativity and that several songs he wrote were not recorded or performed live.[47] He had contracted bronchial pneumonia and became isolated from the rest of the band, feeling that it had too many songwriters in it.[48] Banks, Gabriel, and Rutherford saw Phillips as an important member, being the most instrumental in encouraging them to turn professional. They regarded his exit as the band's greatest threat and the most difficult to overcome. Gabriel and Rutherford decided they would continue; Banks agreed on the condition that they find a new drummer that was of equal stature to the rest of the group. Mayhew was therefore fired, though Phillips later thought Mayhew's working-class background clashed with the rest of the band, which affected his confidence.[46] 1970–1972: Collins and Hackett join and Nursery Cryme The search for a new guitarist and drummer began with advertisements placed in copies of Melody Maker. The invitation was spotted by drummer Phil Collins, formerly of Flaming Youth who already knew Stratton-Smith. He recalled, "My only knowledge of Genesis was through seeing the ads for their gigs. It seemed like they were constantly working. ... I thought 'At least I'm going to be working if I get the gig'."[49] Roger Taylor, subsequently of Queen, turned down an invitation to audition.[50] Collins went to the audition at Gabriel's parents' house in Chobham, Surrey with his Flaming Youth bandmate, guitarist Ronnie Caryl. As they arrived early, Collins took a swim in the pool and heard what the other drummers were playing. "They put on 'Trespass', and my initial impression of a very soft and round music, not edgy, with vocal harmonies and I came away thinking Crosby, Stills and Nash".[51] Gabriel and Rutherford noticed the confident way Collins approached and sat at his drum kit and knew he would be the right replacement. Banks said, "It was a combination of things. He could make it swing a little bit ... he could also tell good jokes and make us laugh ... And he could sing, which was an advantage because Mike and I were not very good at back-up vocals".[52] In August 1970, Collins became the new drummer for Genesis. Caryl's audition was unsuccessful; Rutherford thought he was not the player the group were looking for.[51] After a short holiday, Genesis began to write and rehearse as a four-piece band in Farnham, Surrey. The now empty guitar sections in their songs allowed Banks and Rutherford to expand their sound and play what Gabriel described as "interesting chords".[52] As they had not found a new guitarist, Genesis resumed as a live act with Rutherford adding bass pedals and Banks playing lead guitar lines on a Pianet through a distorted fuzz box amplifier in addition to his keyboard parts, something that he credits in helping him develop his technique.[53] In November 1970, after a second audition with Caryl fell through, Dave Stopps, owner of Friars club in Aylesbury, suggested they use Mick Barnard of The Farm, who joined the band for their gigs which included Genesis's television debut on BBC's Disco 2.[54] After two months of performances, the band found Barnard lacked in expertise and wished to try someone else.[55] In December, Gabriel spotted a Melody Maker advert from Steve Hackett, formerly of Quiet World, who wanted to join a band of "receptive musicians, determined to drive beyond existing stagnant music forms".[56] Gabriel advised Hackett to become familiar with Trespass and attend their upcoming gig at the Lyceum Theatre in London.[56] Hackett auditioned with the group in a flat in Earls Court and formed an instant rapport with Rutherford through a common interest in inverted chords.[57] After Hackett joined in January 1971,[58] Stratton-Smith organised a UK tour with Genesis opening for fellow Charisma acts Lindisfarne and Van der Graaf Generator.[59] Their first overseas dates took place in March with gigs in Belgium[60] followed by their first of three consecutive appearances at the annual Reading Festival on 26 June.[61] Rehearsals for the band's third album, Nursery Cryme, took place at Luxford House near Crowborough, East Sussex that Stratton-Smith had owned.[62] Recording began at Trident Studios in August 1971 with Anthony and Hentschel reprising their respective roles as producer and assistant engineer. The band's sound evolved with Hackett's more aggressive electric guitar work and Banks adding a Mellotron previously owned by King Crimson to his set of keyboards.[63] The opening track, "The Musical Box", originated when Phillips and Mayhew were in the group. The band developed the piece further including the addition of new guitar parts from Hackett.[64] The album marks the first instance of Hackett using the tapping technique which is featured on "The Musical Box" and "The Return of the Giant Hogweed".[65] Hackett and Collins wrote "For Absent Friends" and marks the first Genesis track with Collins on lead vocals. Whitehead depicted scenes and characters from the lyrics to "The Musical Box" and a Victorian manor house based on Gabriel's parent's home on the album's cover.[66] Nursery Cryme was released in November 1971 and went on to reach No. 39 in the UK in 1974.[37] Though the group still had a minor cult following at home, they started to achieve commercial and critical success in mainland Europe, with the album reaching No. 4 in the Italian charts.[67] From November 1971 to August 1972, Genesis toured to support the album which included further visits to Belgium, and Italy for the first time where they played to enthusiastic crowds.[37] They recorded radio sessions for BBC's Sounds of the Seventies program in January[68] and March[69] and performed at the Reading Festival that was praised by numerous critics who attended.[70] During the tour Genesis recorded "Happy the Man", a non-album single, with "Seven Stones" from Nursery Cryme on its B-side.[71] 1972–1974: Foxtrot and Selling England by the Pound Gabriel in 1974 performing "Watcher of the Skies", dressed in a cape with bat wings and fluorescent makeup. Following rehearsals in a dance school in Shepherd's Bush, Genesis recorded Foxtrot at Island Studios between August and September 1972.[72] During the initial sessions, disagreements among Charisma and Anthony contributed to the end of his association with Genesis. After two replacement engineers were tried out, the band settled with John Burns and a new producer, Dave Hitchcock.[73] The album features the 23-minute track "Supper's Ready", a suite of various musical segments. The track included an opening acoustic piece, a Gabriel-penned song called "Willow Farm" and a piece derived from a jam by Banks, Rutherford and Collins called "Apocalypse in 9/8".[74] Other songs were the science-fiction themed "Watcher of the Skies" and the property development-themed "Get 'Em Out By Friday".[75] Foxtrot was released in October 1972 and reached No. 12 in the UK. It fared even better in Italy, where it went to No. 1.[76] Foxtrot was well received from critics. Chris Welch of Melody Maker thought Foxtrot was "a milestone in the group's career", "an important point of development in British group music", and that Genesis had reached "a creative peak".[77] Stephen Thomas Erlewine thought Foxtrot marked the first time "Genesis attacked like a rock band, playing with a visceral power".[78] The Foxtrot tour covered Europe and North America from September 1972 to August 1973. The show at the National Stadium in Dublin on 28 September 1972 marked the debut of Gabriel wearing a costume on stage, something that surprised the other band members as they were kept uninformed. Originally suggested by Charisma booking agent Paul Conroy, Gabriel went off stage during an instrumental section in "The Musical Box" and reappeared in his wife's red dress and a fox's head.[79] The incident resulted in front cover reports in the music press, allowing the band to double their performance fee.[80] In December 1972, Stratton-Smith organised the band's first gigs in the US with a show at Brandeis University in Waltham, Massachusetts and Philharmonic Hall in New York City with openers String Driven Thing, in aid of the United Cerebral Palsy Fund.[81] They were well received despite the band complaining of technical issues.[82] Gabriel's costumes expanded in the following months to include fluorescent face paint and a cape fitted with bat wings for "Watcher of the Skies", several guises throughout "Supper's Ready", and a mask of an old man for "The Musical Box".[83] An album of recordings from the following UK leg, initially recorded for the American radio program King Biscuit Flower Hour, was released as Genesis Live in July 1973.[84] It reached No. 9 in the UK[37] and No. 105 in the US.[37] Selling England by the Pound was recorded at Island Studios in August 1973, the second Genesis album that Burns co-produced. Much of it was written at Una Billings School of Dance and Chessington.[85] Gabriel contributed lyrics based on the idea of commercialism and the decline of English culture and the rise in American influences.[86] Its title refers to a UK Labour Party slogan to make it clear to music critics who may have thought Genesis were beginning to "sell out" to the US.[87] "Firth of Fifth" features an extended electric guitar solo from Hackett. The album's cover is a modified version of a painting named The Dream by Betty Swanwick who added a lawn mower to tie the image to the lyrics of "I Know What I Like (In Your Wardrobe)".[88] Selling England by the Pound was released in October 1973 to a positive critical reception, though slightly more muted than Foxtrot.[89] The album reached No. 3 in the UK and No. 70 in the US.[37] By this time, Genesis had made little effort to organise their finances and were £150,000 in debt (equivalent to £1,781,800 in 2019).[35].[90] They hired promoter Tony Smith as their new manager to improve their fortunes and published the band's subsequent music through his company, Hit & Run Music Publishing. The Selling England by the Pound tour visited Europe and North America between September 1973 and May 1974. Their six shows in three days at The Roxy in Los Angeles were well received by audiences and critics. The success of the tour earned the group the "Top Stage Band" title by readers of NME.[37] At its conclusion, Macphail resigned as their tour manager as he wished to pursue other interests.[91] "I Know What I Like (In Your Wardrobe)" was released as a UK single with "Twilight Alehouse", a non-album track recorded in 1972, that reached No. 21 following its release in February 1974. Its success led to an offer for Genesis to appear on BBC's national show Top of the Pops; they declined as the group thought it would not suit their image.[92] 1974–1975: The Lamb Lies Down on Broadway and Gabriel's departure In June 1974, Genesis started work on their double concept album The Lamb Lies Down on Broadway.[93] It marked the start of Gabriel's increasingly strained relationship on the rest of the group which contributed to his departure. The album was written at Headley Grange in East Hampshire where, upon their arrival, the building was in a state left by the previous band with excrement on the floor and rat infestations.[94] Gabriel objected to Rutherford's idea of an album based on The Little Prince by Antoine de Saint-Exupéry, thinking the idea was "too twee".[95] He persuaded the band with a less fantastical and more complicated story involving Rael, a Puerto Rican youth living in New York City who embarks on a spiritual quest to establish his freedom and identity while meeting several bizarre characters on the way.[96] Gabriel wrote the story with influences from West Side Story, "a kind of punk" twist to Pilgrim's Progress, author Carl Jung, and the film El Topo by Alejandro Jodorowsky.[97] Most of the album's lyrics were written by Gabriel, leaving much of its music to the rest of the group. His absence from a considerable amount of writing sessions due to difficulties with his wife's first birth was something Rutherford and Banks "were horribly unsupportive" of.[98] Gabriel also left the group when director William Friedkin asked him to write a screenplay, but returned after the project was shelved.[99] In August 1974, production moved to Glaspant Manor in Carmarthenshire, Wales[100] with Burns as co-producer, operating Island Studios' mobile equipment. Further work and mixing took place at Island where Brian Eno contributed synthesizers and effects that the album's sleeve credits as "Enossification". When Gabriel asked Eno how the band could repay him, Eno said he needed a drummer for his track "Mother Whale Eyeless". Collins said, "I got sent upstairs as payment".[101] Gabriel was pleased with Eno's work but Banks was less enthusiastic.[102] Rutherford, Gabriel, and Collins in 1974 during The Lamb... tour. Gabriel is wearing the "Slipperman" costume. The Lamb Lies Down on Broadway was released in November 1974 and reached No. 10 in the UK[103] and No. 41 in the US.[23] "Counting Out Time" and "The Carpet Crawlers" were released as singles in 1974 and 1975, respectively. Its sleeve is the first of four Genesis albums designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. From November 1974 to May 1975, Genesis completed 102 dates across North America and Europe as part of The Lamb Lies Down on Broadway tour.[37] Their set included The Lamb... performed in its entirety with an encore, a decision that was not supported by the entire band considering most of the audience were not yet familiar with the large amount of new material.[104] The stage show involved new, more elaborate costumes worn by Gabriel, three backdrop screens that displayed 1,450 slides from eight projectors,[105] and a laser lighting display.[106] Music critics often focused their reviews on Gabriel's theatrics and took the band's musical performance as secondary which irritated the rest of the band.[107] During their stay in Cleveland during the tour, Gabriel told the band he would leave at its conclusion.[108] He wrote a statement regarding his departure to the English press that was published in August 1975 titled "Out, Angels Out", explaining he had become disillusioned with the music industry and wanted to spend extended time with his family.[109] Banks later stated, "Pete was also getting too big for the group. He was being portrayed as if he was 'the man' and it really wasn't like that. It was a very difficult thing to accommodate. So it was actually a bit of a relief."[108] 1975–1977: Collins on lead vocals, A Trick of the Tail, Wind & Wuthering and Hackett's departure Following the Lamb tour, Hackett recorded his first solo album Voyage of the Acolyte as he felt unsure that Genesis would survive following Gabriel's departure.[110] He reconvened with the remaining group members in London in July 1975.[111] Collins' idea of continuing as an instrumental group was quickly rejected by the group as they thought it would become boring.[112] Rehearsals for A Trick of the Tail took place in Acton where material was quickly written and with little effort;[113] most of "Dance on a Volcano" and "Squonk" was put together in the first three days.[114] Recording began in October 1975 at Trident Studios with Hentschel as producer. As a replacement singer had not been found, the band decided to record the album without vocals and audition singers as they went. They placed an anonymous advertisement in Melody Maker for "a singer for a Genesis-type group" which received around 400 replies. Collins proceeded to teach selected applicants the songs; Witches Brew frontman and flautist Mick Strickland [115] was invited into the studio to sing, but the backing tracks were in a key outside of his natural range and the band decided not to work with him.[112] Having failed to find a suitable vocalist, Collins went in the studio and attempted to sing "Squonk". His performance was well received by the band, and they decided that he should be their new lead vocalist. Collins then sang on the remaining tracks.[116] "My real worry was actually what to say to the audience, because Peter had always had this offbeat charisma that gave the band a strange aura. I was much more friendly and approachable ... I spent more time ... worrying about what to say between songs than I did about what I was going to do once the songs started." —Phil Collins.[117] A Trick of the Tail was released in February 1976 and was a commercial and critical success for the band. The album reached No. 3 in the UK[118] and No. 31 in the US.[23] The title track was released as a single, though it did not chart.[119] In June, the album was certified Gold by the British Phonographic Institute for selling over 100,000 copies[120] which helped the band clear the £400,000 of debt (equivalent to £2,827,900 in 2019)[35] they owed when Gabriel left.[121] For the first time in their career Genesis filmed promotional videos for their songs, including "A Trick of the Tail" and "Robbery, Assault and Battery".[122] Before the upcoming tour, Collins sought a drummer he felt comfortable with while singing; he chose Bill Bruford who offered to do the job.[123] From March to July 1976, Genesis performed across North America and Europe with the A Trick of the Tail tour, to enthusiastic crowds. Collins adopted a more humorous rapport with the audience, unlike Gabriel's theatrical approach, which was successful. The shows in Glasgow and Stafford were filmed for their concert film Genesis: In Concert, released in cinemas in February 1977 as a double bill with White Rock.[124] In September 1976, Genesis relocated to Relight Studios in Hilvarenbeek, The Netherlands with Hentschel to record Wind & Wuthering.[125] It was put together in a short amount of time and a considerable amount of material was written beforehand, of which the most suitable songs were picked for development. Rutherford spoke of the band's conscious effort to distance themselves from songs inspired by fantasy, something that their past albums "were full of".[126] The band spent roughly six weeks writing the album[127] with a basic form of each track put down in twelve days.[128] Additional recording and production work was done at Trident Studios that October.[129][128] Hackett, having already released a solo album, enjoyed the greater amount of control over the recording process that working within a group could not provide. He felt his songs, including "Please Don't Touch" which he later released on his second album Please Don't Touch!, were rejected from the final track order in favour of material that Banks, in particular, had put forward. Collins spoke of the situation, "We just wanted to use what we agreed was the strongest material, irrespective of who wrote it".[129] Wind & Wuthering was released in December 1976 and reached No. 6 the UK and No. 26 in the US.[130] Rutherford's track, "Your Own Special Way", became its sole single and went to No. 43 in the UK. Its B-side is "It's Yourself", originally intended for A Trick of the Tail.[131] Hackett in January 1977 on the Wind & Wuthering tour, the last before his departure Prior to the 1977 tour Bruford declined an offer to return as second drummer, leaving Collins searching for a replacement. He heard American drummer Chester Thompson, of Frank Zappa's band and Weather Report, play a drum passage on "More Trouble Every Day" from Zappa's live album Roxy & Elsewhere. Collins said, "It floored me completely ... I had never met him. I rang him up and said, 'Hi Chester, I've heard your stuff, would you like to play with Genesis?' ... He didn't even audition!"[132] Genesis toured Wind & Wuthering from January to July 1977 across Europe, North America, and for the first time, Brazil. The stage show cost £400,000 (equivalent to £2,441,000 in 2019).[35] which featured a new PA system, lasers and smoke, and lighting supplied from two rows of Boeing 747 aircraft landing lights.[133][134] Touring began on 1 January with three sold-out shows at the Rainbow Theatre in London, where 80,000 applications were made for the 8,000 available tickets.[135] They returned to London for three nights at Earls Court, then the largest arena in Britain, supported by Richie Havens.[134] The band's growing popularity in North America led to television appearances and concerts organised in larger venues than previous tours, including Madison Square Garden in New York City.[126] Their Brazilian dates were attended by over 150,000 people and a proposed 100,000-person gig was cancelled over rioting fears. An armed bodyguard accompanied each member throughout their stay.[136] In May 1977 Genesis released Spot the Pigeon, an extended play of three tracks left off Wind & Wuthering. It peaked at No. 14 on the UK singles chart. It was the final Genesis release before Hackett left the group. He had been writing more material on his own and found it increasingly difficult to contribute more of his ideas within a group context. He wished to embark on a solo career and "take the risk in order to find out just how good I was on my own".[137] News of Hackett's departure coincided with the band's double live album Seconds Out, recorded in Paris on the A Trick of the Tail and Wind & Wuthering tours and released in October 1977.[130] It reached No. 4 in the UK and No. 47 in the US.[130] 1977–1980: ...And Then There Were Three... and Duke By the time Seconds Out was released, Banks, Rutherford, and Collins had already recorded ...And Then There Were Three..., the first Genesis album recorded as a trio, in September 1977 at Relight Studios with Hentschel as producer.[138] It was then mixed at Trident Studios in London. The album is a collection of shorter songs in order to put across more musical ideas.[139] Most of its eleven songs were written individually with Banks contributing four, Rutherford three, Collins one, and the remaining three written collectively.[140] Their new material signalled a change in the band's sound with songs becoming more pop-oriented, including the group-written track "Follow You Follow Me". Collins recalled it was the only song on the album written from scratch during rehearsals.[141] Rutherford felt comfortable taking on lead guitar duties in addition to his usual rhythm and bass roles, although the band had considered auditioning replacement guitarists or using a session guitarist on the album.[138] Collins later saw the album as "a very vocal, solid album" that lacked more rhythmic tracks like "Los Endos" or songs from Wind & Wuthering, as coming up with ideas on the drums while living in his flat in Ealing with his family was difficult.[142] ...And Then There Were Three... was released in March 1978. It received some mixed reviews from critics at the time owing to the album only containing short songs, which excited new fans but disillusioned those who had been used to the band's previous work.[143] Chris Welch wrote a positive review in Melody Maker, citing a "remarkably powerful" album.[144] It was a commercial success and peaked at No. 3 in the UK[43] and No. 14 in the US.[23] "Follow You Follow Me" was released as its lead single and reached No. 7 in the UK[145] and No. 23 in the US, their highest charting single in both countries since their formation.[23] Its success introduced the band to a new audience, including a larger female interest, helped by its music video airing on Top of the Pops.[146] Its success caused some fans to accuse the group of selling out to more commercial music.[141] A follow up single, "Many Too Many", was less successful as it had already appeared on the album.[147] In the search for a new touring guitarist, Rutherford tried out Pat Thrall and Elliot Randall,[148] followed by Alphonso Johnson of Weather Report, but he was primarily a bassist and could not play Hackett's lead guitar parts comfortably.[149] Johnson then suggested American guitarist Daryl Stuermer of Jean-Luc Ponty's jazz fusion group who was more comfortable with various guitar styles. During Stuermer's rehearsal in New York City, Rutherford was satisfied with his performance after they played through "Down and Out" and "Squonk".[149] When Stuermer was chosen, he familiarised himself with a list of 26 songs he was asked to learn by going through five per day.[150] The ...And Then There Were Three... tour ran from March to December 1978 and visited North America, Europe, and for the first time, Japan. It cost an estimated £2 million to stage (equivalent to £11,270,200 in 2019).[35] which included the sound system, light and laser displays, and additional effects from six computer-controlled mirrors,[151][149] all of which took eight hours to set up and five to dismantle.[152] One of their shows featured a guest appearance from Gabriel, who sang "I Know What I Like (In Your Wardrobe)".[153] In June, Genesis headlined the year's Knebworth Festival, their only UK show that year.[147] In December 1978, Genesis began a period of inactivity as Collins's marriage was at risk of collapse after touring had made him frequently absent from his wife and children. Following a meeting with Banks, Rutherford and Smith, Collins went to Vancouver, British Columbia, Canada, to try and rebuild the family.[154] He explained: "I was never going to leave the band. It was just that if I was going to be living in Vancouver then we'd have had to organise ourselves differently."[151] Banks and Rutherford decided to put Genesis on an extended break and make their respective debut solo albums, A Curious Feeling and Smallcreep's Day, at Polar Studios in Stockholm, Sweden.[151] In April 1979, Collins returned to the UK after his attempt to save his marriage failed. With time to spare before working on a new Genesis album, Collins performed with Brand X, played the drums on former bandmate Peter Gabriel's third album and started writing his first solo album, Face Value, at his home in Shalford, Surrey.[151] In 1979, Banks and Rutherford moved into Collins's home in Shalford to write and rehearse material for Duke. The three found the writing process easier and less complicated than And Then There Were Three Rutherford reasoned this as they were "getting back to the basic stage of ideas being worked on jointly".[151] Banks put it down to their break in activity, resulting in "good ideas ... which hasn't happened for some time".[151] Duke continued the band's transition into writing shorter songs with each member contributing two songs for the group to develop. Banks put forward "Heathaze" and "Cul-de-Sac", Rutherford used "Man of Our Times" and "Alone Tonight", and Collins had "Misunderstanding" and "Please Don't Ask". All three wrote the remaining five tracks including "Duchess", the first Genesis song that uses a drum machine, specifically a Roland CR-78 imported from Japan.[155] In its original form, the album was to contain a 30-minute track based on a fictional character named Albert, but the idea was cancelled to avoid comparisons to "Supper's Ready" from Foxtrot.[156] In November, the band recorded Duke at Polar Studios with Hentschel reprising his role as producer, and included a cover from French illustrator Lionel Koechlin, featuring the character Albert.[157] Released in March 1980, Duke was the band's biggest commercial success at the time of release, spending two weeks at No. 1 in the UK and peaking at No. 11 in the US.[130] The album spawned three singles; "Turn It On Again" went to No. 8 in the UK,[130] "Misunderstanding" reached No. 14 in the US,[23] and "Duchess" peaked at No. 46 in the UK.[43] Duke was supported with a UK and North American tour from April to June 1980 which began with a 40-date tour of the UK where all 106,000 tickets were sold within hours of going on sale.[158] 1980–1985: Abacab and Genesis The band's remodelled studio in Chiddingfold, Surrey known as The Farm. Abacab was the first album recorded there. In November 1980, Genesis bought Fisher Lane Farm, a farmhouse with an adjoining cowshed near Chiddingfold, Surrey, as their new rehearsal and recording facility. The building was remodelled into a studio in four months before recording for Abacab began in March 1981.[159] The new environment had a productive effect on the writing process as the band wrote enough for a double album, but they discarded one hour's worth of songs that sounded too similar to their past albums. Banks said a conscious effort was made to keep melodies as simple as possible which signalled further changes in their direction.[160] The shift was underlined in its production when Hentschel, their producer and engineer since 1975, was replaced by Hugh Padgham after Collins liked his production on Face Value and Gabriel's third solo album.[161] Production duties were solely credited the band for the first time with Padgham as their engineer.[162] The album is formed of group written material with an individual song from each member. "No Reply at All" features the Phenix Horns, the horn section of American band Earth, Wind & Fire.[163] Abacab was released in September 1981 and reached No. 1 in the UK[164] and No. 7 in the US.[23] Three singles from the album entered the top forty in both countries; "Abacab" reached No. 9 in the UK[119] and No. 26 in the US, "No Reply at All" reached No. 29 in the US,[23] and "Keep It Dark", a European only single, went to No. 33 in the UK.[43] Abacab was supported with a tour of Europe and North America from September to December 1981, ending with shows at Wembley Arena and the NEC Birmingham.[165] The tour marked the band's first use of the Vari-Lite, a computer-controlled intelligent lighting system. Following a demonstration at The Farm, the band and Smith showed an immediate interest in the technology and became shareholders of the company.[166] In May 1982, three tracks recorded during the Abacab sessions – "Paperlate", "You Might Recall", and "Me and Virgil" – were released as an extended play in Europe titled 3×3[119] which peaked at No. 10 in the UK.[43] Its cover is a homage to the Twist and Shout EP by The Beatles with sleeve notes written by their former publicist Tony Barrow.[167] "Basically, we reached the point ... where we either became a caricature of ourselves and settled into a rut, or we changed. There was no doubt in our minds that change was the answer." —Mike Rutherford on the band's change in direction[168] In June 1982, Genesis released the double live album Three Sides Live in two different versions. The North American edition contains three sides of live recordings with the fourth comprising the 3×3 tracks and two from the Duke sessions. The European release contains a fourth side of extra live tracks.[169] The album coincided with the home video release of the Three Sides Live concert film recorded in 1981. A tour of North America and Europe followed that ran from August to September 1982, featuring guest appearances from Bill Bruford and the Phenix Horns.[169] On 2 October, Genesis headlined a one-off concert with Gabriel at the Milton Keynes Bowl under the name Six of the Best. The concert was organised to raise money for Gabriel's World of Music, Arts and Dance project which was, by that point, in considerable debt.[170] Hackett, who flew in from abroad, arrived in time to perform the last two songs.[171] Work on the twelfth Genesis album, Genesis, began in March 1983 with Padgham returning as engineer.[172] It is the first album written, recorded, and mixed at the remodelled studio at The Farm. Banks remembered the band were scarce for new musical ideas which "felt at times as though we were stretching the material as far as we could".[173] "Mama" concerns a man's obsession with a prostitute at a Cuban brothel.[174] It originated from a beat Rutherford came up with on a LinnDrum machine that was fed through his guitar amplifier and an echo gate.[173] Collins' laugh on the track originated from "The Message" by Grandmaster Flash and the Furious Five.[175] Released in October 1983, Genesis went to No. 1 in the UK[164] and peaked at No. 9 in the US,[23][43] where it reached Platinum by December that year and went on to sell over four million copies.[176] Three tracks were released as singles; "Mama" reached No. 4 in the UK, their highest charting UK single to date,[119] and "That's All" reached No. 6 in the US[23] The Mama Tour ran from late 1983 through to 1984, covering North America and five UK shows in Birmingham. The latter shows were filmed and released as Genesis Live – The Mama Tour.[177] In February 1984, Genesis took a break in activity to allow each member to continue with their solo careers.[178] Rutherford formed his group Mike + The Mechanics, Banks worked on his solo album Soundtracks, and Collins released No Jacket Required which achieved worldwide success and increased his popularity as a result. The music press took note that Collins' success as a solo artist made him more popular than Genesis.[179] Before the release of No Jacket Required, Collins insisted that he would not leave the band. "The next one to leave the band will finish it," Collins told Rolling Stone magazine in May 1985. "I feel happier with what we're doing now, because I feel it's closer to me. I won't be the one." Collins added, "Poor old Genesis does get in the way sometimes. I still won't leave the group, but I imagine it will end by mutual consent."[179] In June, Collins spoke of the band's intention to start work on a new album that year,[180] ending rumours to a false announcement that aired on BBC Radio 1 suggesting Genesis had split.[181] 1985–1996: Invisible Touch, We Can't Dance, and Collins's departure Genesis reconvened at The Farm in October 1985 to start work on Invisible Touch which lasted for six months.[182] They continued their method of songwriting used on Genesis by developing material from group improvisations. Banks remembered the time as a strong period creatively for the band, with ideas "flowing out of us".[183] "Invisible Touch" was developed in such a way, when the group were working on "The Last Domino", the second part of "Domino". During the session, Rutherford began to play an improvised guitar riff to which Collins replied with an off-the-cuff lyric – "She seems to have an invisible touch" – which became the song's chorus hook.[184] Following its release in June 1986, the album spent three weeks at No. 1 in the UK and reached No. 3 in the US.[23][43] Despite the mixed reviews, Invisible Touch was a commercial success, becoming the best selling Genesis album in the US, selling over 6 million copies there.[176] The album's five singles – "Invisible Touch", "Throwing It All Away", "Land of Confusion", "In Too Deep", and "Tonight, Tonight, Tonight" – entered the top five on the US singles chart between 1986 and 1987[23] with "Invisible Touch" topping the chart for one week.[185] Genesis became the first group and foreign act to achieve this feat, equalling the five singles record set by Michael Jackson, Janet Jackson, and Madonna.[186] Genesis commissioned the creators of the satirical British television show Spitting Image, Peter Fluck and Roger Law, to make puppets of them in the style of the show for the video of "Land of Confusion".[187] "Nearly 300,000 people at Wembley ... I thought at the time, and I still think now, that moment was the peak of our career." —Tony Banks[188] The Invisible Touch Tour was the band's largest world tour in its history which included 112 dates from September 1986 to July 1987. Genesis received some criticism in their decision to have Michelob beer as a sponsor. The tour concluded with four consecutive sold-out shows at Wembley Stadium in London.[189] The shows were released in 1988 as The Invisible Touch Tour.[184] When the tour ended, Genesis took a five-year break while each member committed to their solo projects. They performed twice during this time; on 14 May 1988, they performed a 20-minute set at the Atlantic Records 40th Anniversary concert at Madison Square Garden.[189] This was followed by a set at a charity gig at the 1990 Knebworth Festival in June, headlined by Pink Floyd.[190] In 1991 Genesis recorded their fourteenth album, We Can't Dance, from March to September with their new engineer and co-producer, Nick Davis. The band took advantage of the increased capacity the CD offered and released over 71 minutes of new music across 12 tracks. Collins wrote the lyrics to "Since I Lost You" for his friend Eric Clapton following the death of Clapton's four-year-old son Conor.[191] Following the release of We Can't Dance in November 1991, the album went to No. 1 in the UK for one week and No. 4 in the US,[23][43] where it went on to sell over 4 million copies.[176] The album spawned several hit singles; "No Son of Mine" went to No. 6 in the UK and "I Can't Dance" reached No. 7 in the UK and the US.[23][43] In 1993, We Can't Dance was nominated for a Brit Award for Best British Album.[192] Genesis performing at the Knebworth Festival in August 1992. The We Can't Dance tour visited North America and Europe from May to November 1992 with each concert attended by an average of 56,000 people.[193] The tour spawned two live albums; The Way We Walk, Volume One: The Shorts reached No. 3 in the UK and The Way We Walk, Volume Two: The Longs went to No. 1 in the UK.[43] Following the tour, the band took a break in activity. Banks, Rutherford, and Collins performed at Cowdray Castle, Midhurst in September 1993 for a money-raising event with Pink Floyd touring guitarist Tim Renwick and drummer Gary Wallis and Queen drummer Roger Taylor. Rutherford also played bass on Pink Floyd's set at the same concert.[194] In March 1996, Collins announced his departure from Genesis. In a statement, he said, "Having been in Genesis for 25 years, I felt it time to change direction in my musical life. For me now, it will be music for movies, some jazz projects, and of course my solo career. I wish the guys in Genesis all the very best in their future. We remain the best of friends."[195] 1996–2006: Wilson on lead vocals, Calling All Stations, and hiatus Shortly after Banks and Rutherford decided to continue Genesis in 1996, they went to The Farm to start writing Calling All Stations. Rutherford initially found the sessions difficult as he saw Collins as "the guy in the middle" who made Banks and himself work better.[196] Their best ideas developed in this period were put forward while they auditioned new singers, including Francis Dunnery and Nick Van Eede. The two main contenders, David Longdon (later of Big Big Train) and Scottish singer Ray Wilson of Stiltskin, auditioned throughout 1996 which involved singing along to Genesis tracks with the lead vocals removed. Wilson was announced as the new Genesis singer in June 1997.[197] Though much of the album was already written by the time he joined, Banks was pleased with his contributions to the album which included writing the lyrics to "Small Talk" and riffs on "Not About Us" and "There Must Be Some Other Way".[198][199] Banks and Rutherford opted for two drummers on Calling All Stations – Israeli session musician Nir Zidkyahu and Nick D'Virgilio of Spock's Beard.[6] Calling All Stations was released in September 1997. It was a success in Europe, where it reached No. 2 in the UK,[43] but the album peaked at No. 54 in the US, their lowest charting album there since Selling England by the Pound.[23] A single from the album, "Congo" reached the top 30 in the UK[43] and Genesis completed a European tour from January to May 1998, adding Zidkyahu on drums and Irish guitarist Anthony Drennan. A North American tour was planned but was cancelled following its poor commercial response and lack of ticket sales, which led to Banks and Rutherford announcing in 2000 that the group would no longer be recording and touring.[6] In 1998, Banks, Collins, Gabriel, Hackett, Phillips, Rutherford, and Silver gathered for a photo session and dinner to celebrate the release of the four-disc box set, Genesis Archive 1967–75. The set features "Supper's Ready" and "It" with new overdubs by Gabriel and Hackett.[200] In 1999, Banks, Collins, Rutherford, Hackett, and Gabriel released a new version of "The Carpet Crawlers" for the compilation album Turn It On Again: The Hits.[201] On 21 September 2000, Collins, Banks, Rutherford reunited at the Music Managers Forum, in honour of their manager Tony Smith. Gabriel attended the ceremony but chose not to perform.[202] Genesis briefly performed at Gabriel's wedding in 2002.[203] In 2004, Genesis released Platinum Collection, a three-disc box set of songs covering the band's career that reached No. 21 in the UK.[43][204] 2006–present: 2007 tour, reunion speculations, and BBC documentary Genesis performing at Old Trafford, Manchester in 2007 In a press conference held in London in November 2006, Banks, Rutherford, and Collins announced their reunion for the Turn It On Again Tour, their first with Collins in fourteen years.[205] They revealed the initial plan of touring The Lamb Lies Down on Broadway with Gabriel and Hackett. The five met in Glasgow in November 2004 to discuss the idea further, but it never developed further as Gabriel was unable to commit due to other projects.[206] Instead, Banks, Rutherford and Collins decided to proceed with Thompson and Stuermer returning on drums and guitar, respectively.[207] In March 2007, a press conference was held in New York City to announce the North American leg.[208] The Turn It On Again Tour featured a stage designed by architect Mark Fisher with a lighting display by Patrick Woodroffe, included a 55-metre long LED backdrop formed of 9 million LED lights.[209] The European leg saw close to 400,000 tickets sold in 40 minutes for shows in Germany and the Netherlands.[210] The European leg ended with a free concert on 14 July at the Circus Maximus in Rome in front of around half a million people.[211][212] It was filmed for DVD that was released the following year as When in Rome 2007. A live album formed of recordings from various European dates was released in 2007 as Live over Europe 2007.[213] On 7 July, the band played at the Live Earth concert in London at Wembley Stadium.[214] In 2007, the band's studio albums from Trespass to Calling All Stations were digitally remastered by Nick Davis across three box sets: Genesis 1970–1975, Genesis 1976–1982 and Genesis 1983–1998. Each album is presented as a two-disc set containing a CD/Super Audio CD of a new stereo mix and a DVD with a 5.1 surround sound mix and bonus features including previously unreleased live performances, interviews, and concert programs.[207] Two DVD box sets followed, Genesis Live 1973–2007[215] and Genesis Movie Box 1981–2007, in 2009.[216] Since 2011, Genesis have expressed mixed opinions about a reunion. Collins retired from the music industry as an active musician that year in favour of family commitments[217] and has stated he can no longer play the drums due to medical issues.[218] Hackett has said "I would say it's possible, but highly improbable. I've always been open to it. I'm not the guy who says no."[206] Gabriel addressed the possibility of a reunion: "I never say never. It really didn't happen last time. I think there's a small chance, but I don't think it's very high."[219] In 2014, Collins reiterated, "Have people thought it through? It’s not as if you’re going to get Peter as the singer, me as the drummer. I can’t play any more, so it’s never going to happen," adding it would not be likely for Gabriel to perform songs Collins originally sang lead on.[220] In 2014, Gabriel, Banks, Rutherford, Collins and Hackett reunited for Genesis: Together and Apart, a BBC documentary about the band's history and the various solo albums the members have released. Although he participated in the documentary and promoted it, Hackett was critical following its broadcast, saying that it was biased and did not give him editorial involvement, adding that it ignored his solo work despite his speaking at length about it.[221] The documentary does not feature Wilson's time in Genesis. Hackett remains cynical about a Genesis reunion, saying: "Look at the documentary and you'll get an idea of the priorities that come across."[222] In 2015, Collins announced an end to his retirement, and speculated a reunion with Banks and Rutherford would be possible,[223] a view which Banks endorsed.[224] In 2017, Rutherford said he was also amenable to a reunion tour if Collins was interested. Hackett said he would like a reunion of the 1971–1975 line-up, but stressed it was very unlikely, adding "I won’t say any more because I don’t want to raise expectations".[225] Collins published his autobiography in 2016, and stated in the introduction that he retired from Genesis in 2007.[7] On 7 June 2019, Mike Rutherford joined Phil Collins on stage during Collins's Not Dead Yet Tour stop in Berlin. The two performed "Follow You Follow Me". It was the first time since the 2007 Turn It On Again tour where members of Genesis reunited and performed together.[226] Musical style Genesis identify first and foremost as songwriters. Any instruments featured on any of the recordings were used because they helped serve the song. Rutherford later said "We're much more concerned with feel."[2] Though styles changed dramatically over the group's career, they were always built on musical contrasts and the willingness to experiment.[227] Members of the original line-up were exposed to classical and church music as well as rock artists of the 1960s, particularly the Beatles.[228] Gabriel's vocal style was influenced by Otis Redding and other Stax artists.[229] Some of Genesis's music was inspired by blues according to Hackett, who says that the sonic innovation of the electric guitar in the early 1970s came straight from this.[230] In their early years, Genesis' music combined elements of the pop, folk, and psychedelic genres.[231] Several songs developed during Phillips' time in the band originated on 12-string guitars, often with unconventional tunings. By the 1970s, the group began to include fantasy and surreal elements in their lyrics, such as "The Musical Box".[232] Nursery Cryme marks the first time electric instruments were used more extensively. A Trick of the Tail marked a return to the band's roots with acoustic passages and songs inspired by fantasy.[233] Early lyrics drew from psychedelia, fantasy, mythological figures, and fairytale themes. Gabriel emerged as one of the band's main lyricists who often incorporated puns and double entendres in his lines and track titles and addressed various themes including social commentary.[234] Selling England by the Pound contains references to English culture of the time including "Aisle of Plenty", where four British supermarket chains are referenced to reflect the album's theme of commercialism. Literary sources are used as inspiration for many Genesis tracks; "The Cinema Show" is based on T. S. Eliot's poem The Waste Land,[235] and Arthur C. Clarke's novel Childhood's End inspired the lyrics to "Watcher of the Skies".[236] Mike Rutherford playing his distinctive double neck guitar, combining 12-string and bass. By the time the group had slimmed down to the trio of Banks, Rutherford and Collins, they had decided to change lyrical styles, dealing more with everyday matters which connected with female fans.[146] Collins' songs, in particular, were personal in nature.[237] However, the group still featured humour in songs such as "Illegal Alien",[238] and dealt with serious themes such as politics on "Land of Confusion"[239] and commercialisation on "I Can't Dance".[240] Banks has said that a common way of developing songs throughout the band's career was for Collins to play the rhythm, Rutherford to set up a groove and riffs, and for him to add the harmonies and melodies on top. He cites the "Apocalypse in 9/8" section of "Supper's Ready", "The Cinema Show" and "Domino" as examples of this, and says the restrictions it gave him allowed the group to produce straightforward pop songs such as "Invisible Touch" and "Land of Confusion" in later years.[241] Banks used a number of keyboards during Genesis' career, continually trying out new models, though he used the piano regularly throughout the group's lifetime. In the 1970s, he frequently used the Hammond organ, Hohner Pianet, Mellotron, RMI Electronic Piano and ARP Pro Soloist.[242] In the 1980s, he used the Sequential Circuits Prophet 5 and Prophet 10, the ARP Quadra and various Korg synthesizers.[243] For the Turn It On Again tour in 2007, his main board was a Korg Oasys.[244] As both a guitarist and bassist, Rutherford regularly swapped between the two roles, and his trademark instrument with Genesis, particularly through the 1970s, was a double neck guitar. In the 1980s and beyond, he favoured the Eric Clapton Stratocaster.[245] Legacy See also: List of awards and nominations received by Genesis "Genesis has had a hard time getting respect. In the early '70s ... it attracted an avid cult following but was largely ignored by the rock press and public at large ... Even in the early '80s ... the press was unimpressed, dismissing the group as easy-listening lightweights ... All of which, to be honest, has been grossly unfair to the group." —Music critic J. D. Considine[246] Genesis have been estimated to have sold between 100–150 million albums worldwide.[247][248][249][250][251] Their total certified album sales include 21.5 million in the US,[252] 7.2 million in the UK,[253] 5.6 million in Germany,[254] and 3.4 million in France.[255][256] Genesis have been awarded with eleven Gold and four Multi-Platinum albums in the UK,[120] while in the US they have seven Gold, two Platinum, and four Multi-Platinum albums.[176] In March 2010, Genesis were inducted into the Rock and Roll Hall of Fame by Phish guitarist Trey Anastasio.[257] The band's awards include a Silver Clef Award for outstanding contributions to British music at its second annual ceremony in 1977.[258] In 1988, the band received one of the only two Grammy Awards issued for the short-lived Best Concept Music Video category for "Land of Confusion".[259] In September 2012, a Lifetime Achievement Award was given to the band at the inaugural Progressive Music Awards.[260] In 2004, Q ranked Genesis as the seventeenth-biggest band in a list compiled based on album sales, time spent on the UK charts, and largest audience for a headlining show.[261] Genesis were honoured at the second VH1 Rock Honors in May 2007, which featured Banks, Rutherford and Collins.[262] In 2008, the band received a Lifetime Achievement Award at the Mojo Awards in 2008.[263] Genesis were targets for criticism throughout the 1970s from those who disliked progressive rock. Influential BBC DJ John Peel championed the band in their early years and they performed three sessions for him between 1970 and 1972, but he "grew disillusioned with their later excesses".[264] Some regarded the group as overtly middle class, paying particular attention to the founder members' private education, and claimed rock music was being taken away from the working class, whom they regarded as its core audience.[265] Likening his background to that of the punk artist Joe Strummer, who had become a "people's hero" musician, Gabriel stated in 2013, "To this day, we've never outgrown the snotty rich-kid thing ... we were always very straight about where we came from, and we were middle-class, not aristocratic".[266] Gabriel's theatrics were unpalatable to some of the mainstream rock audience, resulting in a cult following rather than that of a mainstream rock band.[267] At their commercial peak in the 1980s, the music of Genesis faced the accusation of being "flabbergastingly insignificant" by leading American music critic Robert Hilburn,[268] and it has been described as "barely distinguishable" from Collins's solo work.[269] According to Rolling Stone's Erik Hedegaard, Collins in particular was blamed by those who accused the band of selling out.[270] Retrospectively, The New Rolling Stone Album Guide critic J. D. Considine documented how the band had been "largely ignored" by the music press and public in their earliest years, before being "derided as middlebrow throwbacks still in thrall to the pomposities of art rock" in the late 1970s and then dismissed as "easy-listening lightweights" in the 1980s. He argued this was unfair, as the band had made their "share of mediocre albums" but no bad ones.[246] Critics, though, disagree about which albums were mediocre; Considine cites Selling England by the Pound as one of the band's three worst (those meriting 2 stars out of 5[246]), while the AllMusic Guide picks it as one of their three best.[271] Journalists have reported that fans preferring one era of the band strongly dislike others. Rock author Colin McGuire has described the arguments from fans of the Gabriel era as "they sold out and became too corporate when Collins stepped into the spotlight", while fans of the Collins era argue "the Gabriel years were boring and hard to stomach". He concluded both eras of the band should be judged on their own merits.[272] The band themselves have been aware of these divides; press interviews for Abacab explicitly stated that fans of Foxtrot might not like the album, but should keep an open mind.[273] Ultimate Classic Rock stated, "There are few groups in the classic-rock canon with a more divisive discography than Genesis... there's no arguing that they helped create the template for prog-rock and made some of the genre's most essential albums", but continued "the Genesis sound gradually grew less and less progressive, until the band became a straight-up pop act. Good luck finding anybody out there who's equally enamored of both sides of the band's story."[274] On their legacy, Q reviewer Andy Fyfe wrote in 2007 that "little of the band's output has aged well" and "transcends in the way real classics do", stating they would "remain perennial whipping boys for decades to come".[275] However, The Daily Telegraph chief rock music critic Neil McCormick has said that Genesis were "a daring and groundbreaking band (certainly in their early career)", described Collins as "an outstanding drummer" and stated that "after Gabriel left, he stepped up to prove himself a charismatic frontman with a very distinctive vocal character".[276] Influence Genesis have been cited as a principal influence on the neo-progressive rock subgenre that emerged in the 1980s,[277] featuring bands including Marillion and Pallas.[278][279] Steve Hackett's work in Genesis influenced guitarists such as Brian May of Queen,[280][281] Alex Lifeson of Rush,[280] and Eddie Van Halen of Van Halen.[280] Iron Maiden founder Steve Harris cites Gabriel-era Genesis as one of his main influences, stating "Supper's Ready" as his joint all-time favourite song in an interview with Prog.[282] Genesis were also an influence on post-punk artists such as Simple Minds and Will Sergeant, guitarist of Echo & the Bunnymen,[283][284] as well as the electronic new wave band The Human League.[285] Trey Anastasio of Phish said "It's impossible to overstate what impact this band and musical philosophy had on me as a young musician. I'm forever in their debt."[286] Mostly Autumn "fuse the music of Genesis and Pink Floyd" in their sound.[287] The alternative rock band Elbow acknowledge Genesis as an influence,[288] such as on their breakthrough song "Newborn".[289] There are a number of Genesis tribute bands, including ReGenesis who focus on the group's 1970s music,[290] and Mama, who cover all eras of the band.[291] The most successful act is the Canadian-French band The Musical Box, who have been officially endorsed by the band and had Hackett and Collins perform as guests with them. Gabriel took his children to see the Musical Box so "they could see what their father did back then",[292] while Hackett said "They not only manage to sound, but look virtually identical".[293] Band members See also: List of Genesis band members Discography Main article: Genesis 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) The Both Sides of the World Tour was a worldwide concert tour by English singer-songwriter and drummer Phil Collins, which took place between April 1994 and May 1995, in support of his 1993 album, Both Sides. Despite the lukewarm reception the album received upon its release, the tour was a huge success, regularly selling out venues across the world. The tour lasted 13 months, which was the longest time Phil Collins has performed on the road, solo, as part of Genesis or his involvement with Brand X and Flaming Youth. It was also the first time Collins played a major tour singing without Chester Thompson on drums since Genesis’s A Trick of the Tail Tour in 1976. Contents 1 Setlist 2 Tour dates 3 Ticket sales 4 Tour DVD and documentary 5 Tour band 6 References Setlist The setlist for the tour was separated into two parts. The first part, Black & White, consisted of songs from the Both Sides album, and other dark, personal songs. The second part, Colours, had the more recognisable upbeat songs Collins wrote during the 1980s. Part One: Black & White Drums Introduction "I Don't Care Anymore" "Don't Lose My Number" "Everyday" or "Can't Turn Back the Years" "Survivors" "Another Day in Paradise" "I Wish It Would Rain Down" "One More Night" "A Groovy Kind of Love" "We Wait and We Wonder" "Separate Lives" "Both Sides of the Story" Part Two: Colours "In the Air Tonight" "Hang in Long Enough" "Find a Way to My Heart" "It Don't Matter To Me" "Easy Lover" "I Missed Again" "Behind the Lines" "Only You Know and I Know" "Something Happened on the Way to Heaven" "You Can't Hurry Love" "Two Hearts" "Sussudio" "Against All Odds" "Take Me Home" Tour dates After nearly two months of rehearsals in Chiddingfold, the Both Sides of the World Tour kicked off on 1 April 1994 in Utrecht, The Netherlands, in what would be the first of 169 performances by Collins and his band. It was thought after the final London dates in December 1994 the tour was over. However, Collins decided to continue after taking a break. The final leg of the tour, named The Far Side of the World resumed on 17 March in Johannesburg which was one of several cities Collins performed in for the first time. The tour eventually concluded in Fukuoka on 17 May 1995. Date City Country Venue Europe #1 1 April 1994 Utrecht Netherlands Prins Van Oranje Hall 2 April 1994 4 April 1994 Stockholm Sweden Globe Arena 6 April 1994 Oslo Norway Oslo Spektrum 7 April 1994 9 April 1994 Utrecht Netherlands Prins Van Oranje Hall 10 April 1994 12 April 1994 Ghent Belgium Flanders Expo 13 April 1994 15 April 1994 Dortmund Germany Westfalenhallen 16 April 1994 18 April 1994 19 April 1994 22 April 1994 Zürich Switzerland Hallenstadion 23 April 1994 25 April 1994 Milan Italy Forum Assago 26 April 1994 Lausanne Switzerland Patinoire de Malley 28 April 1994 Lyon France Halle Tony Garnier 29 April 1994 Paris Palais Omnisports de Paris-Bercy 1 May 1994 Toulon Zénith Oméga 2 May 1994 Toulouse Palais des Sports 4 May 1994 Barcelona Spain Palau Sant Jordi 5 May 1994 Madrid Plaza de Toros de Las Ventas 7 May 1994 Lisbon Portugal Estádio José Alvalade North America 17 May 1994 Mexico City Mexico Palacio de los Deportes 18 May 1994 20 May 1994 21 May 1994 23 May 1994 Monterrey Teatro Fundidora 25 May 1994 The Woodlands United States Cynthia Woods Mitchell Pavilion 26 May 1994 Houston The Summit 27 May 1994 Dallas Reunion Arena 29 May 1994 Saint Petersburg ThunderDome 30 May 1994 Miami Miami Arena 31 May 1994 2 June 1994 Orlando Orlando Arena 4 June 1994 Atlanta Lakewood Amphitheatre 5 June 1994 Charlotte Blockbuster Pavilion 7 June 1994 Raleigh Walnut Creek Amphitheatre 9 June 1994 Mansfield Great Woods 10 June 1994 11 June 1994 Saratoga Springs Saratoga Performing Arts Center 13 June 1994 Montreal Canada Montreal Forum 14 June 1994 16 June 1994 Toronto SkyDome 17 June 1994 19 June 1994 Philadelphia United States Spectrum 20 June 1994 22 June 1994 23 June 1994 Landover USAir Arena 25 June 1994 East Rutherford Brendan Byrne Arena 26 June 1994 28 June 1994 Auburn Hills Palace of Auburn Hills 29 June 1994 30 June 1994 Burgettstown Starlake Amphitheatre 2 July 1994 Wantagh Jones Beach Amphitheatre 3 July 1994 5 July 1994 Hartford Hartford Civic Center 6 July 1994 New York City Madison Square Garden 7 July 1994 9 July 1994 Hershey Hersheypark Stadium 11 July 1994 Richfield Richfield Coliseum 12 July 1994 14 July 1994 Columbus Polaris Amphitheatre 15 July 1994 Noblesville Deer Creek Music Center 16 July 1994 Milwaukee Marcus Amphitheater 18 July 1994 Cincinnati Riverbend Music Center 20 July 1994 Rosemont Rosemont Horizon 21 July 1994 22 July 1994 Moline The MARK of the Quad Cities 24 July 1994 Maryland Heights Riverport Amphitheatre 25 July 1994 Bonner Springs Sandstone Amphitheater 27 July 1994 Greenwood Village Fiddlers Green Amphitheatre 28 July 1994 Salt Lake City Delta Center 30 July 1994 Paradise MGM Grand Garden Arena 31 July 1994 Phoenix Desert Sky Pavilion 4 August 1994 Sacramento ARCO Arena 5 August 1994 Mountain View Shoreline Amphitheatre 6 August 1994 8 August 1994 Inglewood Great Western Forum 9 August 1994 13 August 1994 Irvine Irvine Meadows Amphitheatre Europe #2 30 August 1994 London England Fountain Studios 1 September 1994 Berlin Germany Maifield 3 September 1994 Hanover Niedersachsenstadion 4 September 1994 6 September 1994 7 September 1994 9 September 1994 Paris France Palais Omnisports de Paris-Bercy 10 September 1994 12 September 1994 13 September 1994 15 September 1994 Stuttgart Germany Schleyerhalle 21 September 1994 Munich Olympiahalle 22 September 1994 24 September 1994 26 September 1994 Frankfurt Festhalle Frankfurt 27 September 1994 28 September 1994 30 September 1994 Metz France Galaxie Amnéville 1 October 1994 3 October 1994 Birmingham England NEC Arena 4 October 1994 6 October 1994 Sheffield Sheffield City Hall 7 October 1994 9 October 1994 Dublin Ireland Point Theatre 10 October 1994 11 October 1994 12 October 1994 14 October 1994 Belfast Northern Ireland King's Hall 15 October 1994 18 October 1994 Stuttgart Germany Schleyerhalle 19 October 1994 20 October 1994 23 November 1994 Sheffield England Sheffield Arena 24 November 1994 28 November 1994 Manchester G-Mex 29 November 1994 1 December 1994 Glasgow Scotland SECC 2 December 1994 4 December 1994 Birmingham England NEC Arena 5 December 1994 7 December 1994 London Wembley Arena 8 December 1994 10 December 1994 11 December 1994 13 December 1994 14 December 1994 The Far Side of the World leg 17 March 1995 Johannesburg South Africa Ellis Park Stadium 19 March 1995 Durban Sahara Stadium Kingsmead 22 March 1995 Singapore Singapore Singapore Indoor Stadium 23 March 1995 25 March 1995 Jakarta Indonesia Taman Impian Jaya Ancol 27 March 1995 Bangkok Thailand Thai Army Sports Stadium 30 March 1995 Perth Australia Burswood Dome 1 April 1995 Adelaide Adelaide Entertainment Centre 2 April 1995 Melbourne National Tennis Centre at Flinders Park 3 April 1995 5 April 1995 6 April 1995 8 April 1995 Brisbane Brisbane Entertainment Centre 9 April 1995 11 April 1995 Sydney Sydney Entertainment Centre 12 April 1995 14 April 1995 15 April 1995 18 April 1995 Santiago Chile Estadio San Carlos de Apoquindo 19 April 1995 22 April 1995 23 April 1995 Buenos Aires Argentina Estadio River Plate 24 April 1995 25 April 1995 Lima Peru Estadio Nacional 28 April 1995 Caracas Venezuela La Rinconada Baseball Stadium 29 April 1995 San Juan Puerto Rico Hiram Bithorn Stadium 3 May 1995 Hong Kong Hong Kong Hong Kong Coliseum 4 May 1995 6 May 1995 Fukuoka Japan Fukuoka Dome 7 May 1995 9 May 1995 Tokyo Yoyogi National Gymnasium 10 May 1995 11 May 1995 Yokohama Yokohama Arena 13 May 1995 Taipei Taiwan Chungshan Soccer Stadium 15 May 1995 Manila Philippines ULTRA 16 May 1995 17 May 1995 Fukuoka Japan Fukuoka Dome Ticket sales Ticket Sales Date Venue City Attendance Ticket grossing Tickets sold Tickets on sale Percentage sold April 6–7, 1994 Oslo Spektrum Oslo 14,874 18,036 82,5% $601,821 May 17-18 & 20-21, 1994 Palacio de los Deportes Mexico City 71,878 71,878 100% $2,704,865 May 23, 1994 Teatro Fundidora Monterrey 13,030 14,000 93% $393,965 May 26, 1994 The Summit Houston 11,908 12,888 92,4% $397,063 May 29, 1994 ThunderDome St Petersburg, FL 12,055 16,500 73% $397,063 May 30–31, 1994 Miami Arena Miami 22,674 22,674 100% $765,126 June 2, 1994 Orlando Arena Orlando 11,390 11,390 100,% $387,675 July 6-7, 1994 Madison Square Garden New York City 28,988 29,200 99,3% $1,145,380 July 13, 1994 Riverbend Music Center Cincinnati 13,462 18,500 72,7% Sep 3-4 & 6-7, 1994 [1] Niedersachsenstadion Hanover, Germany 225,113 229,000 98,3% $8,730,842 Total 425,372 444,066 $15,523,700 Tour DVD and documentary The concert in Fukuoka, Japan on 7 May 1995 was recorded and released as a bootleg DVD in 2008. A "fly-on-the-wall"-style documentary, mostly filmed on camcorder, titled A Closer Look was also released and sold at concerts. The proceeds from this video went to charities that helped the homeless. Tour band Phil Collins – vocals, drums, Yamaha CP-70 electric grand piano Daryl Stuermer – guitars Nathan East – bass guitar, backing vocals Brad Cole – keyboards Ricky Lawson – drums Amy Keys – backing vocals Arnold McCuller – backing vocals Daniel Fornero – trumpet Harry Kim – trumpet Arturo Velasco – trombone Andrew Woolfolk – saxophones Genesis are an English rock band formed at Charterhouse School, Godalming, Surrey, in 1967. The band's most commercially successful line-up consisted of keyboardist Tony Banks, bassist/guitarist Mike Rutherford and drummer/singer Phil Collins. The 1970s line-up featuring singer Peter Gabriel and guitarist Steve Hackett was among the pioneers of progressive rock. The group were formed by five Charterhouse pupils, including Banks, Rutherford, Gabriel, and Anthony Phillips, and named by former Charterhouse pupil Jonathan King, who arranged for them to record several singles and their debut album From Genesis to Revelation in 1968. After splitting from King, the band began touring, signed with Charisma Records and became a progressive rock band on Trespass (1970). Following Phillips' departure, Genesis recruited Collins and Hackett and recorded Nursery Cryme (1971). Their live shows began to feature Gabriel's theatrical costumes and performances. Foxtrot (1972) was their first hit in the UK and Selling England by the Pound (1973) reached number three there, featuring their first UK hit "I Know What I Like (In Your Wardrobe)". The concept album The Lamb Lies Down on Broadway (1974) was promoted with a transatlantic tour and an elaborate stage show, before Gabriel left the group. Collins took over as lead singer, and the group released A Trick of the Tail and Wind & Wuthering (both 1976) with continued success. Hackett left Genesis in 1977, reducing the band to Banks, Rutherford, and Collins. Their ninth studio album, ...And Then There Were Three... (1978), contained the band's first major hit "Follow You Follow Me". Their next five albums – Duke (1980), Abacab (1981), Genesis (1983), Invisible Touch (1986) and We Can't Dance (1991) – were also successful. Collins left Genesis in 1996, and Banks and Rutherford replaced him with Ray Wilson, who appeared on their final album Calling All Stations (1997). The commercial failure of the album led to a group hiatus. Banks, Rutherford and Collins reunited for the Turn It On Again Tour in 2007, and again in 2021 for The Last Domino? Tour. With between 100 million and 150 million albums sold worldwide, Genesis are one of the world's best-selling music artists. Their discography includes 15 studio and six live albums. They have won numerous awards (including a Grammy Award for Best Concept Music Video with "Land of Confusion") and have inspired a number of tribute bands recreating Genesis shows from various stages of the band's career. In 2010, Genesis were inducted into the Rock and Roll Hall of Fame. Contents 1 History 1.1 1967–1969: Formation, early demos, and From Genesis to Revelation 1.2 1969–1970: First gigs, signing with Charisma, and Trespass 1.3 1970–1972: Collins and Hackett join and Nursery Cryme 1.4 1972–1974: Foxtrot and Selling England by the Pound 1.5 1974–1975: The Lamb Lies Down on Broadway and Gabriel's departure 1.6 1975–1977: Collins becomes frontman, A Trick of the Tail, Wind & Wuthering, and Hackett's departure 1.7 1977–1980: ...And Then There Were Three... and Duke 1.8 1980–1985: Abacab and Genesis 1.9 1985–1996: Invisible Touch, We Can't Dance, and Collins's departure 1.10 1996–2006: Wilson as frontman, Calling All Stations, and hiatus 1.11 2006–2020: Turn It On Again Tour, BBC documentary, and reunion speculations 1.12 2020–2022: The Last Domino? Tour 2 Musical style 3 Legacy 3.1 Influence 4 Band members 5 Discography 6 References 6.1 Citations 6.2 General sources 7 Further reading 8 External links History 1967–1969: Formation, early demos, and From Genesis to Revelation The group formed at Charterhouse School in Godalming, Surrey. The founding members of Genesis, Peter Gabriel, Tony Banks, Anthony “Ant” Phillips, Mike Rutherford, and drummer Chris Stewart, met at Charterhouse School, a public school in Godalming, Surrey. Banks and Gabriel arrived at the school in September 1963, Rutherford in September 1964, and Phillips in April 1965.[6] The five were members in either one of the school's two bands; Phillips and Rutherford were in Anon with singer Richard Macphail, bassist Rivers Jobe, and drummer Rob Tyrrell while Gabriel, Banks, and Stewart made up Garden Wall.[6] In January 1967, after both groups had split, Phillips and Rutherford continued to write together and proceeded to make a demo tape at a friend's home-made studio, inviting Banks, Gabriel, and Stewart to record with them in the process. The group recorded six songs: "Don't Want You Back", "Try a Little Sadness", "She's Beautiful", "That's Me", "Listen on Five", and "Patricia", an instrumental.[6][7] When they wished to have them professionally recorded they sought Charterhouse alumnus Jonathan King, who seemed a natural choice as their publisher and producer following the success of his 1965 UK top five single, "Everyone's Gone to the Moon".[8] A friend of the group gave the tape to King, who was immediately enthusiastic.[9] Under King's direction, the group, aged between 15 and 17, signed a one-year recording contract with Decca Records.[10] From August to December 1967,[11] the five recorded a selection of potential singles at Regent Sound Studios in Denmark Street, London, where they attempted longer and more complex compositions, but King advised them to stick to more straightforward pop.[12] In response Banks and Gabriel wrote "The Silent Sun", a pastiche of the Bee Gees, one of King's favourite bands, which was recorded with orchestral arrangements added by Arthur Greenslade.[6] The group exchanged various names for the band, including King's suggestion of "Gabriel's Angels", before taking King's suggestion of "Genesis", indicating the start of his production career. King chose "The Silent Sun" as their first single, with "That's Me" on the B-side, released in February 1968.[13][14] It achieved some airplay on BBC Radio One and Radio Caroline, but failed to sell. A second single, "A Winter's Tale" / "One-Eyed Hound", followed in May 1968, which also sold little.[15] Three months later, Stewart left the group to continue with his studies.[14] He was replaced by fellow Charterhouse pupil John Silver.[16] King believed that the group would achieve greater success with an album.[16] The result, From Genesis to Revelation, was produced at Regent Sound in ten days during their school's summer break in August 1968.[17] King assembled the tracks as a concept album, which he produced. Greenslade added further orchestral arrangements to the songs, but the band were not informed of this fact until the album was released. Phillips was upset about Greenslade's additions.[18] When Decca found an American band already named Genesis, King refused to change his group's name. He reached a compromise by removing their name from the album cover, resulting in a minimalist design with the album title printed on a plain black background.[19] When the album was released in March 1969, it became a commercial failure because many record shops filed it in the religious music section upon seeing the title.[14] Banks recalled that "after a year or so", the album had "sold 649 copies".[20] A third single, "Where the Sour Turns to Sweet" / "In Hiding", was released in June 1969.[15] None of the releases was commercially successful. The lack of commercial success led to the band's split with King and Decca.[21] King continued to hold the rights to the album, which has seen numerous reissues. In 1974, it peaked on the US chart at No. 170.[14][22] After the album was recorded, the band went their separate ways for a year; Gabriel and Phillips stayed at Charterhouse to finish exams, Banks enrolled at Sussex University, and Rutherford studied at Farnborough College of Technology.[23] They regrouped in mid-1969 to discuss their future, for their offers in further education might result in the group splitting up. Phillips and Rutherford decided to make music their full-time career, for they were starting to write more complex music than their earlier songs with King.[24] After Banks and Gabriel decided to follow suit, the four returned to Regent Sound in August 1969 and recorded four more demos with Silver: "Family" (later known as "Dusk"), "White Mountain", "Going Out to Get You", and "Pacidy". The tape was rejected by each record label that heard it.[25] Silver then left the group to study leisure management in the United States. His replacement, drummer and carpenter John Mayhew, was found when Mayhew looked for work and left his phone number "with people all over London".[14][26][27] 1969–1970: First gigs, signing with Charisma, and Trespass In late 1969, Genesis retreated to a cottage owned by Macphail's parents, in Wotton, Surrey, to write, rehearse, and develop their stage performance.[28] They took their work seriously, playing together for as much as eleven hours a day.[29] Their first live gig as Genesis followed in September 1969 at a teenager's birthday.[6][30] It was the start of a series of live shows in small venues across the UK, which included a radio performance broadcast on the BBC's Night Ride show, on 22 February 1970,[31] and a spot at the Atomic Sunrise Festival held at the Roundhouse in Chalk Farm a month later.[32] During this time the band met with various record labels regarding contract offers. Initial discussions with Chris Blackwell of Island and Chris Wright of Chrysalis were unsuccessful. In March 1970, during the band's six-week Tuesday night residency at Ronnie Scott's Jazz Club in Soho, members of Rare Bird, whom Genesis had previously supported live, recommended the band to producer and A&R man John Anthony of Charisma Records.[6] Anthony attended one of their shows and enjoyed them enough to convince his boss, label owner Tony Stratton-Smith, to watch their next appearance.[33] Stratton-Smith recalled, "Their potential was immediately apparent ... the material was good and their performance was good ... It was a long shot, because they needed time to find their strength ... but I was prepared to make that commitment".[6] He agreed to a record and management deal within two weeks, paying Genesis an initial sum of £10 a week (equivalent to £200 in 2022).[34][35] Genesis stayed at Wotton until April 1970,[36] by which time they had enough new material for a second album.[37] Recording for Trespass began in June at Trident Studios in London, with Anthony as producer and David Hentschel hired as assistant engineer.[38] The album included longer and more complex songs than their first, blending folk and progressive rock elements with various time signature changes, as in the nine-minute song "The Knife".[39] Trespass is the first in a series of three Genesis album cover designs by Paul Whitehead. He had completed the design before the band decided to include "The Knife" on the album. Feeling the cover no longer reflected the album's overall mood, the band persuaded Whitehead to slash a knife across the canvas and have the result photographed.[40] Released in October 1970, Trespass reached No. 1 in Belgium in 1971[41] and No. 98 in the UK in 1984.[42] "The Knife" was released as a single in May 1971.[36] Rolling Stone briefly mentioned the album with a negative view following its 1974 reissue: "It's spotty, poorly defined, at times innately boring".[43] "Genesis seemed to be dying a death around our second album", Gabriel told Mark Blake. "We couldn't get arrested. So I got a place at the London School of Film Technique."[44] That was the closest we came to busting up. For some reason we felt so close that if one left, we thought we couldn't carry on. Of all the changes we've been through, surviving Ant leaving was the hardest. —Mike Rutherford.[45] After Trespass was recorded, ill-health and developing stage fright caused Phillips to leave Genesis. His last show with the band took place in Haywards Heath on 18 July 1970.[31] He felt the increased number of gigs affected the group's creativity, and that several songs he wrote were not recorded or performed live.[46] He had contracted bronchial pneumonia and became isolated from the rest of the band, feeling that it had too many songwriters in it.[47] Banks, Gabriel, and Rutherford saw Phillips as an important member, being the most instrumental in encouraging them to turn professional. They regarded his exit as the greatest threat to the band and the most difficult to overcome. Gabriel and Rutherford decided the group should continue; Banks agreed on the condition that they find a new drummer that was of equal stature to the rest of the group. Mayhew was therefore fired, though Phillips later thought Mayhew's working-class background clashed with the rest of the band, which affected his confidence.[45] 1970–1972: Collins and Hackett join and Nursery Cryme The search for a new guitarist and drummer began with advertisements placed in copies of Melody Maker. The invitation was spotted by drummer Phil Collins, formerly of Flaming Youth, who already knew Stratton-Smith. He recalled, "My only knowledge of Genesis was through seeing the ads for their gigs. It seemed like they were constantly working. ... I thought 'At least I'm going to be working if I get the gig'."[48] Roger Taylor, subsequently of Queen, turned down an invitation to audition.[49] Collins went to the audition at Gabriel's parents' house in Chobham, Surrey with his Flaming Youth bandmate, guitarist Ronnie Caryl. As they arrived early, Collins took a swim in the pool and heard what the other drummers were playing. "They put on 'Trespass', and my initial impression of a very soft and round music, not edgy, with vocal harmonies and I came away thinking Crosby, Stills and Nash".[50] Gabriel and Rutherford noticed the confident way Collins approached and sat at his drum kit and knew he would be the right replacement. Banks said, "It was a combination of things. He could make it swing a little bit ... he could also tell good jokes and make us laugh ... And he could sing, which was an advantage because Mike and I were not very good at back-up vocals".[51] In August 1970, Collins became the new drummer for Genesis. Caryl's audition was unsuccessful; Rutherford thought he was not the player the group were looking for.[50] After a short holiday, Genesis began to write and rehearse as a four-piece band in Farnham, Surrey. The now empty guitar sections in their songs allowed Banks and Rutherford to expand their sound and play what Gabriel described as "interesting chords".[51] As they had not found a new guitarist, Genesis resumed as a live act with Rutherford adding bass pedals and Banks playing lead guitar lines on a Pianet through a distorted fuzz box amplifier in addition to his keyboard parts, something that he credits in helping him develop his technique.[52] In November 1970, after a second audition with Caryl fell through, Dave Stopps, owner of Friars club in Aylesbury, suggested they use Mick Barnard of The Farm, who joined the band for their gigs; which included Genesis's television debut on BBC's Disco 2.[53] After two months of performances, the band found Barnard lacked in expertise and wished to try someone else.[54] In December, Gabriel spotted a Melody Maker advert from Steve Hackett, formerly of Quiet World, who wanted to join a band of "receptive musicians, determined to drive beyond existing stagnant music forms".[55] Gabriel advised Hackett to become familiar with Trespass and attend their upcoming gig at the Lyceum Theatre in London.[55] Hackett auditioned with the group in a flat in Earl's Court and formed an instant rapport with Rutherford through a common interest in inverted chords.[56] After Hackett joined in January 1971,[57] Stratton-Smith organised a UK tour with Genesis opening for fellow Charisma acts Lindisfarne and Van der Graaf Generator.[58] Their first overseas dates took place in March with gigs in Belgium[59] followed by their first of three consecutive appearances at the annual Reading Festival on 26 June.[60] Rehearsals for the band's third album, Nursery Cryme, took place at Luxford House near Crowborough, East Sussex, which Stratton-Smith had owned.[61] Recording began at Trident Studios in August 1971 with Anthony and Hentschel reprising their respective roles as producer and assistant engineer. The band's sound evolved, with Hackett's more aggressive electric guitar work and Banks adding a Mellotron previously owned by King Crimson to his set of keyboards.[62] The opening track, "The Musical Box", originated when Phillips and Mayhew were in the group. The band developed the piece further including the addition of new guitar parts from Hackett.[63] "The Musical Box" and "The Return of the Giant Hogweed" are the first recordings in which Hackett uses the tapping technique.[64] Hackett and Collins wrote "For Absent Friends", which was the first Genesis track with Collins on lead vocals. On the album's cover, Whitehead depicted a Victorian manor house based on Gabriel's parents' home, and scenes and characters from the lyrics to "The Musical Box".[65] Nursery Cryme was released in November 1971 and reached No. 39 in the UK in 1974.[36] Though the group still had a minor cult following at home, they started to achieve commercial and critical success in mainland Europe, with the album reaching No. 4 in the Italian charts.[66] From November 1971 to August 1972, Genesis toured to support the album, including further visits to Belgium and, for the first time, Italy, where they played to enthusiastic crowds.[36] In January[67] and March[68] 1972 they recorded radio sessions for BBC's Sounds of the Seventies program, and later in the year performed at the Reading Festival to some critical acclaim.[69] During the tour, Genesis recorded "Happy the Man", a non-album single, with "Seven Stones" from Nursery Cryme on its B-side.[70] 1972–1974: Foxtrot and Selling England by the Pound Gabriel in 1974 performing "Watcher of the Skies", dressed in a cape with bat wings and fluorescent makeup Following rehearsals in a dance school in Shepherd's Bush, Genesis recorded Foxtrot at Island Studios in August and September 1972.[71] During the early sessions, disagreements between Charisma and Anthony contributed to the end of his association with Genesis. After two replacement engineers were tried out, the band settled on John Burns and a new producer, Dave Hitchcock.[72] The album features the 23-minute track "Supper's Ready", a suite of various musical segments. The track included an opening acoustic piece, a Gabriel-penned song called "Willow Farm", and a piece derived from a jam by Banks, Rutherford and Collins called "Apocalypse in 9/8".[73] Other songs were the science-fiction-themed "Watcher of the Skies" and the property-development-themed "Get 'Em Out by Friday".[74] Foxtrot was released in October 1972 and reached No. 12 in the UK. It fared even better in Italy, where it went to No. 1.[75] Foxtrot was well received by critics. Chris Welch of Melody Maker thought Foxtrot was "a milestone in the group's career", "an important point of development in British group music", and that Genesis had reached "a creative peak".[76] Stephen Thomas Erlewine thought Foxtrot marked the first time "Genesis attacked like a rock band, playing with a visceral power".[77] The Foxtrot tour covered Europe and North America from September 1972 to August 1973. Gabriel surprised the other members of the band at the National Stadium in Dublin on 28 September 1972 by wearing a costume on stage, following a suggestion by Charisma booking agent Paul Conroy. He went off stage during an instrumental section in "The Musical Box" and reappeared in his wife's red dress and a fox's head.[78] The incident resulted in front cover reports in the music press, allowing the band to double their performance fee.[79] In December 1972 Stratton-Smith organised the band's first gigs in the US, with a show at Brandeis University in Waltham, Massachusetts, and one at Philharmonic Hall in New York City with openers String Driven Thing, in aid of the United Cerebral Palsy Fund.[80] They were well received despite the band complaining of technical issues.[81] Gabriel's costumes expanded in the following months to include fluorescent face paint and a cape fitted with bat wings for "Watcher of the Skies", several guises throughout "Supper's Ready" and a mask of an old man for "The Musical Box".[82] An album of recordings from the following UK leg, initially recorded for the American radio program King Biscuit Flower Hour, was released as Genesis Live in July 1973.[83] It reached No. 9 in the UK[36] and No. 105 in the US.[36] In the summer of 1973, Genesis resigned their contracts with Charisma. Stratton-Smith said they got "a much improved deal" despite them being able to get a better one with a bigger label, but the group were loyal and trusted the label with their careers.[84] With a new contract and thus a green-light for a new album, Genesis recorded Selling England by the Pound at Island Studios in August 1973, the second Genesis album that Burns co-produced. Much of it was written at Una Billings School of Dance and Chessington.[85] Gabriel contributed lyrics based on the idea of commercialism and the decline of English culture and the rise in American influences.[86] Its title refers to a UK Labour Party slogan to make it clear to music critics who may have thought Genesis were beginning to "sell out" to the US.[87] "Firth of Fifth" features an extended electric guitar solo from Hackett. The album's cover is a modified version of a painting named The Dream by Betty Swanwick who added a lawn mower to tie the image to the lyrics of "I Know What I Like (In Your Wardrobe)".[88] Selling England by the Pound was released in October 1973 to a positive critical reception, though slightly more muted than Foxtrot.[89] The album reached No. 3 in the UK and No. 70 in the US.[36] By this time, Genesis had made little effort to organise their finances and were £150,000 in debt (equivalent to £1,929,900 in 2022).[34].[90] They hired promoter Tony Smith as their new manager to improve their fortunes and published the band's subsequent music through his company, Hit & Run Music Publishing. The Selling England by the Pound tour visited Europe and North America between September 1973 and May 1974. Their six shows in three days at The Roxy in Los Angeles were well received by audiences and critics. The success of the tour earned the group the "Top Stage Band" title by readers of NME.[36] At its conclusion, Macphail resigned as their tour manager as he wished to pursue other interests.[91] "I Know What I Like (In Your Wardrobe)" was released as a UK single with "Twilight Alehouse", a non-album track recorded in 1972; it reached No. 21 following its release in February 1974. Its success led to an offer for Genesis to appear on BBC's national show Top of the Pops; the group thought this would not suit their image, and they declined the offer.[92] 1974–1975: The Lamb Lies Down on Broadway and Gabriel's departure In June 1974, Genesis started work on their double concept album The Lamb Lies Down on Broadway.[93] This marked a point at which Gabriel's relationship with the rest of the group became increasingly strained, which contributed to his departure. The album was written at Headley Grange in East Hampshire, where upon their arrival the building had been left in a very poor state by the previous band, with rat infestations and excrement on the floor.[94] Gabriel objected to Rutherford's idea of an album based on The Little Prince by Antoine de Saint-Exupéry, thinking the idea was "too twee".[95] He proposed to the band a less fantastical and more complicated story involving Rael, a Puerto Rican youth living in New York City who embarks on a spiritual quest to establish his freedom and identity while meeting several bizarre characters on the way.[96] Gabriel wrote the story with influences from West Side Story, "a kind of punk" twist to Pilgrim's Progress, author Carl Jung, and the film El Topo by Alejandro Jodorowsky.[97] Most of the album's lyrics were written by Gabriel, leaving much of its music to the rest of the group. His absence from a considerable amount of writing sessions due to difficulties with his wife's first birth was something about which Rutherford and Banks "were horribly unsupportive".[98] Gabriel also left the group when director William Friedkin asked him to write a screenplay, but returned after the project was shelved.[99] In August 1974, production moved to Glaspant Manor in Carmarthenshire, Wales[100] with Burns as co-producer, operating Island Studios' mobile equipment. Further work and mixing took place at Island, where Brian Eno contributed synthesizers and effects that the album's sleeve credits as "Enossification". When Gabriel asked Eno how the band could repay him, Eno said he needed a drummer for his track "Mother Whale Eyeless". Collins said, "I got sent upstairs as payment".[101] Gabriel was pleased with Eno's work but Banks was less enthusiastic.[102] Rutherford, Gabriel, and Collins in 1974 during The Lamb... tour The Lamb Lies Down on Broadway was released in November 1974 and reached No. 10 in the UK[103] and No. 41 in the US.[22] "Counting Out Time" and "The Carpet Crawlers" were released as singles in 1974 and 1975, respectively. Its sleeve is the first of four Genesis albums designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. From November 1974 to May 1975, Genesis completed 102 dates across North America and Europe as part of The Lamb Lies Down on Broadway tour.[36] Their set included The Lamb... performed in its entirety with an encore, a decision that was not supported by the entire band considering most of the audience were not yet familiar with the large amount of new material.[104] The stage show involved new, more elaborate costumes worn by Gabriel, three backdrop screens that displayed 1,450 slides from eight projectors,[105] and a laser lighting display.[106] Music critics often focused their reviews on Gabriel's theatrics and took the band's musical performance as secondary, which irritated the rest of the band.[107] During their stay in Cleveland during the tour, Gabriel told the band he would leave at its conclusion.[108] He wrote a statement regarding his departure to the English press that was published in August 1975 titled "Out, Angels Out", explaining he had become disillusioned with the music industry and wanted to spend extended time with his family.[109] Banks later stated, "Pete was also getting too big for the group. He was being portrayed as if he was 'the man' and it really wasn't like that. It was a very difficult thing to accommodate. So it was actually a bit of a relief."[108] 1975–1977: Collins becomes frontman, A Trick of the Tail, Wind & Wuthering, and Hackett's departure Following the Lamb tour, Hackett recorded his first solo album Voyage of the Acolyte as he felt unsure that Genesis would survive following Gabriel's departure.[110] He reconvened with the remaining group members in London in July 1975.[111] Collins' idea of continuing as an instrumental group was quickly rejected by the group as they thought it would become boring.[112] Rehearsals for A Trick of the Tail took place in Acton where material was quickly written and with little effort;[113] most of "Dance on a Volcano" and "Squonk" was put together in the first three days.[114] Recording began in October 1975 at Trident Studios with Hentschel as producer. As a replacement singer had not been found, the band decided to record the album without vocals and audition singers as they went. They placed an anonymous advertisement in Melody Maker for "a singer for a Genesis-type group", which received around 400 replies. Collins proceeded to teach selected applicants the songs; Witches Brew frontman and flautist Mick Strickland[115] was invited into the studio to sing, but the backing tracks were in a key outside of his natural range, and the band decided not to work with him.[112] Having failed to find a suitable vocalist, Collins went into the studio and attempted to sing "Squonk". His performance was well received by the band, and they decided that he should be their new lead vocalist. Collins then sang on the remaining tracks.[116] My real worry was actually what to say to the audience, because Peter had always had this offbeat charisma that gave the band a strange aura. I was much more friendly and approachable ... I spent more time ... worrying about what to say between songs than I did about what I was going to do once the songs started. —Phil Collins.[117] A Trick of the Tail was released in February 1976 and was a commercial and critical success for the band. The album reached No. 3 in the UK[118] and No. 31 in the US.[22] The title track was released as a single, though it did not chart.[119] In June, the album was certified Gold by the British Phonographic Institute for selling over 100,000 copies[120] which helped the band clear the £400,000 of debt (equivalent to £3,062,800 in 2022)[34] they owed when Gabriel left.[121] For the first time in their career Genesis filmed promotional videos for their songs, including "A Trick of the Tail" and "Robbery, Assault and Battery".[122] Before the upcoming tour, Collins sought a drummer he felt comfortable with while singing; he chose Bill Bruford who offered to do the job.[123] From March to July 1976, Genesis performed across North America and Europe with the A Trick of the Tail tour, to enthusiastic crowds. Collins adopted a more humorous rapport with the audience, unlike Gabriel's theatrical approach, which was successful. The shows in Glasgow and Stafford were filmed for their concert film Genesis: In Concert, released in cinemas in February 1977 as a double bill with White Rock.[124] In September 1976, Genesis relocated to Relight Studios at Hilvarenbeek in the Netherlands with Hentschel to record Wind & Wuthering.[125] It was put together in a short amount of time and a considerable amount of material was written beforehand, of which the most suitable songs were picked for development. Rutherford spoke of the band's conscious effort to distance themselves from songs inspired by fantasy, something that their past albums "were full of".[126] The band spent roughly six weeks writing the album[127] with a basic form of each track put down in twelve days.[128] Additional recording and production work was done at Trident Studios that October.[129][128] Hackett, having already released a solo album, enjoyed the greater amount of control over the recording process that working within a group could not provide. He felt his songs, including "Please Don't Touch" (which he later released on his second album Please Don't Touch!) were rejected from the final track order in favour of material that Banks, in particular, had put forward. Collins spoke of the situation, "We just wanted to use what we agreed was the strongest material, irrespective of who wrote it".[129] Wind & Wuthering was released in December 1976 and reached No. 6 in the UK and No. 26 in the US.[130] Rutherford's track, "Your Own Special Way", became its sole single and went to No. 43 in the UK. Its B-side is "It's Yourself", originally intended for A Trick of the Tail.[131] Hackett in January 1977 on the Wind & Wuthering tour, the last before his departure Prior to the 1977 tour, Bruford declined an offer to return as second drummer, leaving Collins searching for a replacement. He heard American drummer Chester Thompson, of Frank Zappa's band and Weather Report, play a drum passage on "More Trouble Every Day" from Zappa's live album Roxy & Elsewhere. Collins said, "It floored me completely ... I had never met him. I rang him up and said, 'Hi Chester, I've heard your stuff, would you like to play with Genesis?' ... He didn't even audition!"[132] Genesis toured Wind & Wuthering from January to July 1977 across Europe, North America, and for the first time, Brazil. The stage show cost £400,000 (equivalent to £2,643,900 in 2022).[34] which featured a new PA system, lasers and smoke, and lighting supplied from two rows of Boeing 747 aircraft landing lights.[133][134] Touring began on 1 January with three sold-out shows at the Rainbow Theatre in London, where 80,000 applications were made for the 8,000 available tickets.[135] They returned to London for three nights at Earls Court, then the largest arena in Britain, supported by Richie Havens.[134] The band's growing popularity in North America led to television appearances and concerts organised in larger venues than previous tours, including Madison Square Garden in New York City.[126] Their Brazilian dates were attended by over 150,000 people and a proposed 100,000-person gig was cancelled over rioting fears. An armed bodyguard accompanied each member throughout their stay.[136] In May 1977 Genesis released Spot the Pigeon, an extended play of three tracks left off Wind & Wuthering. It peaked at No. 14 on the UK singles chart. It was the final Genesis release before Hackett left the group. He had been writing more material on his own and found it increasingly difficult to contribute more of his ideas within a group context. He wished to embark on a solo career and "take the risk in order to find out just how good I was on my own".[137] News of Hackett's departure coincided with the band's double live album Seconds Out, recorded in Paris on the A Trick of the Tail and Wind & Wuthering tours and released in October 1977.[130] It reached No. 4 in the UK and No. 47 in the US.[130] 1977–1980: ...And Then There Were Three... and Duke By the time Seconds Out was released, Banks, Rutherford, and Collins had already recorded ...And Then There Were Three..., the first Genesis album recorded as a trio, in September 1977 at Relight Studios with Hentschel as producer.[138] It was then mixed at Trident Studios in London. In order to put across a greater number of musical ideas, the album is a collection of shorter songs.[139] Most of its eleven songs were written individually; Banks contributed four, Rutherford three, Collins one, and the remaining three were written collectively.[140] Their new material signalled a change in the band's sound with songs becoming more pop-oriented, including the group-written track "Follow You Follow Me". Collins recalled it was the only song on the album written from scratch during rehearsals.[141] Rutherford felt comfortable taking on lead guitar duties in addition to his usual rhythm and bass roles, although the band had considered auditioning replacement guitarists or using a session guitarist on the album.[138] Collins later saw the album as "a very vocal, solid album" that lacked more rhythmic tracks like "Los Endos" or songs from Wind & Wuthering, as coming up with ideas on the drums while living in his flat in Ealing with his family was difficult.[142] ...And Then There Were Three... was released in March 1978. It received some mixed reviews from critics at the time owing to the album only containing short songs, which excited new fans but disillusioned those who had been used to the band's previous work.[143] Chris Welch wrote a positive review in Melody Maker, citing a "remarkably powerful" album.[144] It was a commercial success and peaked at No. 3 in the UK[42] and No. 14 in the US.[22] "Follow You Follow Me" was released as its lead single and reached No. 7 in the UK[145] and No. 23 in the US, their highest-charting single in both countries since their formation.[22] Its success introduced the band to a new audience, including a larger female interest, helped by its music video airing on Top of the Pops.[146] Its success caused some fans to accuse the group of selling out to more commercial music.[141] A follow-up single, "Many Too Many", was less successful, for it had already appeared on the album.[147] In the search for a new touring guitarist, Rutherford tried out Pat Thrall and Elliot Randall,[148] followed by Alphonso Johnson of Weather Report, but he was primarily a bassist and could not play Hackett's lead guitar parts comfortably.[149] Johnson then suggested American guitarist Daryl Stuermer of Jean-Luc Ponty's jazz fusion group, who was more comfortable with various guitar styles. During Stuermer's rehearsal in New York City, Rutherford was satisfied with his performance after they played through "Down and Out" and "Squonk".[149] When Stuermer was chosen, he familiarised himself with a list of 26 songs he was asked to learn by going through five per day.[150] The ...And Then There Were Three... tour ran from March to December 1978 and visited North America, Europe, and for the first time, Japan. It cost an estimated £2 million to stage (equivalent to £12,206,700 in 2022).[34] which included the sound system, light and laser displays, and additional effects from six computer-controlled mirrors,[151][149] all of which took eight hours to set up and five to dismantle.[152] One of their shows featured a guest appearance from Gabriel, who sang "I Know What I Like (In Your Wardrobe)".[153] In June, Genesis headlined the year's Knebworth Festival, their only UK show that year.[147] In December 1978, Genesis began a period of inactivity as Collins's marriage was at risk of collapse after touring had made him frequently absent from his wife and children. Following a meeting with Banks, Rutherford and Smith, Collins went to Vancouver, British Columbia, Canada, to try and rebuild the family.[154] He explained: "I was never going to leave the band. It was just that if I was going to be living in Vancouver then we'd have had to organise ourselves differently."[151] Banks and Rutherford decided to put Genesis on an extended break and make their respective debut solo albums, A Curious Feeling and Smallcreep's Day, at Polar Studios in Stockholm, Sweden.[151] In April 1979, Collins returned to the UK after his attempt to save his marriage failed. With time to spare before working on a new Genesis album, Collins performed with Brand X, played the drums on former bandmate Peter Gabriel's third album, and started writing his own first solo album, Face Value, at his home in Shalford, Surrey.[151] In 1979, Banks and Rutherford moved into Collins's home in Shalford to write and rehearse material for Duke. The three found the writing process easier and less complicated than And Then There Were Three. Rutherford reasoned that this was the case because they were "getting back to the basic stage of ideas being worked on jointly".[151] Banks put it down to their break in activity, resulting in "good ideas ... which hasn't happened for some time".[151] Duke continued the band's transition into writing shorter songs. Each member contributed two songs for the group to develop: Banks put forward "Heathaze" and "Cul-de-Sac", Rutherford used "Man of Our Times" and "Alone Tonight", and Collins had "Misunderstanding" and "Please Don't Ask". All three wrote the remaining five tracks, including "Duchess", the first Genesis song to feature a drum machine, specifically a Roland CR-78 imported from Japan.[155] In its original form, the album was to contain a 30-minute track based on a fictional character named Albert, but the idea was cancelled to avoid comparisons to "Supper's Ready" from Foxtrot.[156] In November, the band recorded Duke at Polar Studios with Hentschel reprising his role as producer, and included a cover from French illustrator Lionel Koechlin, featuring the character Albert.[157] Released in March 1980, Duke was the band's biggest commercial success at the time of release, spending two weeks at No. 1 in the UK and peaking at No. 11 in the US.[130] The album spawned three singles; "Turn It On Again" went to No. 8 in the UK,[130] "Misunderstanding" reached No. 14 in the US,[22] and "Duchess" peaked at No. 46 in the UK.[42] Duke was supported with a UK and North American tour from April to June 1980, which began with a 40-date tour of the UK for which all 106,000 tickets were sold within hours of going on sale.[158] 1980–1985: Abacab and Genesis The band's remodelled studio in Chiddingfold, Surrey, known as the Farm. Abacab was the first album recorded there. In November 1980, Genesis bought Fisher Lane Farm, a farmhouse with an adjoining cowshed near Chiddingfold, Surrey, as their new rehearsal and recording facility. The building was remodelled into a studio in four months before recording for Abacab began in March 1981.[159] The new environment had a productive effect on the writing process as the band wrote enough for a double album, but they discarded one hour's worth of songs that sounded too similar to their past albums. Banks said the band made an effort to keep melodies as simple as possible, which signalled further changes in their direction.[160] The shift was underlined in its production when Hentschel, their producer and engineer since 1975, was replaced by Hugh Padgham after Collins liked his production on Face Value and Gabriel's third solo album.[161] Production duties were solely credited to the band for the first time with Padgham as their engineer.[162] The album is formed of group written material with an individual song from each member. "No Reply at All" features the Phenix Horns, the horn section of American band Earth, Wind & Fire.[163] Abacab was released in September 1981 and reached No. 1 in the UK[164] and No. 7 in the US.[22] Three singles from the album entered the top forty in both countries; "Abacab" reached No. 9 in the UK[119] and No. 26 in the US, "No Reply at All" reached No. 29 in the US,[22] and "Keep It Dark", a European-only single, went to No. 33 in the UK.[42] Abacab was supported with a tour of Europe and North America from September to December 1981, ending with shows at Wembley Arena and the NEC Birmingham.[165] The tour marked the band's first use of the Vari-Lite, a computer-controlled intelligent lighting system. Following a demonstration at The Farm, the band and Smith showed an immediate interest in the technology and became shareholders of the company.[166] In May 1982, three tracks recorded during the Abacab sessions – "Paperlate", "You Might Recall", and "Me and Virgil" – were released as an EP in Europe, 3×3,[119] which peaked at No. 10 in the UK.[42] Its cover is a homage to the Twist and Shout EP by the Beatles, with sleeve notes written by that group's former publicist Tony Barrow.[167] Basically, we reached the point ... where we either became a caricature of ourselves and settled into a rut, or we changed. There was no doubt in our minds that change was the answer. —Mike Rutherford on the band's change in direction[168] In June 1982, Genesis released the double live album Three Sides Live in two different versions. The North American edition contains three sides of live recordings with the fourth comprising the 3×3 tracks and two from the Duke sessions. The European release contains a fourth side of extra live tracks.[169] The album coincided with the home video release of the Three Sides Live concert film recorded in 1981. A tour of North America and Europe followed that ran from August to September 1982, featuring guest appearances from Bill Bruford and the Phenix Horns.[169] On 2 October, Genesis headlined a one-off concert with Gabriel at the Milton Keynes Bowl under the name Six of the Best. The concert was organised to raise money for Gabriel's World of Music, Arts and Dance project that was, by that point, in considerable debt.[170] Hackett, who flew in from abroad, arrived in time to perform the last two songs.[171] Work on the twelfth Genesis album, Genesis, began in March 1983 with Padgham returning as engineer.[172] It was the first album written, recorded, and mixed at the remodelled studio at the Farm. Banks remembered the band were scarce for new musical ideas that "felt at times as though we were stretching the material as far as we could".[173] "Mama" concerns a man's obsession with a prostitute at a Cuban brothel.[174] It originated from a beat Rutherford came up with on a LinnDrum machine that was fed through his guitar amplifier and an echo gate.[173] Collins' laugh on the track originated from "The Message" by Grandmaster Flash and the Furious Five.[175] Released in October 1983, Genesis went to No. 1 in the UK[164] and peaked at No. 9 in the US,[22][42] where it reached Platinum by December that year and went on to sell over four million copies.[176] Three tracks were released as singles; "Mama" reached No. 4 in the UK, their highest-charting UK single to date,[119] and "That's All" reached No. 6 in the US.[22] The Mama Tour ran from late 1983 through to 1984, covering North America and five UK shows in Birmingham. The latter shows were filmed and released as Genesis Live – The Mama Tour.[177] In February 1984, Genesis took a break in activity to allow each member to continue with their solo careers.[178] Rutherford formed his group Mike + The Mechanics, Banks worked on his solo album Soundtracks, and Collins released No Jacket Required, which achieved worldwide success and increased his popularity as a result. The music press took note that Collins' success as a solo artist made him more popular than Genesis.[179] Before the release of No Jacket Required, Collins insisted that he would not leave the band. "The next one to leave the band will finish it", Collins told Rolling Stone magazine in May 1985. "I feel happier with what we're doing now, because I feel it's closer to me. I won't be the one." He added, "Poor old Genesis does get in the way sometimes. I still won't leave the group, but I imagine it will end by mutual consent."[179] In June, Collins spoke of the band's intention to start work on a new album that year,[180] ending rumours to a false announcement that aired on BBC Radio 1 suggesting Genesis had split.[181] 1985–1996: Invisible Touch, We Can't Dance, and Collins's departure Genesis reconvened at The Farm in October 1985 to start work on Invisible Touch, which lasted for six months.[182] They continued their method of songwriting used on Genesis by developing material from group improvisations. Banks remembered the time as a strong period creatively for the band, with ideas "flowing out of us".[183] "Invisible Touch" was developed in such a way, when the group were working on "The Last Domino", the second part of "Domino". During the session, Rutherford began to play an improvised guitar riff to which Collins replied with an off-the-cuff lyric – "She seems to have an invisible touch" – which became the song's chorus hook.[184] Following its release in June 1986, the album spent three weeks at No. 1 in the UK and reached No. 3 in the US,[22][42] and became the best-selling Genesis album with seven million copies sold.[185] The album's five singles – "Invisible Touch", "Throwing It All Away", "Land of Confusion", "In Too Deep", and "Tonight, Tonight, Tonight" – entered the top five on the US singles chart between 1986 and 1987[22] with "Invisible Touch" topping the chart for one week.[186] Genesis became the first group and foreign act to achieve this feat, equalling the five singles record set by Michael Jackson, Janet Jackson, and Madonna.[187] Genesis commissioned the creators of the satirical British television show Spitting Image, Peter Fluck and Roger Law, to make puppets of them in the style of the show for the video of "Land of Confusion".[188] Nearly 300,000 people at Wembley ... I thought at the time, and I still think now, that moment was the peak of our career. —Tony Banks[189] The Invisible Touch Tour was the band's largest world tour in its history, which included 112 dates from September 1986 to July 1987. Genesis received some criticism in their decision to have Michelob beer as a sponsor. The tour concluded with four consecutive sold-out shows at Wembley Stadium in London.[190] The shows were released in 1988 as The Invisible Touch Tour.[184] When the tour ended, Genesis took a five-year break while each member committed to their solo projects. They performed twice during this time; on 14 May 1988, they performed a 20-minute set at the Atlantic Records 40th Anniversary concert at Madison Square Garden.[190] This was followed by a set at a charity gig at the 1990 Knebworth Festival on 30 June, headlined by Pink Floyd.[191] In 1991 Genesis recorded their fourteenth album, We Can't Dance, from March to September with their new engineer and co-producer, Nick Davis. The band took advantage of the increased capacity the CD offered and released over 71 minutes of new music across 12 tracks. Collins wrote the lyrics to "Since I Lost You" for his friend Eric Clapton following the death of Clapton's four-year-old son Conor.[192] Following the release of We Can't Dance in November 1991, the album went to No. 1 in the UK for one week and No. 4 in the US,[22][42] where it went on to sell over 4 million copies.[176] The album spawned several hit singles; "No Son of Mine" went to No. 6 in the UK and "I Can't Dance" reached No. 7 in the UK and the US.[22][42] In 1993, We Can't Dance was nominated for a Brit Award for Best British Album.[193] Genesis performing at the Knebworth Festival in August 1992. The We Can't Dance tour visited North America and Europe from May to November 1992 with each concert attended by an average of 56,000 people.[194] The tour spawned two live albums; The Way We Walk, Volume One: The Shorts reached No. 3 in the UK and The Way We Walk, Volume Two: The Longs went to No. 1 in the UK.[42] Following the tour, the band took a break in activity. Banks, Rutherford, and Collins performed at Cowdray Castle, Midhurst in September 1993 for a money-raising event with Pink Floyd touring guitarist Tim Renwick and drummer Gary Wallis and Queen drummer Roger Taylor. Rutherford also played bass on Pink Floyd's set at the same concert.[195] In March 1996, Collins announced his departure from Genesis. In a statement, he said, "Having been in Genesis for 25 years, I felt it time to change direction in my musical life. For me now, it will be music for movies, some jazz projects, and of course my solo career. I wish the guys in Genesis all the very best in their future. We remain the best of friends."[196] 1996–2006: Wilson as frontman, Calling All Stations, and hiatus Shortly after Banks and Rutherford decided to continue Genesis in 1996, they went to The Farm to start writing Calling All Stations. Rutherford initially found the sessions difficult as he saw Collins as "the guy in the middle" who made Banks and himself work better.[197] Their best ideas developed in this period were put forward while they auditioned new singers, including Francis Dunnery and Nick Van Eede. The two main contenders, David Longdon (later of Big Big Train) and Scottish singer Ray Wilson of Stiltskin, auditioned throughout 1996, which involved singing along to Genesis tracks with the lead vocals removed. Wilson was announced as the new Genesis singer in June 1997.[198] Though much of the album was already written by the time he joined, Banks was pleased with his contributions to the album, which included writing the lyrics to "Small Talk" and riffs on "Not About Us" and "There Must Be Some Other Way".[199][200] Banks and Rutherford opted for two drummers on Calling All Stations – Israeli session musician Nir Zidkyahu and Nick D'Virgilio of Spock's Beard.[201] Calling All Stations was released in September 1997. It was a success in Europe, where it reached No. 2 in the UK,[42] but the album only reached No. 54 in the US, their lowest charting album there since Selling England by the Pound.[22] A single from the album, "Congo" reached the top 30 in the UK[42] and Genesis completed a European tour from January to May 1998, adding Zidkyahu on drums and Irish guitarist Anthony Drennan. A North American tour was planned but was cancelled following its poor commercial response and lack of ticket sales, which led to Banks and Rutherford announcing in 2000 that the group would no longer be recording and touring.[201] In 1998, Banks, Collins, Gabriel, Hackett, Phillips, Rutherford, and Silver gathered for a photo session and dinner to celebrate the release of the four-disc box set, Genesis Archive 1967–75. The set features "Supper's Ready" and "It" with new overdubs by Gabriel and Hackett.[202] In 1999, Banks, Collins, Rutherford, Hackett, and Gabriel released a new version of "The Carpet Crawlers" for the compilation album Turn It On Again: The Hits.[203] On 21 September 2000, Collins, Banks, Rutherford reunited at the Music Managers Forum, in honour of their manager Tony Smith. Gabriel attended the ceremony but chose not to perform.[204] Genesis briefly performed at Gabriel's wedding in 2002.[205] In 2004, Genesis released Platinum Collection, a three-disc box set of songs covering the band's career that reached No. 21 in the UK.[42][206] 2006–2020: Turn It On Again Tour, BBC documentary, and reunion speculations In a press conference held in London in November 2006, Banks, Rutherford, and Collins announced their reunion for the Turn It On Again Tour, their first with Collins in fourteen years.[207] They revealed the initial plan of touring The Lamb Lies Down on Broadway with Gabriel and Hackett. The five met in Glasgow in November 2004 to discuss the idea further, but it never developed further as Gabriel was unable to commit due to other projects.[208] Instead, Banks, Rutherford and Collins decided to proceed with Chester Thompson and Daryl Stuermer returning on drums and guitar, respectively.[209] In March 2007, a press conference was held in New York City to announce the North American leg.[210] Genesis performing at Old Trafford, Manchester in 2007 The Turn It On Again Tour featured a stage designed by architect Mark Fisher with a lighting display by Patrick Woodroffe, included a 55-metre long LED backdrop formed of 9 million LED lights.[211] The European leg saw close to 400,000 tickets sold in 40 minutes for shows in Germany and the Netherlands.[212] The European leg ended with a free concert on 14 July at the Circus Maximus in Rome in front of around half a million people.[213][214] This was filmed, and released on DVD the following year as When in Rome 2007. A live album formed of recordings from various European dates was released in 2007 as Live over Europe 2007.[215] On 7 July, the band played at the Live Earth concert in London at Wembley Stadium.[216] The band's autobiography Genesis Chapter &Verse was published in 2007 as a full colour 359 page hardback book. The writing credits were Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, and Mike Rutherford, edited by Philip Dodd.[217] In 2007, the band's studio albums from Trespass to Calling All Stations were digitally remastered by Nick Davis across three box sets: Genesis 1970–1975, Genesis 1976–1982 and Genesis 1983–1998. Each album is presented as a two-disc set containing a CD/Super Audio CD of a new stereo mix and a DVD with a 5.1 surround sound mix and bonus features including previously unreleased live performances, interviews, and concert programs.[209] Two DVD box sets followed, Genesis Live 1973–2007[218] and Genesis Movie Box 1981–2007, in 2009.[219] After 2011, Genesis members expressed mixed opinions about a reunion. Collins retired from the music industry as an active musician that year in favour of family commitments,[220] and has stated he can no longer play the drums due to medical issues.[221] Hackett has said "I would say it's possible, but highly improbable. I've always been open to it. I'm not the guy who says no."[208] Gabriel addressed the possibility of a reunion: "I never say never. It really didn't happen last time. I think there's a small chance, but I don't think it's very high."[222] In 2014, Collins reiterated, "Have people thought it through? It's not as if you're going to get Peter as the singer, me as the drummer. I can't play any more, so it's never going to happen", adding it would not be likely for Gabriel to perform songs on which Collins originally sang lead vocals.[223] In 2014, Gabriel, Banks, Rutherford, Collins and Hackett reunited for Genesis: Together and Apart, a BBC documentary about the band's history and the various solo albums the members have released. Although he participated in the documentary and promoted it, Hackett was critical following its broadcast, saying that it was biased and did not give him editorial involvement, adding that it ignored his solo work despite his speaking at length about it.[224] The documentary also did not cover Ray Wilson's time in Genesis. Hackett remains cynical about a Genesis reunion, saying: "Look at the documentary and you'll get an idea of the priorities that come across."[225] In 2015, Collins announced an end to his retirement, and speculated a reunion with Banks and Rutherford would be possible,[226] a view that Banks endorsed.[227] In 2017, Rutherford said he was also amenable to a reunion tour if Collins was interested. Hackett said he would like a reunion of Genesis's 1971–1975 line-up, but stressed it was very unlikely, adding "I won't say any more because I don't want to raise expectations."[228] Collins published his autobiography in 2016, and stated in the introduction that he retired from Genesis in 2007.[229] 2020–2022: The Last Domino? Tour The tour began on 20 September 2021.[241] On 8 October, with four dates remaining, the UK leg was postponed due to a positive test for -19 in the band. The dates were rescheduled for March 2022, ending with three shows in London on 24–26 March.[242][243] Genesis performed their final concert of the Last Domino? Tour on 26 March in London. Gabriel was in attendance, but did not join the band on stage.[244] Musical style For years, we've been telling people that we're primarily songwriters ... I see myself primarily as a writer, not a player. —Mike Rutherford[123] Mike Rutherford playing his distinctive double neck guitar, combining 12-string and bass. Genesis identify first and foremost as songwriters.[123] Though styles changed dramatically over the group's career, they were always built on musical contrasts and the willingness to experiment.[245] Members of the original line-up were exposed to classical and church music as well as rock artists of the 1960s, particularly the Beatles.[246] Gabriel's vocal style was influenced by Otis Redding and other Stax artists.[247] Some of Genesis's music was inspired by blues according to Hackett, who says that the sonic innovation of the electric guitar in the early 1970s came straight from this.[248] In their early years, Genesis' music combined elements of the pop, folk, and psychedelic genres.[249] Several songs developed during Phillips' time in the band originated on 12-string guitars, often with unconventional tunings. By the 1970s, the group began to include fantasy and surreal elements in their lyrics, such as "The Musical Box".[250] Nursery Cryme marks the first time electric instruments were used more extensively.[251] A Trick of the Tail marked a return to the band's roots with acoustic passages and songs inspired by fantasy.[252] Early lyrics drew from psychedelia, fantasy, mythological figures, and fairytale themes. Gabriel emerged as one of the band's main lyricists who often incorporated puns and double entendres in his lines and track titles and addressed various themes including social commentary.[253] Selling England by the Pound contains references to English culture of the time including "Aisle of Plenty", where four British supermarket chains are referenced to reflect the album's theme of commercialism. Literary sources are used as inspiration for many Genesis tracks; "The Cinema Show" is based on T. S. Eliot's poem The Waste Land,[254] and Arthur C. Clarke's novel Childhood's End inspired the lyrics to "Watcher of the Skies".[255] By the time the group had slimmed down to the trio of Banks, Rutherford and Collins, they had decided to change lyrical styles, dealing more with everyday matters which connected with female fans.[146] Collins' songs, in particular, were personal in nature.[256] However, the group still featured humour in songs such as "Illegal Alien",[257] and dealt with serious themes such as politics on "Land of Confusion"[258] and commercialisation on "I Can't Dance".[259] Banks has said that a common way of developing songs throughout the band's career was for Collins to play the rhythm, Rutherford to set up a groove and riffs, and for him to add the harmonies and melodies on top. He cites the "Apocalypse in 9/8" section of "Supper's Ready", "The Cinema Show" and "Domino" as examples of this, and says the restrictions it gave him allowed the group to produce straightforward pop songs such as "Invisible Touch" and "Land of Confusion" in later years.[260] Banks has used a number of keyboards during Genesis' career, continually trying out new models, though he has used the piano regularly throughout the group's lifetime. In the 1970s he frequently used the Hammond organ, Hohner Pianet, Mellotron, RMI Electronic Piano and ARP Pro Soloist.[261] In the 1980s, he used the Sequential Circuits Prophet 5 and Prophet 10, the ARP Quadra and various Korg synthesizers.[262] For the Turn It On Again tour in 2007, his main board was a Korg Oasys.[263] As both a guitarist and bassist, Rutherford regularly swapped between the two roles, and his trademark instrument with Genesis, particularly through the 1970s, was a double-neck guitar. In the 1980s and beyond, he favoured the Eric Clapton Stratocaster.[264] Legacy See also: List of awards and nominations received by Genesis Genesis has had a hard time getting respect. In the early '70s ... it attracted an avid cult following but was largely ignored by the rock press and public at large ... Even in the early '80s ... the press was unimpressed, dismissing the group as easy-listening lightweights ... All of which, to be honest, has been grossly unfair to the group. —Music critic J. D. Considine[265] Genesis have been estimated to have sold between 100 and 150 million albums worldwide.[266][267][268][269][270] Their total certified album sales include 21.5 million in the US,[271] 7.2 million in the UK,[272] 5.6 million in Germany,[273] and 3.4 million in France.[274][275] Genesis have been awarded eleven Gold and four Multi-Platinum albums in the UK,[120] while in the US they have seven Gold, two Platinum, and four Multi-Platinum albums.[176] In March 2010, Genesis were inducted into the Rock and Roll Hall of Fame by Phish guitarist Trey Anastasio.[276] The band's awards include a Silver Clef Award for outstanding contributions to British music at its second annual ceremony in 1977.[277] In 1988, the band received one of the only two Grammy Awards issued for the short-lived Best Concept Music Video category for "Land of Confusion".[278] In September 2012, a Lifetime Achievement Award was given to the band at the inaugural Progressive Music Awards.[279] In 2004, Q ranked Genesis as the seventeenth-biggest band in a list compiled based on album sales, time spent on the UK charts, and largest audience for a headlining show.[280] Genesis were honoured at the second VH1 Rock Honors in May 2007, which featured Banks, Rutherford and Collins.[281] In 2008, the band received a Lifetime Achievement Award at the Mojo Awards.[282] Genesis were targets for criticism throughout the 1970s from those who disliked progressive rock. Influential BBC DJ John Peel championed the band in their early years and they performed three sessions for him between 1970 and 1972, but he "grew disillusioned with their later excesses".[283] Some regarded the group as overtly middle-class, paying particular attention to the founder members' private education, and claimed rock music was being taken away from the working class, whom they regarded as its core audience.[284] Likening his background to that of the punk artist Joe Strummer, who had become a "people's hero" musician, Gabriel stated in 2013, "To this day, we've never outgrown the snotty rich-kid thing ... we were always very straight about where we came from, and we were middle-class, not aristocratic."[285] Gabriel's theatrics were unpalatable to some of the mainstream rock audience, resulting in a cult following rather than that of a mainstream rock band.[286] At their commercial peak in the 1980s, the music of Genesis faced the accusation of being "flabbergastingly insignificant" by leading American music critic Robert Hilburn,[287] and it has been described as "barely distinguishable" from Collins's solo work.[288] According to Rolling Stone's Erik Hedegaard, Collins in particular was blamed by those who accused the band of selling out.[289] Retrospectively, The New Rolling Stone Album Guide critic J. D. Considine documented how the band had been "largely ignored" by the music press and public in their earliest years, before being "derided as middlebrow throwbacks still in thrall to the pomposities of art rock" in the late 1970s and then dismissed as "easy-listening lightweights" in the 1980s. He argued this was unfair, as the band had made their "share of mediocre albums" but no bad ones.[265] Critics, though, disagree about which albums were mediocre; Considine cites Selling England by the Pound as one of the band's three worst (those meriting 2 stars out of 5[265]), while the AllMusic Guide picks it as one of their three best.[290] Journalists have reported that fans preferring one era of the band strongly dislike others. Rock author Colin McGuire has described the arguments from fans of the Gabriel era as "they sold out and became too corporate when Collins stepped into the spotlight", while fans of the Collins era argue "the Gabriel years were boring and hard to stomach". He concluded both eras of the band should be judged on their own merits.[291] The band themselves have been aware of these divides; press interviews for Abacab explicitly stated that fans of Foxtrot might not like the album, but should keep an open mind.[292] Ultimate Classic Rock stated, "There are few groups in the classic-rock canon with a more divisive discography than Genesis ... there's no arguing that they helped create the template for prog-rock and made some of the genre's most essential albums", but continued "the Genesis sound gradually grew less and less progressive, until the band became a straight-up pop act. Good luck finding anybody out there who's equally enamored of both sides of the band's story."[293] On their legacy, Q reviewer Andy Fyfe wrote in 2007 that "little of the band's output has aged well" and "transcends in the way real classics do", stating they would "remain perennial whipping boys for decades to come".[294] However, The Daily Telegraph chief rock music critic Neil McCormick has said that Genesis were "a daring and groundbreaking band (certainly in their early career)", described Collins as "an outstanding drummer" and stated that "after Gabriel left, he stepped up to prove himself a charismatic frontman with a very distinctive vocal character".[295] Influence Genesis have been cited as a principal influence on the neo-progressive rock subgenre that emerged in the 1980s,[296] featuring bands including Marillion and Pallas.[297][298] Steve Hackett's work in Genesis influenced guitarists such as Brian May of Queen,[299][300] Alex Lifeson of Rush,[299] and Eddie Van Halen of Van Halen.[299] Iron Maiden founder Steve Harris cites Gabriel-era Genesis as one of his main influences, describing "Supper's Ready" (along with Jethro Tull's song "Thick as a Brick") as one of his two favourite pieces of music of all time in an interview with Prog.[301] Genesis were also an influence on post-punk artists such as Simple Minds and Will Sergeant, guitarist of Echo & the Bunnymen,[302][303] as well as the electronic new wave band The Human League.[304] Trey Anastasio of Phish said "It's impossible to overstate what impact this band and musical philosophy had on me as a young musician. I'm forever in their debt."[305] Mostly Autumn "fuse the music of Genesis and Pink Floyd" in their sound.[306] The alternative rock band Elbow acknowledge Genesis as an influence,[307] such as on their breakthrough song "Newborn".[308] There are a number of Genesis tribute bands, including ReGenesis who focus on the group's 1970s music.[309] The most successful act is the Canadian-French band The Musical Box, who have been officially endorsed by the band and had Hackett and Collins perform as guests with them. Gabriel took his children to see the Musical Box so "they could see what their father did back then",[310] while Hackett said "They not only manage to sound, but look virtually identical".[311] Band members Main article: List of Genesis band members Official members Tony Banks – keyboards, 12-string guitar, backing vocals (1967–2000, 2006–2007, 2020–present) Mike Rutherford – bass, guitar, bass pedals, backing vocals (1967–2000, 2006–2007, 2020–present) Phil Collins – lead vocals (1975–1996, 2006–2007, 2020–present); drums, percussion (1970–1996, 2006–2007) Peter Gabriel – lead vocals, flute, oboe, tambourine, bass drum (1967–1975) Anthony Phillips – electric and acoustic guitars, backing vocals (1967–1970) Chris Stewart – drums, percussion (1967–1968) John Silver – drums, percussion (1968–1969) John Mayhew – drums, percussion, backing vocals (1969–1970; died 2009) Mick Barnard – electric and acoustic guitars (1970–1971) Steve Hackett – electric and acoustic guitars (1971–1977) Ray Wilson – lead vocals (1996–2000) Touring musicians Daryl Stuermer – guitar, bass, backing vocals (1978–1992, 2006–2007, 2020–present) Nic Collins – drums, percussion (2020–present) Daniel Pearce – backing vocals (2020–present) Patrick Smyth – backing vocals (2020–present) Bill Bruford – drums, percussion (1976) Chester Thompson – drums, percussion (1976–1992, 2006–2007) Nir Zidkyahu – drums, percussion (1997–1998) Anthony Drennan – electric and acoustic guitars, bass, backing vocals (1997–1998) Ronnie Caryl – guitar (1970) Discography Main article: Genesis 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)

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