Genesis (band)

Genesis

Company type	Private
Industry	Music
Founded	1967 in Godalming, Surrey, England
Founder	Tony Banks, Mike Rutherford, Peter Gabriel, Anthony Phillips, Chris Stewart
Headquarters	Godalming , England, United Kingdom
Products	Music albums, live recordings
Number of employees	3 (core members at peak success)

Genesis originated as an English rock group established at Charterhouse School in Godalming, Surrey, in 1967. The lineup that endured the longest and achieved the greatest commercial success consisted of keyboardist Tony Banks, bassist and guitarist Mike Rutherford, and drummer and vocalist Phil Collins. During the 1970s, alongside vocalist Peter Gabriel and guitarist Steve Hackett, Genesis became trailblazers in the progressive rock genre. Throughout the band's existence, Banks and Rutherford were the only members to remain continuously.

The band was initially formed by Charterhouse students Banks, Rutherford, Gabriel, guitarist Anthony Phillips, and drummer Chris Stewart. Their name was suggested by former student and pop producer Jonathan King, who assisted them in recording singles and their first album From Genesis to Revelation in 1969. After parting ways with King, Genesis signed with Charisma Records, transitioned toward progressive rock with the release of Trespass (1970), and embarked on extensive tours. Following Trespass, Phillips departed, and Collins along with Hackett joined prior to Nursery Cryme (1971). Gabriel’s dramatic stage presence became a defining feature of their concerts. Their album Foxtrot (1972) was their initial entry into the UK charts, succeeded by Selling England by the Pound (1973), which climbed to number three and included their first UK charting single "I Know What I Like (In Your Wardrobe)". The ambitious concept album The Lamb Lies Down on Broadway (1974) was supported by a significant transatlantic tour before Gabriel exited the group.

With Collins stepping up as lead vocalist, the band, now a quartet, released A Trick of the Tail and Wind & Wuthering (both 1976), maintaining their success. Hackett left in 1977, reducing Genesis to a trio of Banks, Rutherford, and Collins. Their ninth studio effort, ...And Then There Were Three... (1978), featured the breakthrough single "Follow You Follow Me". The subsequent five albums—Duke (1980), Abacab (1981), Genesis (1983), Invisible Touch (1986), and We Can't Dance (1991)—showcased a move toward a more mainstream pop sound while achieving considerable commercial acclaim. Collins departed in 1996 and was succeeded by vocalist Ray Wilson, who performed on their final studio album Calling All Stations (1997). Due to its disappointing reception, the band subsequently disbanded. Banks, Rutherford, and Collins reunited for the Turn It On Again Tour in 2007 and once more in 2021 for The Last Domino? Tour.

With worldwide album sales estimated between 100 million and 150 million copies, Genesis stands as one of the most commercially successful music acts globally. Their catalog comprises fifteen studio albums alongside six live recordings. Throughout their career, they have received numerous accolades including a Grammy Award for Best Concept Music Video for "Land of Confusion". Additionally, they have inspired several tribute bands that recreate performances from various phases of their history. In 2010, Genesis was honored with induction into the Rock and Roll Hall of Fame.

1967–1969: Formation, early demos and From Genesis to Revelation

Genesis originated at Charterhouse School in Godalming, Surrey, founded by Peter Gabriel, Tony Banks, Anthony "Ant" Phillips, Mike Rutherford, and drummer Chris Stewart. Banks and Gabriel became members in 1963, followed by Rutherford in 1964, and Phillips in 1965. These five musicians initially participated in two separate school bands: Phillips and Rutherford played in Anon, while Gabriel, Banks, and Stewart were part of Garden Wall.

After both ensembles disbanded in January 1967, Phillips and Rutherford invited the others to collaborate on recording six demo tracks. To secure professional production assistance, they reached out to Charterhouse alumnus Jonathan King, who offered them a one-year contract with Decca Records. Between August and December 1967, the group recorded potential singles at Regent Sound Studios in London. Under King's guidance to pursue simple pop music, Banks and Gabriel composed "The Silent Sun", drawing inspiration from the Bee Gees, King's preferred band. The band adopted the name "Genesis" upon King's recommendation. Their debut single, featuring "The Silent Sun" backed with "That's Me," was released in February 1968 but did not achieve commercial success. A subsequent single, "A Winter's Tale" / "One-Eyed Hound," also failed to gain traction. Following drummer Stewart's departure to focus on his studies, John Silver took over the role.

Encouraged by King to produce a full-length album, the band recorded From Genesis to Revelation over ten days during the summer of 1968 at Regent Sound. King produced this concept album and incorporated orchestral arrangements by Arthur Greenslade without consulting the band beforehand; Phillips expressed dissatisfaction with this decision. Due to a naming conflict with an American group also called Genesis, King removed the band's name from the album cover, which featured a minimalist design. Released in March 1969, the album did not perform well commercially, partly because retailers mistakenly categorized it as religious music. Banks later noted that initial sales amounted to only 649 copies. A third single released in June 1969 also failed to chart. This string of commercial disappointments led to the termination of their relationship with King and Decca Records. Despite this, King retained the album's rights; it was reissued multiple times and eventually reached No. 170 on the US charts in 1974.

Following the album sessions, members pursued further education: Gabriel and Phillips stayed at Charterhouse; Banks enrolled at Sussex University; Rutherford attended Farnborough College of Technology. They reconvened mid-1969 to evaluate their direction; as their songwriting grew more intricate, Phillips and Rutherford committed to pursuing music full-time. Banks and Gabriel rejoined them, and with Silver on drums they recorded four demos at Regent Sound in August 1969: "Family" (later renamed "Dusk"), "White Mountain," "Going Out to Get You," and "Pacidy." These demos were rejected by record companies. Silver left to study in the United States; subsequently, drummer John Mayhew was recruited after he left his contact details around London while seeking employment.

1969–1970: First live performances, Charisma signing, Trespass, and Phillips' exit

In the latter part of 1969, Genesis withdrew to a cottage located in Wotton, Surrey, dedicating themselves to composing, rehearsing, and refining their live performances with sessions lasting up to eleven hours each day. Their inaugural concert took place in September 1969 at a teenager's birthday party, followed by appearances at modest venues across the UK, a BBC Night Ride radio session in February 1970, and a set at the Atomic Sunrise Festival held at the Roundhouse in Chalk Farm. After unsuccessful negotiations with Island and Chrysalis Records, they were introduced to producer John Anthony of Charisma Records during a residency at Ronnie Scott's Jazz Club. Within two weeks, Charisma's founder Tony Stratton Smith signed them, offering a weekly payment of £10 () covering both recording and management agreements.

By April 1970, Genesis had accumulated sufficient material for their sophomore album. Recording sessions for Trespass commenced in June at London's Trident Studios, with John Anthony producing and David Hentschel assisting. The album showcased extended and intricate compositions that fused folk elements with progressive rock, incorporating diverse time signatures; notable among these was the nine-minute piece "The Knife". The cover art was created by Paul Whitehead, who added a knife slash motif to convey the album’s darker tone before it was photographed for release. Issued in October 1970, Trespass reached No. 1 in Belgium in 1971 and peaked at No. 98 in the UK charts by 1984. The track "The Knife" was released as a single in May 1971. Although critical reception was mixed—with a 1974 Rolling Stone review describing it as "spotty" and "poorly defined"—the album represented a significant milestone in their artistic growth. Gabriel later remarked on the band's challenges during this period: "We couldn't get arrested. So I got a place at the London Film School."

Following the completion of Trespass, drummer John Silver departed due to health issues and anxiety about performing live; his last appearance was on 18 July 1970 in Haywards Heath. Silver believed that frequent performances stifled creativity and that some of his songwriting contributions were overlooked. After being diagnosed with bronchial pneumonia and feeling isolated amid multiple bandwriters, his exit was perceived by Banks, Gabriel, and Rutherford as the band's most serious setback—though Gabriel and Rutherford resolved to persevere. Banks agreed to continue only if they could recruit a drummer of equal calibre; consequently, Chris Stewart was dismissed as they searched for a more suitable replacement.

1970–1972: Addition of Collins and Hackett; creation of Nursery Cryme

Genesis initiated their hunt for both a guitarist and drummer by placing advertisements in Melody Maker. Drummer Phil Collins, formerly associated with Flaming Youth, responded to the call; he recalled that Genesis appeared to be constantly rehearsing. Roger Taylor declined an audition opportunity. Collins auditioned alongside guitarist Ronnie Caryl; Gabriel and Rutherford were impressed by Collins' confidence and adaptability. Banks noted Collins' ability to "make it swing," his sense of humor, and his backing vocal skills—all valuable assets for the group. In August 1970, Collins officially joined as drummer; Caryl was not selected.

After a short hiatus, Genesis rehearsed as a quartet in Farnham, Surrey. In the absence of a guitarist, Banks and Rutherford broadened their sonic palette; Banks played lead guitar lines on a Pianet processed through a distorted fuzz effect alongside keyboard parts. Mick Barnard joined in November 1970 for live performances, including their BBC television debut on Disco 2, but was replaced after two months due to limited proficiency. In December, Gabriel discovered guitarist Steve Hackett, formerly of Quiet World, through another Melody Maker advertisement. Hackett auditioned in January 1971 and quickly bonded with Rutherford over mutual musical tastes.

Following Hackett's integration into the band, Stratton Smith organized a UK tour where Genesis opened for fellow Charisma artists Lindisfarne and Van der Graaf Generator. Their initial international shows occurred in March with performances across Belgium, succeeded by three consecutive Reading Festival appearances commencing on 26 June.

Preparation for their third studio album, Nursery Cryme, took place at Stratton Smith's Luxford House near Crowborough in East Sussex. Recording began at Trident Studios in August 1971 under producer John Anthony with assistant engineer David Hentschel. The band's sound evolved significantly with Hackett's assertive electric guitar work complemented by Banks' use of a Mellotron previously owned by King Crimson. The opening track "The Musical Box" originated from earlier contributions by Phillips and Mayhew but was further developed incorporating Hackett's guitar parts. Both this song and "The Return of the Giant Hogweed" feature Hackett's innovative tapping technique. Hackett and Collins co-wrote "For Absent Friends," which featured Collins’ first lead vocal performance on a Genesis recording. The album’s artwork by Whitehead depicted a Victorian manor inspired by Gabriel’s parental home along with scenes from "The Musical Box."

Released in November 1971, Nursery Cryme reached No. 39 on UK charts by 1974 but found greater commercial success throughout Europe, peaking at No. 4 in Italy. From late 1971 until August 1972, Genesis toured extensively to promote the album with enthusiastic audiences especially in Belgium and Italy. They recorded sessions for BBC’s Sounds of the Seventies early in 1972 and returned to perform at Reading Festival later that year receiving positive critical acclaim. During this period, Genesis issued the non-album single "Happy the Man," backed with "Seven Stones" from Nursery Cryme.

1972–1974: Foxtrot and Selling England by the Pound

In August and September 1972, Genesis laid down tracks for Foxtrot at Island Studios. During these initial sessions, the lineup saw adjustments, with John Burns taking on engineering duties and Dave Hitchcock stepping in as producer.

The album is distinguished by the 23-minute epic "Supper's Ready", which merges acoustic passages with improvisational segments, including Gabriel’s "Willow Farm" and the collaborative "Apocalypse in 9/8" by Banks, Rutherford, and Collins. Other standout compositions are the science fiction-inspired "Watcher of the Skies" and "Get 'Em Out by Friday", which critiques urban redevelopment. Released on 15 September 1972, Foxtrot climbed to No. 12 on UK charts and secured the top spot in Italy. It was widely regarded as a creative zenith and a landmark in British progressive rock.

The supporting Foxtrot tour took Genesis across Europe and North America from September 1972 through August 1973. Gabriel’s introduction of theatrical costumes attracted significant media coverage and effectively doubled their performance fees. Their American debut featured concerts at Brandeis University and Philharmonic Hall in New York, with String Driven Thing as their charity-supporting opening act. Despite some technical difficulties, the shows received positive audience responses. Gabriel’s evolving stage personas, enhanced by fluorescent paint and intricate costumes, further solidified the band’s distinctive image. A live record from this era, Genesis Live, was released in July 1973, reaching No. 9 in the UK and No. 105 in the US.

In mid-1973, Genesis renewed their contract with Charisma Records under improved conditions, choosing loyalty over offers from major labels. They returned to Island Studios in August to record Selling England by the Pound, co-produced again by John Burns. Much of the material was composed at Una Billings School of Dance and in Chessington. Gabriel’s lyrics offered a critique of commercialism and cultural shifts influenced by America; the album title referenced a UK Labour Party slogan aimed at countering accusations of cultural compromise. The track "Firth of Fifth" features Hackett’s extended electric guitar solo, while the cover art adapts Betty Swanwick’s painting The Dream, altered to reflect themes from "I Know What I Like (In Your Wardrobe)".

Released on 5 October 1973, Selling England by the Pound garnered favorable reviews, though not quite matching its predecessor’s acclaim, peaking at No. 3 in the UK and No. 70 in the US. At this point, Genesis was burdened with £150,000 in debt (a substantial sum when adjusted for inflation), attributed to inadequate financial oversight. To address this, they hired promoter Tony Smith as their manager to enhance business management and began publishing their music through his Hit & Run Music Publishing firm.

The Selling England by the Pound tour spanned from September 1973 to May 1974 across Europe and North America, including a series of six highly praised performances at The Roxy in Los Angeles that significantly elevated their profile in the US market. The tour’s success earned them the accolade of "Top Stage Band" from readers of NME. Afterward, tour manager Macphail resigned to pursue other ventures. The single "I Know What I Like (In Your Wardrobe)", released in February 1974 with non-album B-side "Twilight Alehouse", reached No. 21 on UK charts; however, the band declined an invitation to appear on BBC's Top of the Pops to preserve their image.

1974–1975: The Lamb Lies Down on Broadway and Gabriel's Exit

Genesis commenced work on their ambitious double concept album The Lamb Lies Down on Broadway in June 1974, a period marked by growing tensions between Peter Gabriel and the rest of the band, ultimately leading to his departure. The album was crafted at Headley Grange in East Hampshire, despite the challenging conditions left behind by a previous occupant. Gabriel dismissed Rutherford's suggestion of basing the album on The Little Prince, instead developing an intricate narrative centered on Rael, a Puerto Rican teenager navigating a spiritual journey through New York City. Inspirations for the story included West Side Story, Pilgrim's Progress, Carl Jung’s theories, and Alejandro Jodorowsky’s film El Topo. Gabriel was primarily responsible for the lyrics, while the other members concentrated on composing the music. His frequent absences due to his wife’s childbirth further strained relationships, with Rutherford and Banks showing little support. Gabriel briefly left the band when director William Friedkin invited him to write a screenplay but returned after the project was abandoned.

By August 1974, production shifted to Glaspant Manor in Wales, utilizing co-producer John Burns and Island Studios’ mobile recording equipment. Mixing took place at Island Studios, featuring Brian Eno’s synthesizer work and effects, which were credited as "Enossification". While Gabriel valued Eno’s contributions, Banks expressed less enthusiasm.

Released in November 1974, The Lamb Lies Down on Broadway reached No. 10 on UK charts and No. 41 in the US. Singles such as "Counting Out Time" and "The Carpet Crawlers" were issued. The album’s artwork was created by Storm Thorgerson and Aubrey Powell of Hipgnosis. Between November 1974 and May 1975, Genesis embarked on a tour spanning North America and Europe, performing the entire album despite mixed feelings within the band due to audiences’ unfamiliarity with the material. The elaborate live show featured Gabriel’s distinctive costumes, three backdrop screens projecting 1,450 slides from eight projectors, alongside laser lighting effects. Critics frequently concentrated on Gabriel’s theatrical performance rather than the band’s musical output, causing internal frustration.

During the Cleveland segment of the tour, Gabriel declared his intention to leave once the tour concluded. In August 1975, he released a statement titled "Out, Angels Out", expressing disillusionment with the music industry and a desire to prioritize family life. Tony Banks later reflected that Gabriel’s increasing prominence had become challenging for the group to accommodate and that his departure was somewhat of a relief.

1975–1977: Collins Assumes Lead Vocals, A Trick of the Tail, Wind & Wuthering, and Hackett's Departure

Following the conclusion of the Lamb tour, Steve Hackett embarked on his debut solo effort Voyage of the Acolyte, uncertain about Genesis' direction without Gabriel. The band reconvened in London in July 1975. During this time, Phil Collins also became a semi-regular member of jazz rock ensemble Brand X during Genesis’ downtime. Collins proposed transforming Genesis into an instrumental group; however, this idea was rejected by his bandmates. Rehearsals for A Trick of the Tail held in Acton yielded significant progress quickly; tracks like "Dance on a Volcano" and "Squonk" were largely completed within three days. Recording sessions began in October 1975 at Trident Studios with David Hentschel producing. Lacking a lead vocalist, Genesis recorded instrumental tracks while auditioning singers through an anonymous advertisement placed in Melody Maker, which attracted approximately 400 applicants. After unsuccessful auditions, Collins performed vocals on "Squonk" during a studio session; this impressed the group enough to appoint him as lead singer for the album.

Released in February 1976, A Trick of the Tail achieved both commercial success and critical acclaim, reaching No. 3 in the UK and No. 31 in the US charts. Although the title track was released as a single, it failed to chart. By June of that year, it had earned Gold certification from the British Phonographic Institute, selling over 100,000 copies and allowing Genesis to clear £400,000 of debt accumulated after Gabriel’s departure. For the first time, promotional videos were produced for "A Trick of the Tail" and "Robbery, Assault and Battery". Prior to touring, Collins recruited drummer Bill Bruford. Between March and July 1976, Genesis toured extensively across North America and Europe to strong audience reception. Collins’ more lighthearted stage presence contrasted sharply with Gabriel’s previous theatrical style. Performances in Glasgow and Stafford were filmed for the concert movie Genesis: In Concert, which premiered in February 1977.

In September 1976, Genesis recorded Wind & Wuthering at Relight Studios in the Netherlands with Hentschel returning as producer. The album was developed rapidly from pre-existing material with an intentional shift away from fantasy-themed songs. Writing took approximately six weeks; basic tracking was completed within twelve days. Additional sessions occurred at Trident Studios during October. Hackett felt creatively constrained as several of his compositions were excluded in favor of material preferred by Banks and others. Released in December 1976, Wind & Wuthering attained No. 6 in UK charts and No. 26 in the US. Rutherford’s "Your Own Special Way" was issued as its only single, reaching No. 43 in the UK.

Ahead of their 1977 tour, Bruford declined to continue; Collins then enlisted American drummer Chester Thompson, having been impressed by his work with Frank Zappa without requiring an audition. The tour encompassed Europe, North America, and Brazil—the band’s first performances in South America—with a £400,000 investment in stage production featuring advanced PA systems, lasers, smoke effects, and Boeing 747 landing lights used for illumination. It launched in January with sold-out shows at London’s Rainbow Theatre amid overwhelming demand (80,000 ticket applications for just 8,000 seats). Subsequent concerts at Earls Court included support from Richie Havens. Growing popularity in North America led to performances at larger venues such as Madison Square Garden. Brazilian shows attracted crowds exceeding 150,000; however, a planned concert for 100,000 attendees was canceled due to concerns over potential riots necessitating armed security.

In May 1977 Genesis released Spot the Pigeon, an EP comprising tracks omitted from Wind & Wuthering. It reached No. 14 on UK singles charts and marked their final release before Hackett left to pursue solo projects seeking greater artistic freedom. His departure coincided with Genesis’ double live album Seconds Out, recorded during tours supporting both A Trick of the Tail and Wind & Wuthering. Released in October 1977, it peaked at No. 4 on UK charts and No. 47 in the US.

1977–1980: ...And Then There Were Three... and Duke

By the time Seconds Out hit the shelves, Banks, Rutherford, and Collins had already completed recording ...And Then There Were Three..., their first album as a trio, during September 1977 at Relight Studios with producer Hentschel. This record featured shorter compositions aimed at delivering more varied ideas, with Banks contributing four tracks, Rutherford three, Collins one, alongside three collectively written pieces. The album marked a noticeable move toward a pop-influenced style, exemplified by the group-written single "Follow You Follow Me", which became their first top 10 hit in the UK and reached the US top 40. Rutherford expanded his responsibilities to lead guitar after considering outside musicians but ultimately performed all guitar parts himself. Collins described the album as "a very vocal, solid album" while acknowledging it lacked the complex rhythms of their earlier work.

Released in March 1978, ...And Then There Were Three... drew mixed critical responses due to its more concise song structures; while it attracted new listeners, some longtime fans felt alienated. Commercially, it was a success, climbing to No. 3 on the UK charts and No. 14 in the US. The lead single "Follow You Follow Me" peaked at No. 7 in the UK and No. 23 in the US—the band's highest-charting single at that point—broadening their audience and increasing female fan interest through appearances on Top of the Pops. The subsequent single "Many Too Many" was less impactful since it had already been included on the album.

To replace touring guitarists, Rutherford auditioned Pat Thrall, Elliot Randall, and Alphonso Johnson from Weather Report—though Johnson was primarily a bassist and unsuitable for lead guitar duties. Johnson suggested American guitarist Daryl Stuermer, who had jazz fusion experience with Jean-Luc Ponty. After a successful rehearsal in New York City, Stuermer was hired and quickly mastered 26 songs. The ...And Then There Were Three... tour (March–December 1978) covered North America, Europe, and Japan for the first time. The production cost approximately £2 million (), incorporating advanced sound systems, lighting, laser shows, and computer-controlled effects that required extensive setup. Peter Gabriel made a guest appearance during one performance. In June, Genesis headlined the prestigious Knebworth Festival—their only UK show that year.

In December 1978, Genesis took a break as Collins faced personal difficulties caused by prolonged touring absences affecting his marriage. After discussions with Banks and Rutherford, Collins moved to Vancouver in an attempt to reconcile. During this hiatus, Banks and Rutherford pursued solo projects at Polar Studios in Stockholm: A Curious Feeling and Smallcreep's Day, respectively. By April 1979, Collins returned to the UK after his efforts were unsuccessful; he resumed work with Brand X on Product, contributed drums to Peter Gabriel's third solo album, and began composing his debut solo album Face Value.

In 1979, Banks and Rutherford joined Collins at his residence in Shalford to write and rehearse material for Duke. They found collaboration smoother than during the previous record due to a renewed collective approach to developing ideas. Continuing their trend toward more concise songwriting, each member contributed two songs—Banks ("Heathaze," "Cul-de-Sac"), Rutherford ("Man of Our Times," "Alone Tonight"), Collins ("Misunderstanding," "Please Don't Ask")—alongside five co-written tracks including "Duchess," notable for featuring a Roland CR-78 drum machine imported from Japan. A planned 30-minute suite centered on a fictional character named Albert was abandoned to avoid comparisons with earlier lengthy epics. Recorded at Polar Studios in November with Hentschel once again producing, the album’s cover art was created by French illustrator Lionel Koechlin depicting Albert.

Released in March 1980, Duke became Genesis' most commercially successful album up to that point, spending two weeks at No. 1 in the UK and reaching No. 11 on the US charts. It yielded three singles: "Turn It On Again" (No. 8 UK), "Misunderstanding" (No. 14 US), and "Duchess" (No. 46 UK). The band supported the release with tours across the UK and North America from April to June 1980; notably, all 106,000 tickets for their initial 40-date UK leg sold out within hours.

1980–1985: Abacab and Genesis

In November 1980, Genesis acquired Fisher Lane Farm near Chiddingfold, Surrey, transforming it into a rehearsal and recording facility within four months. This new setting facilitated the commencement of work on Abacab in March 1981. The change of environment enhanced their creative output, producing enough tracks for a double album, although about an hour of material was discarded for resembling previous work too closely. Banks observed that the band pursued simpler melodic lines, indicating a new artistic direction. Hugh Padgham took over production and engineering duties from longtime collaborator Hentschel, with production credits attributed solely to the band and Padgham serving as engineer. The album combined group-composed songs with one track contributed by each member; notably, "No Reply at All" featured the Phenix Horns from Earth, Wind & Fire.

Released in September 1981, Abacab achieved No. 1 on the UK charts and reached No. 7 in the US. It produced three singles that entered the top forty in both territories: "Abacab" (UK No. 9, US No. 26), "No Reply at All" (US No. 29), and "Keep It Dark," which was released exclusively in Europe (UK No. 33). The accompanying tour took place across Europe and North America from September to December 1981, culminating in performances at Wembley Arena and NEC Birmingham. This tour marked Genesis' first use of the Vari-Lite intelligent lighting technology; after witnessing a demonstration at The Farm, the band and Phil Collins became shareholders.

In May 1982, three tracks from the Abacab sessions—"Paperlate," "You Might Recall," and "Me and Virgil"—were issued as the 3×3 EP in Europe, reaching No. 10 on the UK charts. The EP’s cover art paid tribute to the Beatles' Twist and Shout EP.

June 1982 saw the release of the double live album Three Sides Live, which featured different versions for North American and European markets. This release coincided with the launch of a concert film recorded in 1981 on home video formats. A subsequent tour across North America and Europe followed from August to September 1982, highlighted by guest appearances from Bill Bruford and the Phenix Horns. On 2 October, Genesis headlined a charity event titled "Six of the Best" at Milton Keynes Bowl alongside Peter Gabriel to support Gabriel's World of Music, Arts and Dance initiative; Steve Hackett joined them for the final two numbers.

The band began work on their twelfth studio album, Genesis, in March 1983 with Hugh Padgham returning as engineer. This was their first album fully produced at The Farm's newly renovated studio. Banks recalled difficulties in generating fresh ideas but felt they maximized the potential of their material. The lead single "Mama," inspired by a rhythm from Rutherford’s LinnDrum machine routed through his guitar amplifier, included Collins’ distinctive laugh sampled from Grandmaster Flash's "The Message." Released in October 1983, Genesis topped the UK charts and reached No. 9 in the US; it earned Platinum certification by December and sold over four million copies globally. Singles such as "Mama" (UK No. 4) and "That's All" (US No. 6) were successful hits. The Mama Tour covered North America along with five performances in Birmingham, UK; these shows were filmed for Genesis Live – The Mama Tour.

In February 1984, Genesis took a hiatus from collective activities to concentrate on individual projects: Rutherford established Mike + The Mechanics; Banks focused on his solo album Soundtracks; Collins released his solo effort No Jacket Required, which garnered worldwide acclaim and significantly raised his profile beyond Genesis. Media outlets noted that Collins' solo achievements surpassed those of the band during this period. Nevertheless, Collins reaffirmed his dedication to Genesis, stating he would remain with the group even if other members chose to depart eventually. By June 1985, he confirmed intentions to begin work on a new Genesis album within that year, quelling rumors of a breakup following an incorrect announcement by BBC Radio 1.

1985–1996: Invisible Touch, We Can't Dance and Collins' Exit

In October 1985, Genesis reconvened at The Farm studio to begin work on Invisible Touch, dedicating six months to expanding their improvisational approach to songwriting. According to Banks, this phase was marked by strong creative momentum and a steady flow of ideas. The album’s title track was conceived organically during these sessions when Rutherford’s guitar riff inspired Collins to write the lyric "She seems to have an invisible touch," which ultimately became the song’s memorable chorus.

Upon its release in June 1986, the album secured the No. 1 position on the UK charts for three weeks and climbed to No. 3 in the US, establishing itself as Genesis’ best-selling record with sales exceeding seven million copies worldwide. Five singles were launched from the album—"Invisible Touch", "Throwing It All Away", "Land of Confusion", "In Too Deep", and "Tonight, Tonight, Tonight"—all of which reached the top five on US charts between 1986 and 1987. Notably, "Invisible Touch" held the No. 1 spot for one week, making Genesis the first band and foreign artist to achieve this feat, equaling records previously set by Michael Jackson, Janet Jackson, and Madonna. After Collins was satirized on the show Spitting Image, he invited the creators to produce puppet versions of the band members for the "Land of Confusion" music video.

The Invisible Touch Tour became Genesis’ most extensive global tour at that time, covering 112 concerts from September 1986 through July 1987. Although the tour faced some criticism due to its sponsorship by Michelob beer, it culminated in four consecutive sold-out performances at London’s Wembley Stadium. These final shows were captured and released as The Invisible Touch Tour in 1988. Following this period, the band took a hiatus to focus on individual solo projects but reunited briefly for special appearances including Atlantic Records’ 40th Anniversary concert in 1988 and a charity event during the 1990 Knebworth Festival.

In 1991, Genesis entered the studio with co-producer Nick Davis to record their fourteenth studio album, We Can't Dance. Exploiting the expanded capacity of CDs, they delivered over 71 minutes of music spread across twelve tracks. Collins contributed "Since I Lost You," a song written in tribute to Eric Clapton after a personal loss. Released in November that year, the album reached No. 1 on UK charts for one week and peaked at No. 4 in the US, selling upwards of four million copies stateside. Key singles included "No Son of Mine" which reached No. 6 in the UK and "I Can't Dance" which achieved No. 7 on both UK and US charts. In 1993, We Can't Dance earned a Brit Award nomination for Best British Album.

The supporting tour spanned North America and Europe from May to November 1992, drawing an average crowd size of approximately 56,000 per show. This tour yielded two live albums: The Way We Walk, Volume One: The Shorts, which reached No. 3 in the UK, and The Way We Walk, Volume Two: The Longs, which topped UK charts at No. 1. A live video documenting performances at Earl's Court was also released. After completing this tour cycle, Genesis again paused activities; however, they reunited for a charity concert in September 1993 alongside Pink Floyd’s touring guitarist Tim Renwick and Queen’s drummer Roger Taylor.

In March 1996, Phil Collins publicly announced his decision to leave Genesis after a quarter-century with the band in order to focus on composing film scores, exploring jazz ventures, and continuing his solo career. He conveyed his best wishes for Genesis’ future endeavors while reaffirming his enduring friendship with his former bandmates.

1996–2006: Wilson as lead vocalist, Calling All Stations and pause in activity

Following Banks and Rutherford's decision to keep Genesis active in 1996, they commenced writing sessions for Calling All Stations at The Farm studio. Rutherford initially found these sessions difficult, missing Collins as "the central figure" who had previously strengthened their synergy. Several vocalists were auditioned, including Francis Dunnery and Nick Van Eede, with the final candidates being David Longdon (later known for Big Big Train) and Scottish singer Ray Wilson from Stiltskin. Wilson was officially announced as the new frontman in June 1997. Although much of the album's material was composed prior to Wilson joining, Banks appreciated his input, particularly his lyrical work on "Small Talk" and guitar riffs on "Not About Us" and "There Must Be Some Other Way". The album featured two drummers: Israeli session player Nir Zidkyahu and Nick D'Virgilio from Spock's Beard.

Calling All Stations was released in September 1997 and achieved strong chart success across Europe, peaking at No. 2 in the UK, but only reached No. 54 in the US—their lowest ranking since Selling England by the Pound. The single "Congo" entered the UK top 30, and Genesis toured Europe from January through May 1998 with Zidkyahu on drums and Irish guitarist Anthony Drennan. However, a planned North American tour was cancelled due to insufficient ticket sales, prompting Banks and Rutherford to announce in 2000 that the band would stop recording and touring.

In 1998, core members Banks, Collins, Gabriel, Hackett, Phillips, Rutherford, and Silver gathered for a photo shoot and dinner marking the release of the four-disc box set Genesis Archive 1967–75, which contained new overdubs by Gabriel and Hackett. The following year, Banks, Collins, Rutherford, Hackett, and Gabriel collaborated on a re-recording of "The Carpet Crawlers" for the compilation album Turn It On Again: The Hits. On 21 September 2000, Collins, Banks, and Rutherford performed a brief acoustic set at the Music Managers Forum as a tribute to manager Tony Smith; Gabriel attended but did not participate. Genesis also made a brief appearance during Gabriel's wedding ceremony in 2002. In 2004, they issued Platinum Collection, a comprehensive three-disc anthology spanning their career that reached No. 21 on the UK charts.

2006–2020: Turn It On Again Tour, BBC documentary and reunion discussions

In November 2006, Banks, Rutherford, and Collins declared their reunion for the Turn It On Again Tour, marking Collins’ first tour with Genesis in fourteen years. Initially intending to perform The Lamb Lies Down on Broadway alongside Gabriel and Hackett, plans were abandoned due to Gabriel’s unavailability. Instead, Chester Thompson returned on drums and Daryl Stuermer on guitar. The North American leg was announced in March 2007.

The tour’s stage design was created by architect Mark Fisher featuring an elaborate lighting setup by Patrick Woodroffe that included a massive 55-metre LED screen composed of nine million lights. Tickets for the European shows sold rapidly; nearly 400,000 tickets for Germany and the Netherlands were sold within 40 minutes. The tour culminated with a free concert at Rome’s Circus Maximus attended by approximately half a million people. This performance was recorded and released as the DVD When in Rome 2007. Additionally, a live album titled Live over Europe 2007, compiled from various European dates, was issued. The band also appeared at the Live Earth event held at London’s Wembley Stadium in July 2007.

In 2007, Genesis published their autobiography Genesis Chapter & Verse, credited collectively to Banks, Collins, Gabriel, Hackett, and Rutherford.

Starting from 2007, Genesis undertook remastering their studio albums from Trespass through to Calling All Stations, releasing them across three box sets: Genesis 1970–1975, Genesis 1976–1982, and Genesis 1983–1998. Each set featured stereo mixes alongside 5.1 surround sound versions plus additional bonus material. Further box sets followed in 2009: Genesis Live 1973–2007, which compiled all live albums; and Genesis Movie Box 1981–2007, which gathered all live video recordings.

After 2011, band members expressed varied opinions regarding reunion possibilities. Collins retired from active music-making in 2011 due to family priorities and health issues affecting his drumming ability. Hackett described a full reunion as "highly unlikely" but remained open-minded toward it. Gabriel acknowledged a slight possibility but regarded it as improbable. Collins pointed out practical obstacles such as his inability to drum combined with Gabriel’s probable unwillingness to perform songs originally sung by Collins.

In 2014, all five principal members reunited for the BBC documentary Genesis: Together and Apart, which examined both the band’s history and individual solo careers. Hackett criticized this documentary for perceived bias and lack of editorial involvement; he noted that his solo work received little attention while Ray Wilson's tenure was omitted entirely. In 2015, Hackett expressed skepticism about reunion prospects based on the documentary’s emphasis.

Collins ended his retirement in 2015 and indicated that a reunion involving Banks and Rutherford could be feasible—a sentiment shared by Banks. By 2017, Rutherford expressed willingness to consider a reunion tour if Collins agreed; Hackett preferred a reunion focused on the Gabriel-era lineup (1971–1975) but regarded it as very improbable. Collins released his autobiography in 2016 confirming his retirement from Genesis activities since 2007.

2020–2022: The Last Domino? Tour

On 23 January 2020, Collins, Banks, and Rutherford were spotted together in New York City, sparking speculation about a Genesis reunion. The trio officially confirmed their comeback on 4 March during a BBC Radio 2 broadcast, announcing The Last Domino? Tour. Originally scheduled for seventeen shows across the UK and Ireland in late 2020, the lineup included longtime guitarist and bassist Daryl Stuermer alongside Collins' son Nic on drums. Notably absent was their usual drummer Chester Thompson, who disclosed he had not communicated with Collins for a decade.

Due to the COVID-19 pandemic, the tour experienced two postponements: initially from April 2021 and subsequently from September 2021. Collins declared this would be his final Genesis tour owing to health concerns and indicated no immediate plans for new studio recordings, though he did not entirely rule out future projects. A North American segment was later added for November 2021. The tour coincided with the release of the greatest hits compilation The Last Domino? – The Hits.

The tour began on 20 September 2021 but was interrupted on 8 October after a band member tested positive for COVID-19. The remaining UK dates were deferred to March 2022, culminating in three performances in London. Genesis wrapped up the tour with their last show on 26 March in London; Peter Gabriel was present as a guest but did not perform.

In September 2022, the band sold a portion of their music rights to Concord in a deal valued at approximately £270 million. This agreement encompassed publishing copyrights and streaming income from their post-1978 catalog as well as solo works by Banks, Rutherford, and Collins. Combined revenues from this transaction and The Last Domino? Tour propelled Genesis to the top of Forbes' highest-paid entertainers list for 2022, with earnings totaling $230 million.

On 3 March 2023, Genesis released BBC Broadcasts, a 5-CD live collection featuring performances originally aired between 1970 and 1998.

To commemorate the 50th anniversary of The Lamb Lies Down on Broadway, a remastered version was issued on 26 September 2025. This edition featured a new mix by Gabriel and Banks, accompanied by an extensive booklet detailing the album’s production, photographs, interviews, and a Blu-Ray recording of their January 1975 concert at Los Angeles' Shrine Auditorium.

Musical style and influences

Genesis has been characterized by genres such as progressive rock, art rock, pop rock, soft rock, and progressive pop. The band primarily regards themselves as songwriters. Although their musical style evolved over time, it consistently emphasized contrasts and experimentation. Bruce Eder from AllMusic described their sound as "ambitious, classical-tinged art rock" that gradually became more accessible throughout the 1980s.

The founding members drew inspiration from classical music and church music, alongside 1960s rock influences—most notably the Beatles. Gabriel’s vocal style was influenced by artists like Otis Redding and other performers associated with Stax. Hackett acknowledged that some compositions were shaped by blues traditions reflecting early 1970s electric guitar innovations. Their early material blended elements of pop, folk, and psychedelic music. Phillips’ use of the Twelve-string guitar with unconventional tunings contributed to several tracks. The 1970s era featured fantasy-driven and surreal lyrics exemplified by songs such as "The Musical Box." The album Nursery Cryme marked an expanded use of electric instruments, while A Trick of the Tail revisited acoustic textures coupled with fantasy themes.

Initial lyrical content incorporated psychedelia, mythology, fantasy figures, and fairy tales. Gabriel emerged as a prominent lyricist employing wordplay and social critique. Selling England by the Pound explored themes related to English identity and commercialism. Literary influences included T. S. Eliot’s The Waste Land, which inspired "The Cinema Show", and Arthur C. Clarke’s Childhood's End, referenced in "Watcher of the Skies".

Following the transition to a trio consisting of Banks, Rutherford, and Collins, lyrical themes shifted toward everyday experiences designed to resonate with female audiences. Collins’ contributions often contained personal reflections. Humor was present in songs like "Illegal Alien," while weightier topics such as political issues ("Land of Confusion") and consumerism ("I Can't Dance") were also addressed. Eder noted that Collins’ pop sensibilities aligned well with mainstream radio formats and MTV exposure.

Banks described their songwriting method as Collins focusing on rhythm structures, Rutherford developing grooves and riffs, and Banks contributing harmonies and melodic lines—an approach evident in pieces like "Supper's Ready," "The Cinema Show," and "Domino." This collaborative process also facilitated straightforward pop successes including "Invisible Touch" and "Land of Confusion."

Throughout Genesis’ career, Banks utilized an array of keyboards alongside regular piano playing. In the 1970s he favored instruments such as the Hammond organ, Hohner Pianet, Mellotron, RMI Electronic Piano, and ARP Pro Soloist synthesizer. During the 1980s, his setup incorporated Sequential Circuits Prophet synthesizers, ARP Quadra, and various Korg models. For the Turn It On Again tour in 2007, his primary keyboard was a Korg OASYS workstation. Rutherford alternated between guitar and bass; his hallmark instrument in the 1970s was a double-neck guitar before later adopting an Eric Clapton Stratocaster as his preferred guitar choice.

Legacy

Genesis have achieved global album sales ranging from 100 to 150 million copies. Their certified figures include 21.5 million albums sold in the United States, 7.2 million in the United Kingdom, 5.6 million in Germany, and 3.4 million in France. In the UK, the band has earned eleven Gold and four Multi-Platinum certifications, while in the US they hold seven Gold, two Platinum, and four Multi-Platinum awards.

In March 2010, Genesis were inducted into the Rock and Roll Hall of Fame, with the honour presented by Phish guitarist Trey Anastasio. Among their accolades are a 1977 Silver Clef Award recognizing their significant contributions to British music and a 1988 Grammy Award for Best Concept Music Video for "Land of Confusion". The magazine Q ranked them as the seventeenth-largest band in 2004 based on sales and chart success. They were also celebrated at the second VH1 Rock Honors event in 2007 and received lifetime achievement awards at both the Mojo Awards in 2008 and the inaugural Progressive Music Awards hosted by Prog in 2012.

During the 1970s, Genesis encountered criticism from detractors of progressive rock. BBC DJ John Peel, who initially championed them, eventually distanced himself due to what he described as their "excesses." The band’s middle-class origins led to scrutiny from those who considered rock music primarily a working-class genre. Founder Peter Gabriel acknowledged this perception but stressed their humble beginnings. Gabriel's theatrical performance style helped cultivate a devoted cult following rather than broad mainstream success.

At the height of their commercial success in the 1980s, some critics, such as American music journalist Robert Hilburn, dismissed them as "flabbergastingly insignificant," often comparing their hits unfavorably to Phil Collins' solo material. Rolling Stone noted that Collins faced accusations of "selling out" during this period. Retrospective critiques point out how Genesis was initially "largely overlooked," later dismissed as middlebrow or easy-listening—a judgment considered unfair given their consistent artistic quality.

The fanbase remains divided: enthusiasts of the Gabriel era often criticize the band's later shift toward corporate pop under Collins, whereas supporters of Collins’ tenure find the earlier progressive works less approachable. The band themselves acknowledged these differing opinions during interviews around the release of Abacab, encouraging openness to various musical directions. Ultimate Classic Rock recognized Genesis as pioneers of progressive rock with a divisive catalogue that transitioned into mainstream pop, complicating universal acceptance.

Critical opinion about their legacy remains split; Q suggested much of their work has not endured as classic material but predicted they would continue to be "perennial whipping boys." Meanwhile, The Daily Telegraph commended Genesis for their early innovative spirit and highlighted Collins’ rise as a compelling frontman following Gabriel’s departure.

Influence

Genesis have been acknowledged as a foundational influence on the 1980s neo-prog movement, inspiring bands such as Marillion and Pallas.<ref> Guitarist Steve Hackett’s style has impacted musicians including Queen’s Brian May, Rush’s Alex Lifeson, and Van Halen’s Eddie Van Halen. Additionally, Iron Maiden founder Steve Harris cited Genesis from the Gabriel period as a major influence, specifically naming "Supper's Ready" among his favorite compositions.<ref> Post-punk artists like Simple Minds and Will Sergeant, guitarist for Echo & the Bunnymen, along with electronic new wave act the Human League, have also drawn inspiration from Genesis.<ref> Trey Anastasio of Phish has acknowledged Genesis’ significant role in shaping his musical evolution.<ref> The band Mostly Autumn combines elements of Genesis and Pink Floyd with Celtic influences in their sound.<ref> Alternative rock group Elbow have cited Genesis as an influence, particularly on their breakthrough track "Newborn."<ref>

Numerous tribute bands dedicated to Genesis exist, including ReGenesis, which concentrates on replicating the group’s 1970s repertoire.<ref> The most prominent among these is Canadian act the Musical Box, officially endorsed by Genesis members, with appearances by Hackett and Collins as guest performers. Peter Gabriel once took his children to see them to expose them to his early work,<ref> while Hackett praised their faithful reproduction of both sound and stage presence.<ref>

Band members

Final roster

• Tony Banks – keyboards, guitar, backing vocals (1967–2000, 2006–2007, 2020–2022)
• Mike Rutherford – bass, guitar, bass pedals, backing vocals (1967–2000, 2006–2007, 2020–2022)
• Phil Collins – lead and backing vocals, drums, percussion (1970–1996, 2000, 2006–2007, 2020–2022)

Discography

Studio releases

• From Genesis to Revelation (1969)
• Trespass (1970)
• Nursery Cryme (1971)
• Foxtrot (1972)
• Selling England by the Pound (1973)
• The Lamb Lies Down on Broadway (1974)
• A Trick of the Tail (1976)
• Wind & Wuthering (1976)
• ...And Then There Were Three... (1978)
• Duke (1980)
• Abacab (1981)
• Genesis (1983)
• Invisible Touch (1986)
• We Can't Dance (1991)
• Calling All Stations (1997)

Live recordings

• Genesis Live (1973)
• Seconds Out (1977)
• Three Sides Live (1982)
• The Way We Walk, Volume One: The Shorts (1992)
• The Way We Walk, Volume Two: The Longs (1993)
• Live over Europe 2007 (2007)

Further reading

• Bob Carruthers, Genesis: The Gabriel Era – Uncensored on the Record, Coda Books, 2011, ISBN 978-1-908-53873-4
• Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, Mike Rutherford; edited by Philip Dodd (2007), Genesis Chapter & Verse, Weidenfeld & Nicolson, ISBN 9780297844341

External links

• Official website
• Genesis at Discogs
• MusicBrainz artist profile
• IMDb profile