Having established themselves as one of Britain's finest progressive rock acts during the early Seventies, things looked bleak for Genesis when front-man Peter Gabriel quit to pursue a solo career in 1975. The departure of guitarist Steve Hackett, the remaining members' increased desire to pursue solo projects and the arrival of punk rock, threatened to kill the group off for good, but with the successful "Trick of the Trail" {sic} album already under their belt, they seemed to thrive in the face of adversity and quickly established themselves in the singles chart as well.
Throughout the Eighties, Genesis have consolidated their status as one of rock's top acts with a succession of chart-topping albums and regular forays into the singles chart. The group's drummer/vocalist Phil Collins is today a household name by virtue of his solo career, but for the groups loyal fans, it is their collective recordings as Genesis which are still most eagerly awaited - and collected, as the prices in our discography show.
With their 14th studio album due in the shops shortly, interest in the group's back catalogue is bound to be reawakened. This feature looks at the years up to 1977 in detail. As well as charting the group's musical development, we shall be paying special attention to the many rarities issued along the way, including several highly prized foreign releases.
The nucleus of the band was formed in the mid-60s at Charterhouse School near Godalming. Genesis are unusual in being just about the only well-known rock band to have formed at public school. At this time they comprised Peter Gabriel (flute/vocals), Tony Banks (piano/vocals), Mike Rutherford (bass/ vocals), Anthony Phillips (guitar/vocals) and Chris Stewart (drums). With the help of an old boy, Jonathan King (who was responsible for their name), a single was released on Decca in February 1968. Entitled "The Silent Sun", the song was well received by "Melody Maker" and played by Kenny Everett on Radio 1, but was a commercial flop. Consequently, copies are difficult to find and now cost a small fortune, demos turning up more often than stock (or commercially available) copies. The song also appeared in America, on the Parrot label, and although mustard-label demo copies surface from time to time at &75 apiece, only a handful of black label stock copies exist, and these are extremely valuable.
Undeterred by this initial lack of success, Genesis released a second single, "A Winter's Tale", in the following May. "NME" predicted big things for this song but it too failed dismally. Once again, demo copies turn up more frequently than commercial copies, but you can expect to pay up to &100. Until recently, the existence of an Australian release of this single was unknown to collectors, but after one was unearthed, one or two more copies have since come to light. Appearing on Australian Decca, this single would be the prize possession of any Genesis collector, and so anyone selling a copy can name their own price!
Despite failing with two singles, Genesis, at Jonathan King's prompting, took the unusual step of recording an entire album, a format which the band agreed was far more suited to their music. But when it was released in March 1969, the album, "From Genesis to Revelation", was a severe disappointment to the group because they had no say in the production. "Some of the songs have got totally the wrong feel because of the mix" says Tony Banks today. Anthony Phillips is more forthright: "I hated it," he says. Despite the band's misgivings, the album was well-received but sold poorly, and so today a Mint copy would cost around &35. However, the rarer mono mix on the red Decca label is valued nearer the &70 mark.
Since its original release, "From Genesis to Revelation" has turned up in a bewildering array of reissues (some with the non-LP singles included), under a variety of names, on black or coloured vinyl, and on picture disc too. Most collectable is the 1000-only yellow vinyl edition of the 1978 Japanese reissue, simply called "Genesis", which would now cost around &50.
Decca tried one last time to break the band, in June 1969, with their final Genesis release, "Where The Sour Turns To Sweet". Like its predecessors, it failed to win over the public and once again, demos are significantly commoner than stock copies. No foreign release is known to exist.
There are one or two one-sided acetates of a slightly remixed version of "In The Beginning" on the Decca label in existence, but since the record company elected not to progress with this release, the few existing copies are worth in excess of &400! The same song was released on Italian Decca in 1974 to promote the release of the "In The Beginning" LP over there. Promotional copies appeared in a different sleeve to the standard release and are well worth seeking out, but beware of inflated prices being asked by vendors believing this Italian release to be a very rare late-60s issue.
As Genesis began to find their feet in the music business and developed their own style, King lost interest in them. Undeterred, they turned professional in summer 1969 and recorded a four-track demo. The fact that it was so universally condemned by publishers only made the group more determined than ever to succeed. The latter part of 1969 and 1970 was spent rehearsing and playing the club and college circuit where they attracted the attention of the late Tony Stratton-Smith, boss of Charisma records. "They were so incredibly good, so different" he enthused. Once signed to his label and on a wage, Genesis were ready to forge ahead.
Supported by Strat's unwavering faith and confidence, Genesis recorded what they felt to be their first "real" album in the summer of 1970 at Trident Studios. In retrospect, their producer John Anthony admits that it was the wrong studio and feels the overall sound is "turgid and unclear", but "Trespass" was well received by the music press and certainly by their growing legion of fans. Copies with the original pink "scroll" Charisma label are the most sought-after now.
Of the two singles lifted from the album, only one was given full release. 1971's "The Knife", Genesis' anthem at that time, was spread across two sides of a 7" and in its picture sleeve, it remains one of the group's most desirable releases. Even rarer is the German issue, which has a completely different sleeve as well as an edited B-side. These weigh in at a costly &170 and &180 respectively. But the most valuable Genesis UK single is "Looking For Someone", backed by "Visions of Angels", which was used as a promotional taster for the LP. On the few occasions that copies are offered for sale, they invariably realise in excess of &200.
Shortly after the album was completed, and before its October release, Genesis suffered the first in what was to become something of a trademark - a departure from their ranks. Guitarist Anthony Phillips, who had contributed enourmously to the creative side of the band, could not cope with the pressure of the band atmosphere and left, somewhat dispirited and disillusioned by his experience. Genesis decided that the replacement of their current drummer, John Mayhew, would also be in the band's best interests.
And so the way was paved for Phil Collins to step forward. At the time, Phil was drummer with Flaming Youth, a band that seemed to be coming to the end of its creative life. Phil was just what Genesis needed - an excellent drummer and, perhaps even more important at that stage, an easy-going and humorous individual who could easily defuse one of the potentially difficult situations that frequently arose within the band. Even today, after 21 years with Genesis, not to mention his superstar status, he is still regarded as something of a "new boy"!
Though the role of drummer had been filled, it was a further six months before a permanent guitarist could be found in Steve Hackett (ex-Quiet World), who joined the group at the end of 1970. This line-up, which was to remain together for the next four years, is still regarded as the "classic" Genesis team.
The group's following was built around their tight, ultra-musical sets, with the focus increasingly settling on Gabriel as the central figure. The singer's natural theatrical flair came to the fore, and manifested itself in his experiments with make-up and, later on, costumes and head-dresses, not forgetting, of course, the famous funny stories between songs. This became very much a hallmark of the band.
The first half of 1971 was spent on a gruelling series of gigs, during which time they received a boost when promoter Dave Stopps booked them on several occasions to play Friars in Aylesbury which became, in Gabriel's words, "our spiritual home". It was here in June that Gabriel made his famous leap into the crowd which resulted in a broken ankle, and gave him time to write and record the next album, "Nursery Cryme".
When it was released in 1971, the LP was not particularly well received, and in retrospect, the band members now feel that it was an uneven recording. Nonetheless, Hackett's authoritative performance demonstrated not only his ability, but how quickly he found his niche within the band; and Collins' confidence and sheer technical expertise come over very clearly, together with his intuitive feel for the music. And the addition of a mellotron to Tony Banks' keyboard set-up was undoubtedly a major step forward to the group's sound. Interestingly, it came from King Crimson, one of the band's major influences!
Once again, it is the original pink label copies of the LP that are most sought-after, although a few copies were issued in the autumn of 1972 with a "Lindisfarne/Genesis Tour" label stuck on. A particularly exciting release was a US promo-only three-track EP, housed in an attractive sleeve. Copies are incredibly difficult to locate and are worth at least &140 today. Sadly for the impoverished Genesis collector, the situation regarding commercial releases is often no less expensive. The non-album "Happy The Man" single was coupled with the gentle "Seven Stones" from the LP, but unlike the limited success enjoyed by "The Knife", this failed to register any real impact with the record-buying public. It has now become yet another essential collector's item, with a price tag to match. Interestingly, promo copies, which do not bear a picture sleeve, sell for up to &100 less than the standard release.
Good news for the band came in early 1972 when "Trespass" and "Nursery Cryme" went soaring up the charts in Europe. Genesis played their first continental dates in response to this interest, and "Happy The Man" was issued in a unique sleeve in Italy, where it has become one of the rarest ever single releases. It is also available on a juke-box disc, coupled with Slade's "Mama Weer All Crazee Now", and at &25, this is reasonably affordable compared to the full release. There are also rumours of the existence of a German "Happy The Man" acetate - any confirmation would be appreciated.
1972 was an important year in terms of the group's stage show as it was the year during which Gabriel gave the press a new angle on the band with his shaved forehead and outlandish costumes, the famous fox-head being the first. It seems that the other members of the group were unsure what to make of this latest development!
In the summer, Genesis recorded "Foxtrot", one of their best albums, and one which contains some of their most powerful material. "Watcher Of The Sky" {sic} was an already established and popular set opener, while the legendary "Supper's Ready" took up the bulk of the second side. It is also one of the most satisfying outings that the band members look back upon. The critics were effusive with their praise, and superlatives like "masterpiece" and "milestone" became typical descriptions. The public were in agreement since it became the first Genesis LP to chart in this country {Britain}; and to complete the picture, band members still look back on "Foxtrot" as one of their most satisfying LPs.
In the early stages of their career, Genesis were certainly not a band whose music lent itself easily to the single format, and there was no UK single at all from "Foxtrot". But "Watcher Of The Sky" {sic} did make it onto 7" in the States, Germany and Italy. The latter two editions in particular are exceptionally rare and highly valuable, not least because of their attractive sleeves (different from each other). The US promo, a double-A sided single of the edited and remixed American version of the song, is considerably easier to find than commercial "stock" pressings, which goes to show just how few were sold in high street outlets. Very occasionally, copies of this single released in New Zealand appear; and there is at least one UK acetate known to exist.
The success of "Foxtrot" precipitated the group's first American performance and also their first headlining tour of England. In February 1973, Genesis played what has gone down in the annals of rock as a legendary concert. Headlining at the Rainbow, the band sent the fans into paroxysms of delight, and the following week's reviews were full of praise, hailing the group's steady rise from clubs and town halls to major concert venue status.
The "Genesis Live" album, issued by Charisma in July 1973, still manages to convey the excitement and atmosphere of those early gigs. It was mixed from a King Biscuit tape gleaned from the Manchester and Leicester gigs earlier that year, and one double album test pressing of both sets has leaked out - a Dutch release on the Philips label. Only slightly more attainable is the rare Italian edition of "Genesis Live", which came with a totally different limited edition sleeve of Gabriel in his flower mask, surrounded by a white border. In Australia the LP was released as "Rock Legends - Genesis Live" with a variation on the UK sleeve.
The group then took a break from touring and spent time writing and recording their next album, "Selling England By The Pound". Issued in October 1973, the album clearly demonstrated that individual members had advanced technically, but not really as a unit, since there are parts of the album that simply do not work: the conflict between vocals and the backing track of "The Battle Of Epping Forest", for example. Nonetheless it fared reasonably well in the marketplace and spawned Genesis' first hit single in April 1974 with "I Know What I Like". This was backed with the non-album "Twilight Alehouse", a regular concert number, and it is this track that makes the single collectable today, with UK promos being rather harder to track down at around &30.
The lack of an interesting sleeve detracts from its appeal, though, which accounts for the immense popularity of the continental releases. The live shot on the Italian sleeve is of particular interest, while the rare Portuguese issue bears the Collins-sung "More Fool Me" on the flip, making it particularly sought-after. The French promo-only issue in a title sleeve bears the solo guitar track, "After The Ordeal", on the reverse and is so scarce that it's almost unobtainable, something which is also true of the band's first Japanese release, which featured the usual B-side, "Twilight Alehouse".
"I Know What I Like" was released with two further tracks from the album as an EP in Brazil, in a picture sleeve that was a reduced version of the "Selling England" cover. If you're lucky enough to locate a copy, expect to pay at least &150 for the privilege of owning this elusive item.
"Twilight Alehouse" itself is available on a Charisma flexi-disc which was given free with "Zig Zag" magazine towards the end of 1973. Mint copies are getting difficult to find now, and can cost around &25, but considerably rarer is the package sold at some of the year's gigs, which contained the flexi together with a Genesis die, revolver, sticker and poster. Few are in circulation today and the asking price is always between &50-&60 when the package is offered for sale.
In addition to these collectable 7" editions, there are also several noteworthy variations of the album itself. Italian Charisma added a gatefold sleeve to the record (as opposed to the simple UK insert) and a live photo of the band was placed on the back. This variant, usually priced at &20 or so, is very popular with collectors. However, much harder to find is the Portuguese edition issued on the Pergola label in a unique sleeve bearing a picture of Phil Collins. If you can find a copy, and only 5000 were ever pressed, it will not be for less than &100.
Genesis' first four albums on Charisma were packaged together in two box sets for release early in 1975. "Genesis Collection Volume One" contained "Trespass" and "Nursery Cryme"; "Volume Two" housed "Foxtrot" and "Selling England". Both boxes bear appealing covers and contained a different Genesis poster. They were only made available for a short time, and sell for about &50 each today with the contents intact. The well-known German Fontana LP, "Reflection Rock Theatre - Genesis", also appeared around this time, and is still common today. A very scarce record featuring the same tracks is the Norwegian "The Best of Genesis", issued with a purple sleeve and a live cover shot. Both releases contain the US mix of "Watcher In The Skies" {sic} and provide a less expensive way of hearing this version than seeking out the original US single.
When Genesis next visited the States they at last had a permanent manager in Tony Smith. Their stage shows continued to fascinate audiences, who were left stunned by what they had seen, and the critics were eloquent with their praise. All this contributed to their poll-topping status by early 1974. That summer, the band took time out to record their first double-LP set, and a concept one at that. "The Lamb Lies Down On Broadway" was based around a leather-jacketed street character named Rael, and Gabriel insisted on writing virtually all the lyrics; in fact the division of labour resulted in the other four members writing music for Gabriel's words. This produced a real dilemma within the band and tensions ran high. At one point, Gabriel left the group to write a film score, but when that didn't work out he returned. However, the signs were there, and the other four members realised that Genesis as it then stood was not going to last much longer. Individually, they were beginning to feel cramped and in need of more creative space.
The band took the entire set on a 102-date world tour just as the album appeared in November to a mixed reception. Two singles were lifted from it, though neither managed to chart here. The first, "Counting Out Time", has several collectable variants all sporting different sleeves (excepting the UK issue, which was sleeveless). While the French promo-only release is extremely difficult to locate, the Swedish issue is only slightly more common. In the States, the album's title track was backed with "Counting Out Time", and though promo copies are fairly common, stock copies are almost impossible to find.
Charisma tried again, issuing "The Carpet Crawlers" (again a plain sleeve in the UK), but this was only ever notable for its live B-side. The Portuguese edition is rarely offered for sale and is prohibitively expensive, which the Italian issue (called "The Carpet Crawl") bears "The Lamb Lies Down" on the flip and is rather easier to locate. One further rarity is a second Brazilian EP, containing four songs, with the LP title track fronting the release. It is probably rarer than its "Selling England" counterpart, and sells for at least &150. Incidentally, demos of the UK singles from this era generally sell for &25 apiece.
In December, in the midst of the gruelling tour, Peter Gabriel definitely decided to leave for good, though he stayed on to fulfill his commitments, playing his last gig with the band in May 1975. The other four members took a two-month break before regrouping to find a new direction and try out some new material: there was never any doubt about carrying on. As it turned out, the songs came very easily and as news broke to the press of Gabriel's departure and obituaries for the band hit the front pages, Genesis were busy looking for a new vocalist. They didn't need to look far, though, as it took just a turn of the neck to spot Phil Collins behind his drum-kit, ready and willing to give it a go. Collins had already handled lead vocals on some Genesis songs, and his regular backing vocals mean that his voice was easily accepted, since fans were already attuned to it. Upon hearing the new material sung by Collins, Tony Stratton-Smith was heard to quip: "He sounds more like Peter Gabriel than Peter Gabriel!"
The first post-Gabriel album, "A Trick Of The Tail", was released in February 1976, and quickly reached No. 3, their highest chart position yet - confirmation that the public had certainly not written them off. Phil was nervous about touring as a vocalist and to give him complete confidence, his place behind the kit was taken by his experienced friend, ex-Yes drummer Bill Bruford. The tour, and Collins as vocalist, was a big success.
With the album being so strong, it was a disappointment that the several singles released worldwide from it failed to chart, but this does mean they're getting trickier to locate. As the discography instantly makes clear, this is a complex area, but one or two records in particular are worth detailing. In Italy, Pirelli Tyres commissioned a promotional release of the title track, backed by "A Tower Struck Down" from Steve Hackett's debut album. This disc is very rare indeed in its motorcycle sleeve and now sells for &125. The "Los Endos" instrumental was included on an extremely desirable Japanese promo EP; and if you see this offered for sale buy it - you are unlikely to get a second chance!
"Trick" is a very tight but more predictable album than its predecessors with no apparent low spots. Perhaps Genesis were happy to play safe in the wake of their lead singer's departure. This same quality is true of "Wind And Wuthering" which appeared surprisingly soon for a Genesis album, in January 1977. The accessibility of the "new" Genesis was attracting a wealth of new devotees.
The only variant of note is the Austrian issue on the ExLibris label, which sports a totally unique cover bearing a live photo of the band. "Your Own Special Way" was covered with the non-LP "It's Yourself", and the overseas copies issued in picture sleeves are well worth seeking out, especially the extremely scarce Japanese issue. This was followed in May by the group's first UK EP, "Spot The Pigeon", which included three "Wind And Wuthering" out-takes. This is not uncommon but the white-sleeved German release is harder to find, as is the two-track French edition. This EP was also the first Genesis single to appear on 12", although not in the UK. This blue vinyl Canadian issue has long been a popular collector's item, but less well-known is the Australian version with a green cover.
A massive seven-month tour followed the album's release, complete with laser effects and Jumbo landing lights - and it was clear that Genesis had moved into the superstar category. But there was one change when Bill Bruford left to form UK, and was replaced by ex-Weather Report drummer Chester Thompson. The tour was such a success that the time was clearly right for a second live LP, and it arrived in October 1977, as a double set titled "Seconds Out". But by that time, guitarist Steve Hackett had left, unhappy with his role within the band, the underuse of his own material and, as he saw it, the repetitive cycle that Genesis had fallen into. The remaining three members were free to stretch out, fill the creative gap, and claim a greater slice of the reward for themselves.
One promotional release from the album worthy of mention is a French disc coupling an edited "Supper's Ready" with "The Lamb Lies Down". Today, this scarce item fetches at least &75. It was the only single release from the LP and the fact that the material was taken from concerts in Paris accounts for the fact that it was only released in France.
Collecting the early Genesis releases is not something for the faint-hearted to pursue - it is a very expensive pastime and requires a great deal of patience too, especially for the completist, as several of the discs are hardly ever offered for sale. The more recent material is, of course, much easier to locate and while there have been some excellent sleeves and inserts, it does not have quite the same thrill as items from the group's early years.
By the summer of 1977, then, Genesis had become a three-piece of Tony Banks, Mike Rutherford, and Phil Collins. It remains the same way today and as the years have passed, so the music that is Genesis has developed and changed with the times, even surviving the punk era when "dinosaurs" like themselves were supposed to have become extinct. But their sound still retains the stamp of individuality that marks it out from all the others. The band members are at pains to point out that as long as they enjoy making music together, irrespective of their solo success, they will continue to do so. The release of the new album is testament to the enjoyment and vitality that still lives on in the hearts of these three unique musicians.