Category Archives: Genesis

Genesis: The Last Domino? Tour, rehearsals begin - Here are the first IMAGES

The Last Domino? Tour: here are the first images of the start of the tests.

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With a post on Facebook, Genesis have released the first images of the reunion for the rehearsal of the tour. There he is:

Phil, Tony Banks and Mike Rutherford have reunited in London and started rehearsals for the forthcoming Genesis' The ...

Published by Phil Collins su Tuesday October 27 2020

The dates for autumn 2020 have been rescheduled in April 2021:

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Genesis: “Trespass” turns 50 - AUDIO, VIDEO & MEMORIES

Unforgettable stories and memories, through audio, video, documents and much more.

By D.B.

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On October 23, 1970 he went out Trespass, second album in the studio of Genesis, the first with the Charisma Label, the last with Anthony Phillips. Let's relive it together through audio & video.

Genesis - Trespass

The Genesis tell it like this:

Genesis - Trespass

Here is the training:

Peter Gabriel - lead vocal, flute, accordion, tambourine, tambourine, bass drum
Anthony Phillips - 12-string acoustic guitar, lead electric guitar, dulcimer, vocals
Tony Banks - Hammond organ, piano, Mellotron, 12-string acoustic guitar, vocals
Mike Rutherford - 12-string acoustic guitar, electric bass, classical guitar, cello, vocals
John Mayhew - drums, percussion, vocals

Listen to the album:

The debut album, "From Genesis To Revelation" was a flop. Find out more:

The low number of sales has created despair among the members of the group.

But Genesis still decide to give music a chance and commit to the development of the band.

They need a suitable place to be and live together. And where to make the new album. Here it is, read how it went:

Songs:

"Looking For Someone" opens the album, and starts with a cue from Gabriel's voice accompanied only by the organ. The song was then expanded and developed by the whole group.

"White Mountain" and "Dusk" were composed by Banks and Rutherford before deciding to record the album.

The whole group worked on the music for "Stagnation", originally called "Movement", to which Gabriel added the lyrics.

"Visions of Angels" was recorded for "From Genesis to Revelation", but not used and was re-recorded for Trespass. It originates from a Phillips piano piece.

"The Knife" was written by Gabriel and Banks. It was originally titled "The Nice" as a tribute to Nice, and the organ part on the piece was designed to resemble Keith Emerson.

It lasted up to 19 minutes in concert, but was reduced to eight for the album. Gabriel wrote the lyrics as a parody of a protest song.

Shortly after recording, Phillips decides to leave the group, causing a crisis in Genesis.

After several discussions the band decides to continue, replacing Mayhew with Phil Collins and Phillips with Mick Barnard (who will make room for Steve Hackett).

Trespass was not a great success at the time of release, it failed to rank in the UK and US and received some mixed reviews from critics, but had commercial success in Belgium.

A 1984 reissue peaked at No. 98 in the UK for a week.

The songs on the album have often been reinterpreted (here are a few):

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Genesis: “Invisible Touch Exclusive Orange Vinyl” - BUY

"Invisible Touch" by Genesis in Exclusive Orange Vinyl version.

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Genesis reached the pinnacle of commercial success with 1986's "Invisible Touch", still their best-selling album today.

Now comes out in orange vinyl - BUY IT HERE:

Product code
745694
Format
Vinyl LP
Label
UMC / Virgin EMI

The album brought the band to huge success by also ranking singles such as 'Invisible Touch', 'Throwing It All Away', 'Land Of Confusion', 'In Too Deep' and 'Tonight, Tonight, Tonight, Tonight' and is generally considered one of the landmark albums of the XNUMXs.

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Genesis: the charity reunion to help Peter Gabriel, 2 October 1982 - AUDIO, VIDEO & MEMORIES

Unforgettable stories and memories, through audio, video, documents and much more.

By D.B.

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October 2, 1982. On the advice of Genesis manager Tony Smith, Peter Gabriel and his former bandmates agree to playing together in a unique and unforgettable show that will be called 'Six of the Best'.


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An reunion actually "supportive" since the former Genesis singer and the company he founded, WOMADthey were facing a disastrous economic moment after the equally unsuccessful organization of a festival in July of the same year.

With Daryl Stuermer on guitar, Chester Thompson on drums and the arrival for the encores of the ex member Steve Hackett (who was on vacation in South America but who did not want to miss), and on Mike Rutherford's birthday (with a lot of audience choir), the concert, held at the National Concert Bowl, in Milton Keynes, Buckinghamshire, UK, was a unique and exceptional event for the nearly sixty thousand lucky people who, in an incessant rain, were in front of the stage.

Audio:

To know more: "Without borders. Life and music of Peter Gabriel"

Eugeno Delmale tells some curiosities of that historic date.

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Genesis: the first time of the fox head and the red dress, September 28, 1972 - AUDIO, VIDEO & MEMORIES

Unforgettable stories and memories, through audio, video, documents and much more.

By D.B.

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On September 28, 1972, at the National Stadium in Dublin, during il Foxtrot Tour, Peter Gabriel shows up on stage wearing a fox head and a red dress for women, unbeknownst to his companions.

The show at the National Stadium in Dublin, on September 28th, will remain in the history of Genesis because, in the finale of The Musical Box, Peter Gabriel shows up on stage wearing a fox head and a red dress for his wife Jill, unbeknownst to his companions. The beginning of an era of theatricality and costumes, which gave the band a hitherto unknown visibility and popularity.

Listen to the concert audio:

And here is the effect taken from the concert at the Bataclan in Paris on January 10, 1973:

Here is Phil Collins' comment in his autobiography "No, I'm not dead yet", Mondadori:

"Before this there had been no indication that Peter wanted to start dressing up. How, later, he won't warn us of the flower mask he will wear for the part of Willow Farm in Supper's Ready, and not even for the triangular box that you put on your head for the next part, Apocalypse in 9/8. We also see them at the same time as the public sees them. He does not want to know how to decide in a group in these cases. (...) These are the very unconventional things that Peter Gabriel is now doing on stage with Genesis. After Dublin, Ms. Volpe reappears at every concert, always in the same spot. We get used to it early, and it's better for us: a photo of Peter in the new costume ends up straight on the cover of the «Melody Maker», and adds a zero to the Genesis engagement rate. We go from thirty-five pounds to three hundred and fifty pounds a night. "

Mike Rutherford tells in his autobiography The Living Years, Arcana:

"We had been kept completely in the dark about Pete's intentions; he knew, moreover, that if he had anticipated something we would have tried to stop him."

Remember Tony Banks in Without Borders. Life and music of Peter Gabriel di Daryl Easlea, Arcana:

"Others did something with the costumes, but we took advantage of all the space on the stage. When you went to a Genesis show you saw the curtains veiled, and then the artificial smoke, which yes is now a cliché but then it wasn't at all. bat wings and eyes made up. You heard the sound of the Mellotron, practically the first effect in stereo. There were no other concerts of that level in the world. The first ten minutes were of incredible power. I think we were among the first groups to capture the beauty of the fusion of music and visual effects. A little happened by chance and luckily, a little because Peter's ability in that sense was truly unique. "

In fact, the February 9 1973, at the Rainbow Theater in London, Peter Gabriel wears a full trunk in the dressing room and wears his famous costumes and masks on stage. On the notes of mellotron di Watcher Of The Skies, Peter comes out for the first time in a black suit and bat wings on his head.

Here is the effect (in a video of the next tour, October 1973 Live Shepperton Studios):

And then again, new twists throughout the concert. Images that will mark, for better or for worse, the band forever.

READ AND LISTEN TO THE SPECIALS OF HORIZONS RADIO ON THE TOPIC:

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Mario Giammetti tells his new book “Genesis. All albums all songs "

The book "Genesis. All albums all songs" by Mario Giammetti is out. We asked him a few questions.

By ED

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Mario Giammetti analyzes all 15 studio albums recorded by the band, also examining the historical context and circumstances that led to their creation, as well as the recording processes.

Buy it here:

Illustrated with rare performance photographs and collectible material, it is an unmissable book for collectors and enthusiasts or for young people who want to rediscover the music of this extraordinary band in all its evolution.

Here's what Mario Giammetti told us.

HR: What are the novelties contained in your book "Genesis. All albums all songs"?

Mario Giammetti: Surely those who have already read my other books, in particular “Musical Box - Genesis songs from A to Z ”, published ten years ago by Arcana, will find points of contact, but apart from the fact that the songs are not more analyzed in alphabetical order but album by album, the text has been dried and made smoother, as well as naturally integrated with the new and valuable information acquired over the last few years, with the icing on the cake represented by the preface by Steve Hackett.

In essence, we talk about how the songs were born through the words of the protagonists themselves, the compositional story is told and if briefly makes the story on stage, even if in particular this section is deliberately less verbose and stuffed with data.

The idea was in fact to create a listening guide that was complete, but not manic, with the aim of not boring a hypothetical casual reader, perhaps a young person who approaches music of Genesis for having heard of it from their parents or even from grandparents. Our favorite band deserves it a rediscovery by the new generations and this book I hope will be a pleasant one tool to begin to enter their world, thanks also to a graphic and iconographic apparatus by very first level and the attention also shown graphically (for example, in the well-kept captions, that represent a sort of mini appendix in turn).

And herein lies the other, and fundamental difference: I have made a careful selection of the material and for the first time I found a publisher who did not pull
back in front of my request to complete a really beautiful book to look at, as well as from to read. In the past, from this point of view, with the only partial exception of "Genesis - The Prog Years" (Joints 2013), I was always disappointed. The Castle, on the other hand, did not play for savings: a hardcover thick format 22x28, fine paper, accurate printing.

I have long wanted to make a book that represented a summary of all (and I stress all) the career of Genesis but presented as
he deserved, and the time has come.

What was the Genesis "formula for success" according to your studies?

A recipe requires a number of ingredients and I would say that, in the case of Genesis, it is material of top quality. Looking at everything globally (it is evident that their artistic history is so great variegated that it is difficult to incorporate the entire path into a single parameter), the band was in possession of one excellent instrumental technique but never excessive (and this in my view is a great merit) which, putting at the service of a compositional ability indisputably out of the ordinary (as it is out of the ordinary from the ordinary the characteristic of a group in which they have always written in five, or rather six counting Anthony Phillips), created a formidable blend, made particularly pleasant by one component very strong melodic.

On the merits of the old debate between Genesis prog and Genesis pop, I will limit myself to reiterating that, if they didn't make that choice, they would be confined to the sad fate of faded copies of themselves themselves, perpetrating the same repertoire for decades and more and more wearily. So, personally I am delighted with their courage to change completely, even if obviously not always the results they thrilled me.

Were you able to also find out the background on any album or song? There are still undisclosed secrets and that could remain so forever, in the history of Genesis records? Which?

Obviously the decades that pass inexorably do not help in this sense: memories vanish or become confused, and it is not easy to get sensational revelations.

Yet, every now and then something comes up. Listen to the records of the Gabriel period together with one of the protagonists (work I did from 2008 to 2011 and which he then has formed the basis for “Gli Anni Prog”, recently published in England with the title "Genesis 1967 to 1975 - The Peter Gabriel Years ") was from this point of view very exciting and revealing.

Some members of the group (especially Hackett and Banks) have a good memory and every time you talk to them something very interesting always comes up. But the search also continues with other characters.

For example, in the newest issue of Dusk I interviewed John Burns, sound engineer at "Foxtrot" and producer of “Selling England” and “The Lamb” and some of the news he gave me is really interesting for Genesis scholars.

Apart from the progressive "drift" towards pop, evident to all, a more careful study as you do, that kind of evolution (or involution) had the music of Genesis from "69 to" 98, in composition, in arrangements, instruments, etc ...?

Personally, I don't consider the so-called pop turn, as I mentioned before, a drift, but an intelligent evolution and acknowledgment of the changing times.

Moreover, the Genesis, even in the period lighter, they have always kept a harmonic imprinting that is anything but simple and I add that it is not
by no means said that pop music, if done at the levels Genesis have accustomed us to, is easier to play compared to a moog solo on odd tempos.

It is certainly true that the arrangements have simplified and that even the melodic structure of the songs has gradually been stripped away, but I would say that every album by Genesis is a child of his time, which cannot be said for most of their other groups contemporaries, often tied hands and feet to the origins because they were simply unable to go
beyond. Time, then, is a gentleman.

I, for example, to an album like “Abacab”, which I hated deeply at the time of publication, I subsequently recognized the role of necessary watershed and today I find it, in its own way, also innovative.

Conversely, “Invisible Touch” remains my way to see the artistically lowest point of their career, both in compositional and sound level, e however that record broke the charts around the world, managing to attract the attention of crowds oceanic despite, in the years of hedonism, it was difficult to find an artist less sexy than Phil Collins!

Surely the advent of electronics has brought innovations that are not always exciting; the use of drum machine and above all of the programming and sequencers, as well as the sounds of synthesizers, they made the sound more plasticky and less sophisticated, also due to the progressive involution (o
however of the minor use) of instruments such as Tony's piano and Mike's bass.

But every album of the Genesis contains harmonic pearls of devastating beauty, even the very latest ones. Think of certain sequences of chords used in songs like “No Son Of Mine”, “Calling All Stations” and “Uncertain Weather”.

Many, even on Dusk, argue that, instead of a tired reunion, the Genesis could have produce a studio album. Aside from Phil's condition, do you think it would be possible? And what kind of music would they make in 2020?

Personally I have great respect for those who, despite their age, continue to produce new music. Think about people like Bob Dylan, Neil Young, Bruce Springsteen. Or, to stay with the family, to Steve Hackett.

The other way around, I find Gabriel and Collins' attitude irritating, unable to question themselves. Nobody here necessarily expect a masterpiece, because the most creative years are usually for all those of
youth, but be terrified of an unflattering judgment or, worse still, of not selling enough (fear by now senseless, if we still think in the order of millions of copies of records, nowadays a chimera for anyone) does not do honor to artists who, however, have always shown that they have attributes to give a damn about everything and go straight on their way.

Personally I was deeply disappointed also from reunion of 2007, artistically useless, let alone today, 13 years later, and with all that
that there was in between, obviously starting with Phil's physical ailments.

Therefore, I too would have preferred far that they would start writing something new. Sure, the odds of a disappointment would have been very tall: they are now 70 years old and have not worked all three together for almost 30, so even the famous chemistry that always clicked between them might not work, this one time.

But it would have been a good test of courage and the fans would surely have welcomed them with open arms, subject to critical honesty.

When asked what kind of music they would make, though, it's really difficult
reply: the last original Phil composition that we have been able to hear dates back to 2003, Tony is stopped even in 1995 with rock (then as we know he dedicated himself to classical music, which compositionally it is a very different thing), while Mike with his Mechanics (in which he always writes in company, let's remember) has shown that he favors a pop of few pretensions and a lot of electronics.

Maybe a meaningless mess would come out of it, but maybe not. And anyway, if you don't get involved proof will never be found out. One fact is certain: Genesis as a group have stopped composing together in 1997, when Tony and Mike were just 47 years old. And this is something that is difficult to forgive him.

Earlier you mentioned the new Dusk. What have you covered in this issue?

Apart from the cover story, dedicated as I told you to John Burns, in issue 95 of Dusk we publish the second part of Tommaso Rivieccio's study on the instruments and effects used by Tony Banks on “The Lamb ".

As for the news, we deal with the reprints of "Rated PG" by Peter Gabriel (who last year it was only released on vinyl for Record Store Day) and Anthony's “The Living Room Concert” Phillips, which contains three unreleased songs.

Great space is occupied by the reviews of books, since recently
quite a few have come out, Steve Hackett's official autobiography above all.

And then we continue to host the memories of tangential characters that make us discover many details about the world of Genesis: this time it's up to Noel McCalla, unforgotten vocalist on Rutherford's "Smallcreep's Day", and Bob Ezrin, producer of Gabriel's first solo album.

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Progressive Music Awards awarded. 5 years ago Prog God was Tony Banks (in 2014 Peter Gabriel) - the VIDEOS

Unforgettable stories and memories, through audio, video, documents and much more.

By D.B.

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The Progressive Music Awards this year took place on Thursday 24th September, in an event presented by comedian and prog fan Al Murray and in which Yes guitarist Steve Howe has been designated Prog God 2020.

5 years ago, at the 2015 Progressive Music Awards, Prog God was Tony Banks.

Previous year's winner Peter Gabriel was present at the awards ceremony and passed the baton to his old schoolmate and bandmate.

Watch the video:

In introducing Banks, Gabriel recalled having started writing songs with him when they were both teenagers and discussing how long his keyboard solos should last.

Peter described Tony as "a leading figure in English music", adding: "He created amazing melodies, wonderful songs, beautiful chord sequences and I'm still very happy and proud to be able to call him my friend".

Banks began his speech by joking about how Genesis singers Gabriel and Phil Collins had both lost their hair, while pointing out that he and other well-known prog-rock keyboardists - most notably Yes's Rick Wakeman and ELP's Keith Emerson - they kept theirs.

Tony thanked his various fellow members of the Genesis band, his wife and the group's longtime manager, Tony Smith.

As already mentioned, in 2014 Prog God was Peter Gabriel. Here is his acknowledgment acceptance speech:

This year's ceremony will be live on the Prog Magazine Facebook page.

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Phil Collins' last concert with Genesis, September 18, 1993- AUDIO & RICORDI

Unforgettable stories and memories, through audio, video, documents and much more.

By D.B.

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On September 18, 1993, al Cowdray Park, in Sussex, United Kingdom, in a very special concert, it is staged Phil Collins' last concert with Genesis (not definitive). Here is the story of those days.

A benefit concert for the King Edward VII Hospital, at Cowdray Park, near Oxford, has become an absolute special event, but historic for Genesis.

On stage, in front of about 1000 people, there are that September 18, 1993 Queen without Freddy Mercury, Pink Floyd and Genesis with Phil Collins for the last time (although not definitive).

Genesis play I Can't Dance, That's Just The Way It Is (by Collins soloist), Turn It On Again, Hold On My Heart e Invisible Touch with Phil Collins on vocals, Mike Rutherford on bass, Tony Banks on keyboards, Tim Renwick on guitar, Gary Wallis and Roger Taylor on drums.

The supergroup is called The Ruins Band, name and formation that will last the space of one night and which takes its cue from the location of the concert, in the ruins of Cowdray Castle. Band members like Queen, Pink Floyd and Genesis make it up.

Mike Rutherford also plays bass for Pink Floyd, while Mike Young of Mike + The Mechanics sings and duets with David Gilmour. Eric Clapton performs two songs accompanied by Mike Rutherford and Roger Taylor.

Then all together on stage for encores: Ain't That Peculiar, Gimme Some Lovin ' e Witness Together.

Here is the recording of a part of the concert:

And here's the super line-up: TONY BANKS Genesis Keyboards, ERIC CLAPTON Guitar, PHIL COLLINS Genesis Vocals, JOHN DEACON Queen Bass, DAVID GILMOUR Pink Floyd Guitar, ADRIAN LEE Mike &. Mech Keyboards, NICK MASON Pink Floyd Drums, TIM RENWICK Mech./Floyd Bass / Guitar, MIKE RUTHERFORD Genesis Guitar / Bass, ROGER TAYLOR Queen Vocals / Drums, GARRY WALLIS Drums, RICHARD WRIGHT Pink Floyd Keyboards, PAUL YOUNG Mike &. Mechanics Vocals.

But let's go back to Phil Collins. For him this is not a concert like the many that he has already supported in his career. IS will have a devastating role in the future of Genesis.

Phil writes in his autobiography No, I'm not dead yet, Mondadori:

"On 17 November in Wolverhampton, the last date of the We Can't Dance Tour, there are no heads. After the gigantic series of concerts around the world, they are broken."

Il We Can't Dance Tour it was exhausting, but triumphant. Phil again:

"The success of Genesis has never been so immense, but I have never felt so small. (...) Looking back on the We Can't Dance Tour, I realize that the weight of leadership had worn me out. Sin from the beginning of the most grandiose tour in the history of Genesis there had been a sense of nostalgia, "look how far we've come" style. "

Listen to the BBC interview, in the Rockline program on May 6, 1992, on the start of the tour in Dallas:

As it often happens in Phil's life, sentimental situations complicate things, even in the professional sphere. A tangle of emotions, the basis of the solo album Both Sides, which will be released in October 1993.

"As I fly left and right to promote" Both Sides "at the end of 1993, my life is chaos. I released what I consider my best album, but at what price? These songs are born from the attempt to clarify within me: they speak of separation, of a lost love. Furthermore, the freedom that I experienced realizing them made me want to record other records as "Both Sides", personal and self-sufficient. Who forces me to have a group? "

Just in a moment of great afterthoughts and sentimental "woes", this concert arrives in Cowdray, which brings Phil back to the band's companions after almost a very troubled year. But something snaps that day Collins definitely feels that the adventure with Genesis is over.

"Well, for positive and negative reasons, after dedicating half of my life to the Genesis, it's time to say goodbye to them."

He talks to manager and confidant Tony Smith about it. However, he asked him not to make the decision known immediately. A practice reminiscent of Peter Gabriel's farewell. On this topic READ THE SPECIAL OF HORIZONS RADIO.

"The people around me take me crazy, I notice it. Tony Smith, in particular, realizes that leaving Genesis and my second wife will cost me dearly, or rather double. But it doesn't matter to me, I need air. "

Tony Smith hopes for an afterthought by Phil, which however does not happen. Phil again:

"I don't blame Genesis for the constant trauma in my private life. It may be that I felt perpetually obliged to go on tour, to honor commitments and projects, to guarantee everyone satisfaction and work. Basically, however, the responsibility is mine. "

During a dramatic lunch, Collins communicates his intention to others. Here is the memory of Mike Rutherford in his autobiography The Living Years, Arcana:

"Thinking about it now, I realize how strange it was for him to switch from the role of drummer to that of singer. He did it with such ease that Tony and I did not notice all the implications that it could entail, but it remained something that was not it had never been in his plans. All this meant that when we set up a meeting at Tony Smith's house in Chiddingfold one day in 1996 and Phil said, "I think it's better to stop here," it wasn't really a surprise. The surprise was that it was remained with the Genesis for so long, after all that had happened to him with his solo career "

The March 28 1996 a press release to press agencies around the world tells the end, after more than 25 years, of Phil Collins' long adventure with the band, although it promises the continuation of the Genesis experience with a new vocalist.

And, as we know, too Phil's farewell will not be final, albeit episodic. Mike felt it then:

"And I think I also knew that there was a possibility that it wasn't quite finished yet."

But that's another story.

by DB

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Genesis: the 70th anniversary of Richard Macphail - the BOOK, the VIDEOS, the MEMORIES

Unforgettable stories and memories, through audio, video, documents and much more.

By D.B.

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Richar Macphail turns 70. He was born on September 17, 1950. He celebrates with the release of his book in the Italian version. The former Genesis tour manager had talked about it in Italy. Here are all the details.

It's called "My life with Genesis", the Italian version of the book by Richard Macphail, the ex road manager the period from 1969 to 1973, the early days of the band and the sessions for recording the album Trespass , which came to life right in the legendary Cottage owned by his parents.

Buy it on Amazon:

Increasingly important figure within the Genesis, until the sensational farewell later Foxtrot. Officially to deal with other things, but it seems he was increasingly in difficulty in the face of the appetites of the music business towards the band.

A last and warm greeting you can find it on the back cover of the album Genesis Live, enough to alarm fans and make them fear Richard's death. Who is instead alive and well, still in contact with Genesis & Co. and often participates in Genesis Days all over the world, including Italy.

Already in "My Book Of Genesis" Peter Gabriel's preface demonstrates Macphail's excellent relations with former adventure companions.

The book is written with Chris Charlesworth and will give readers a picture of the life of the band of that period, viewed from its angle. In addition to Gabriel there will be interventions by the other members of the band and even more photos and an unpublished chapter compared to the English version.

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Richard Macphail, guest in Italy in August 2019 at the Prog Days in Savignone (Genoa), talked about his book and his days with Genesis. VIDEO.

Below is the link to buy his book in English:

And here are Richard's stories:

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Richard Macphail: the book "My life with Genesis" available in Italian - BUY

The book by the former tour manager of the band with the preface by Peter Gabriel, already published in English, now in the Italian version.

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It's called "My life with Genesis", the Italian version of the book by Richard Macphail, the ex road manager the period from 1969 to 1973, the early days of the band and the sessions for recording the album Trespass , which came to life right in the legendary Cottage owned by his parents.

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Increasingly important figure within the Genesis, until the sensational farewell later Foxtrot. Officially to deal with other things, but it seems he was increasingly in difficulty in the face of the appetites of the music business towards the band.

A last and warm greeting you can find it on the back cover of the album Genesis Live, enough to alarm fans and make them fear Richard's death. Who is instead alive and well, still in contact with Genesis & Co. and often participates in Genesis Days all over the world, including Italy.

Already in "My Book Of Genesis" Peter Gabriel's preface demonstrates Macphail's excellent relations with former adventure companions.

The book is written with Chris Charlesworth and will give readers a picture of the life of the band of that period, viewed from its angle. In addition to Gabriel there will be interventions by the other members of the band and even more photos and an unpublished chapter compared to the English version.

Are you interested in the English version instead? Click the image below and buy it on Amazon.

genesis-book-MacPhail-hour-booked

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