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Spooky Tooth - I Am the Walrus

TRAFFIC - Every Mothers Son

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Neil Young - Mansion On The Hill (Video)

Atlantic City - Bruce Springsteen Paris 85

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Larry Graham - Live au Bataclan "Bass Solo" (Official)

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kd lang & The Siss Boom Bang - Matte Kudasai

Top Gear S08E08

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The Howard Roberts Quartet - Dirty Old Bossa Nova

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Grateful Dead Hour no. 924 | Grateful Dead

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Duke
122
Charts
Album
Year Chart Position
1980UK album charts1Billboard Pop Albums11
Singles
Year Single Chart Position
1980"Misunderstanding"Billboard Pop Singles14"Turn it on Again"Billboard Pop Singles58
Certifications
Organization Level Date
BPI
–
UKGold28 March 1980Platinum3 July 1980RIAA
–
USAGold21 July 1980Platinum11 March 1988
References
[1]http://www.

allmusic.

com/album/r8178[2]http://www.

blender.

com/guide/back-catalogue/54724/duke.

html[3]http://www.

rollingstone.

com/artists/genesis/albums/album/157630/review/5943260/duke[4]Andy Fyfe
Q
, May 2007, Issue 250.[5]Interview for 2007 CD/DVD re-issue of Duke[6]Backstage Auctions (http://www.

backstageauctions.

com/catalog/auction_item.

php?unid=10682&catunid=458&prodpa=0)[7]A Genesis Discography (http://www.

genesis-discography.

org/GturnitonFrame.

htm)[8]Formats described at http://www.

genesis-news.

com/genesis/reviews/sacds/1976-1982.

htm[9]Explained in interview with producer and remixer Nick Davis, at http://www.

genesis-news.

com/genesis/reviews/sacds/ interview-with-nick-davis.

htm[10]The DVD interface has two audio choices: Dolby 5.1 and DTS 5.1. If the Dolby 5.1 option is chosen on a system that does not supportsurround sound, the Dolby stereo mix is played.[11]Explained in interview with producer and remixer Nick Davis, at http://www.

genesis-news.

com/genesis/reviews/sacds/ interview-with-nick-davis.

htm[12]Comparison from
Sound and Vision
magazine article online at http://www.

soundandvisionmag.

com/musicreviews/2285/ genesis-in-surround.

html

Abacab
123
Abacab
Abacab
Studio album by GenesisReleased
14 September 1981
Recorded
May - June 1981 at The Farm, Surrey
Genre
Pop rockProgressive rock
Length
47:10
Label
Charisma (original UK release)Virgin (UK re-release)Atlantic (USA)Vertigo (South America)
Producer
Genesis
Professional reviews
•Allmusic link[1]•
Blender
link[2]•Rolling Stone link[3]•
Q
[4]
Genesis chronology
Duke
(1980)
Abacab
(1981)
3X3
(1982)
Abacab
, released in 1981, is the 11th studio album by British band Genesis. It reached #1 in the UK, where itremained in the charts for 27 weeks.

Abacab
124
Overview
The album continues the band's sharp stylistic jump, begun by the band on its preceding album
Duke
, away fromtheir progressive rock style of the 1970s and toward a radio-friendly pop music sound. As such,
Abacab
is stillviewed today with mixed opinions from both fans and critics. But the band members say that the change in musicaldirection, beginning with 1980's
Duke
and continued with
Abacab,
was necessary for the band's survival in thechanging musical climate they found themselves in. Despite the change, songs like the title track, "No Reply At All,""Keep It Dark" and "Man on the Corner" were all respectable hit singles. And while
Abacab
may have cost Genesissome fans, they earned many others, with the album hitting UK #1 and US #7, selling several million copiesworldwide and becoming the band's first Platinum selling album in the US.Another element of
Abacab
is drummer Phil Collins's more '80s approach of his drum sound, involvingreverberation, noise gates and compression in order to achieve a loud and authoritative percussive effect. Thiscontinued a trend Collins developed along with engineer Hugh Padgham on his solo hit single "In the Air Tonight",as well as the piece "Intruder" from former bandmate Peter Gabriel's third album.In addition to pounding rock,
Abacab
incorporates upbeat, accessible music - an increasingly important element inGenesis's style at the time. "No Reply At All" features the Earth, Wind & Fire horn section (as did Collins' soloalbum
Face Value
earlier in 1981), and even "Dodo/Lurker," whose adventurous lyrics recall traditional Genesis,features a funky rhythm, propelled by Tony Banks's keyboards.After years of using outside record producers, Genesis produced
Abacab
solely by themselves, while limiting furtherthan before the number of solo compositions in favour of the group-written pieces. They also had the expertise of engineer Hugh Padgham, who assisted Collins on
Face Value
and would continue to work on Genesis and Collinsrecordings through the end of the decade.The album takes its name from an early arrangement of the musical parts that make up the title track. Guitarist MikeRutherford said on the US radio show In the Studio with Redbeard (which spotlighted
Duke
and
Abacab
in oneepisode): "There were three bits of music in 'Abacab', and we referred to them as 'section a', 'section b', and 'sectionc'... and at different times, they were in different order. We'd start with 'section a' and then have 'section c'... and atone point in time, it spelled Abacab. On the final version, it's not that at all, it's like 'Accaabbaac'."Due to its daring shift in style,
Abacab
is generally considered one of Genesis' most important releases, and was aspringboard for future hit albums
Genesis
and
Invisible Touch
. The band had been influenced by the punk/new waverevolution in Britain insofar as what they were now offering fans was a set of minimalist, bare, punchy songs, muchmore in step with the pop charts than Genesis had ever been before.Three songs that were omitted from
Abacab
—
"Paperlate," "You Might Recall," and "Me & Virgil"
—
were soonissued on the
3 X 3
EP, which broke the top ten of the UK singles chart, on the strength of the song "Paperlate." Theywere also issued on the non-UK releases of 1982's
Three Sides Live
, which hit #10.Two other songs that were omitted from
Abacab
—
"Naminanu" and "Submarine"
—
appeared as B-sides on the"Abacab" singles, but were originally intended to be part of "Dodo/Lurker", where the order would have been"Naminanu/Dodo/Lurker/Submarine"."No Reply at All" was performed live by Phish as a tribute to Genesis at the Rock and Roll Hall of Fame's 2010induction ceremony. Phish also performed "Watcher of the Skies" that night.

Abacab
125
Release
The album was released with four different embossed covers simultaneously across the country, all depicting thesame collage but with the paper shapes in different colours. The four different cover variants are usually identifiedby the colour of the largest upper shape adjacent to the title lettering; this shape being coloured navy blue, red,peach, and yellow.
Track listing
All songs by Tony Banks/Phil Collins/Mike Rutherford, except where noted.
Side one
1."Abacab" (Lyrics: Rutherford)
–
6:562."No Reply at All" (Lyrics: Collins)
–
4:403."Me and Sarah Jane" (Tony Banks)
–
6:004."Keep It Dark" (Lyrics: Banks)
–
4:32
Side two
1."Dodo/Lurker" (Lyrics: Banks)
–
7:302."Who Dunnit?" (Lyrics: Collins)
–
3:233."Man on the Corner" (Phil Collins)
–
4:274."Like It or Not" (Mike Rutherford)
–
4:575."Another Record" (Lyrics: Collins)
–
4:39
B Sides and non-album tracks
No.TitleWriter(s)Length
1."Naminanu"(Banks, Collins, Rutherford)3:542."Submarine"(Banks, Collins, Rutherford)4:383."Paperlate"(Banks, Collins, Rutherford)(Lyrics Phil Collins)3:234."You Might Recall"(Banks, Collins, Rutherford) (Lyrics Mike Rutherford)5:315."Me And Virgil"(Banks, Collins, Rutherford) (Lyrics Phil Collins)6:18
1.Naminanu from the single Keep It Dark2.Submarine from the single Man on the Corner3.Paperlate,You Might Recall, and Me And Virgil from the EP 3X3

18) Peter Gabriel Quits Genesis

Chris Welch, Melody Maker, 23 August 1975

THE MELODY MAKER last week front-paged the growing doubts about Gabriel's future in the band. Reports, denied by the management of Genesis, indicated that Gabriel was unhappy with his role as a rock star and had already left the group. And this week an official statement admitted the split in Genesis.

"They are now looking for a new singer," said the band's management. "They have a few ideas but nobody has been fixed. The group are all currently writing material and rehearsing for their new album, and they will go into the studios shortly to record. The album will be released at Christmas and Genesis will go on the road in the New Year." It is understood that Gabriel will now concentrate on straight theatrical ventures.

*

"We're going to carry on as if nothing happened." Brave words from drummer Phil Collins this week, upon the shock news that Gabriel has indeed quit Genesis. It will be hard for their myriad fans to accept this bombshell with quite the same equanimity. And having followed their career for the last five years, I found it hard to believe the harsh facts when the MM revealed last week that a split was imminent. Peter is such a unique artist, such an important figure in this extraordinary band, that it would be difficult to imagine them projecting the same magical charisma sans Gabriel. And yet Peter has gone, and the band are even now hard at work rehearsing in an Acton studio for their own follow-up album to the controversial The Lamb Lies Down on Broadway.

No more will that slim, strangely shy figure with the ability to rivet audiences with blazing eyes and bizarre costumes strut and posture in a variety of guises. No longer will Peter startle his fans with apparitions, kinetic structures, and theatrical trickery of every description. Like the inhabitant of Dr. Caligari's cabinet, Peter Gabriel first smote our consciousness back in 1970 as a white-faced youth who found normal conversation difficult but could hold an audience entranced with poetry, lyrical surrealism, and an ever-growing repertoire of semi-diabolical characterisations. The beauty of Gabriel's Genesis was that they created a perfect balance between serious rock performance and serious visual art.

Although they were hoist by their own petard later, when audiences seemed to demand even more theatrical trickery, they held a respect painstakingly earned from the earliest days, when they built their club following. Friars, Aylesbury, was just one venue where Genesis gained almost fanatical devotion before the rock world at large was aware of their existence.

Over the last year, there were growing rumours and vibrations from within the band that not all was well. The musicians of Genesis - Phil Collins (drums), Tony Banks (keyboards), Mike Rutherford (bass and 12 string), and Steve Hackett (lead guitar) - found it increasingly difficult to relate to the attention given to the visual aspects of Genesis, and felt their own performances were not getting the attention they deserved.

Phil Collins gave some indication of the pressures when he talked to the MM earlier this year: "We're all happy but there are frustrations and disappointments. The reviews of the band are most upsetting. It's a good thing that the show can get across by the visuals, but a lot of people don't listen to the music. That's a bit of a drag. No, it's not jealousy. If it were, I'd feel it towards Peter and I don't at all. It's a big drag for him as it is for us. I'd like to see Mike and Tony come out more. After all, they started the band. It must be very frustrating for them when they write a lot of the music, and get very little out of it." It was suggested that if anybody left the band it was going to be Phil, who enjoyed singing as much as drumming and liked to play on sessions with other artists. He has even taken the step of forming his own band for local gigs.

Genesis progressed in, at times, tortuous fashion. They seemed assailed by debt and doubts. While fans cheered, there would be wringing of hands behind the scenes at their quaintly eccentric and English public school approach to the business of rock. Mike Rutherford delighted in telling how in their early days the band would take hampers with them on the road, as if they were going on a picnic. "We thought it was the thing to do," said Mike.

They had a great capacity for spending money, and liked to take off each summer in order to write and ponder upon their next musical creation. Albums like Nursery Cryme, Foxtrot, and Selling England By The Pound were not conveyor belt products. They would spend long hours in perfecting every note and nuance, and even more attention was given to polishing the ultimate stage presentation. The band were ... odd. They would delight in the fact that everybody, lead guitarist Steve Hackett included, sat down to play, while Peter stood at strategic points about the stage, sometimes motionless, sometimes embarking on a whole series of mimes and gestures that seemed to encompass everything from copulation to black magic rites. They might dress a stage all in white and use the smallest amplification cabinets possible with Hackett's guitar apparently coming from a crystal wireless set. And yet behind all the eccentricities was the solid musicianship inherent in the playing of classically-trained pianist Tony Banks, the tasteful, accurate drumming of Phil Collins, and the measured, dynamic guitar playing of Steve and Mike.

America beckoned and they toured there successfully on several occasions. But their appeal in the States seemed limited to certain areas, mainly on the East Coast. It was in Italy and France that Genesis really took off, outside of Britain. Genesis appealed to the Continentals' love of drama and mystery. In America, where they frequently had to play on tours with eminently unsuitable artists, they ran up against beer can hurling and shouts for "boogie!" All of this Genesis appeared to take with phlegmatic calm. Yet passions seethed beneath their cultivated breast.

While we keep talking, perhaps unfairly, of Genesis in the past tense, the departure of Gabriel is certainly an end of an era both for the band and British rock. Their long and distinguished career together began in 1966. It will come as a surprise to those who think of them as a relatively new phenomenon. But that was the year the four schoolboy songwriters, Tony Banks, Mike Rutherford, Peter, and original member Anthony Phillips, made a tape of their songs and sent them to rising rock mogul, Jonathan King. This resulted in their first album, recently re-released on Decca, From Genesis To Revelation (SKL 4990). The band worked with drummers Chris Stewart and then John Silver. In 1969 they went to a country cottage to get it all together (not a word of a lie), and eventually signed with Tony Stratton-Smith, who managed the band and released their second album on his Charisma label – Trespass. By this time John Mayhew was on drums, but in July 1970, both Mayhew and lead guitarist Anthony Phillips were replaced by Phil Collins and Steve Hackett.

Trespass defined the slowly evolving Genesis, with one piece in particular that was to help win them a loyal following. ‘The Knife’ was a dramatic example of their writing style, a mixture of careful arrangement and taut imagery. ‘The Knife’ was a plea or demand for a surgeon's knife to cut the evil from men and society. And in ‘The Musical Box’ Gabriel sang: "Now in this ugly world, it is time to destroy all this evil. Now when I give the word, are you ready to fight for your freedom, NOW!" The vision of Peter shouting his staccato "NOW!" is one that will long stay with Genesis aficionados. The album was beautifully packaged, quite daring for a small label and a virtually unknown group, and set a standard for future work, like Nursery Cryme, with its Paul Whitehead sleeve design, and such classic Genesis epics as ‘The Musical Box’, ‘Harrold The Barrel’, and ‘The Return Of The Giant Hogwell’.

Genesis rapidly became a cult. No other band then had such flair, and tempting touch of evil. Death, disfigurement - these were themes that recurred in the spoken introductions Peter delivered in deadpan fashion, to wild cheers. "While Henry Hamilton-Smythe was playing croquet with Cynthia Jane De Blaise-Williams, sweet-smiling Cynthia raised her mallet high and gracefully removed Henry's head ..." began the verbal introduction to ‘The Musical Box’.

As the music developed, so did Peter's stage performance, as he brought in bizarre costumes to complement his usual black cat suit. His wriggling body struck any number of statuesque or even athletic poses, and from kicking sand in his audience's face, he would shock them by appearing in a huge fox head, or most famous of all, a pair of bat wings, his eyes made up to glow with extraordinary ferocity. His costume was designed to enhance the fantasy tales that brought fans flocking to the various town halls and clubs where Genesis began to draw capacity crowds. One of the first occasions I saw them, they were playing to a virtually empty Upstairs room at London's Ronnie Scott Club. A year later they were the toast of the Home Counties, with fans who knew every word and every gesture of their performance.

Foxtrot featured more remarkable pieces like "Get 'Em Out By Friday" (Peter suffered a lot from landlords), with such characters as Mr. Prebble and Mrs. Barrow (a tenant) who wailed: "Oh no this I can't believe, Oh Mary, they're asking us to leave." There was strong Dickensian flavour to their imagery and humour. ‘Watcher Of The Skies’ was destined to be one of the most requested items, which displayed the band's ability to utilise controlled dynamics, with new drummer Collins' working brilliantly in unison with Tony Banks' doom-laden Mellotron. Virtually the whole of the second side featured their first extended work, ‘Supper's Ready’, another milestone and portent.

This 1972 release was followed a year later with Selling England By The Pound, which contained their first hit single ‘I Know What I Like (In Your Wardrobe)’ which had such commercial appeal that even Tony Blackburn played it on Radio One, and Phil Collins' vocal outing on ‘More Fool Me’. But ‘The Battle of Epping Forest’ and ‘Cinema Show’ never quite equalled the magic of their earlier works, nor transferred as well to stage production. A "Live" album came out the same year, a rare burst of activity for the band, and featured a compilation of their best-loved songs like ‘Watcher Of The Skies’, ‘Get 'Em Out By Friday’, ‘The Return Of The Giant Hogweed’, ‘Musical Box’, and ‘The Knife’ (Charisma Class 1).

Then in 1974 came the result of a year's work, the adventurous Lamb Lies Down On Broadway, which moved to New York for its setting and influence and became the basis of their by now hugely extravagant stage show, complete with lights, smoke, and back projections. For some fans it was a disappointment, more calculating in its surrealism and lacking the stealth and subtlety of earlier works. It was a successful double album, and the music took on greater effect in the live appearances the band made throughout America, Europe, and Britain. But Peter was disappointed at the criticism it received and the stage show became more and more difficult to bring off to full effect. And the chief character, Rael, did not rest as naturally on his shoulders as some of his more English creations.

Nevertheless, they performed the work brilliantly in Paris last March and not quite so well in London a few weeks later. "It's quite a barrage of words and there should be an award for people who go through!" Peter said deferentially about the work, but described it as: "A series of events that could happen to somebody who doesn't even know his subconscious exists."

Genesis' career can be measured by their many great concerts that became events in the rock calendar. Like their New York debut in December in 1972 when they won over a wondering American audience; Reading Festival in 1973; their five nights at London's Drury Lane in January of 1974; and Empire Pool last April when The Lamb made its first British appearance. But their finest moments were at the Rainbow Theatre, where the band could utilise the stage facilities in a relatively compact environment. It was not really true that audiences did not perceive the musical ability of the band and were completely blinded by Gabriel's role. They could roar like controlled thunder, and the tones employed by Hackett and Banks were among the most distinctive in rock.

But whatever the reasons for the split, and doubtless all will be revealed soon, Genesis have emphasised that there is no personal animosity. They simply want to go their separate ways. Said Phil Collins: "We were not stunned by Peter's departure because we had known about it for quite a while. We're going to carry on and we've been rehearsing for three weeks for the new album. This hasn't hit us suddenly, we've been talking about it for some time, and I think there will be room for both Genesis and Peter on his own. No - there were no musical differences. I don't really know what to say about it at the moment. There were no reasons for anything," he added mysteriously. "It was Peter's decision and I can only emphasise that we are carrying on as if nothing happened."

Bands have recovered from surgery of this kind before. It remains to be seen if the public can accept the knife used in such drastic fashion.

© Chris Welch, 1975

Metamorphosis (The Rolling Stones album)

Metamorphosis is the third compilation album of The Rolling Stones music released by former manager Allen Klein's ABKCO Records (who usurped control of the band's Decca/London material in 1970) after the band's departure from Decca and Klein. Released in 1975, Metamorphosis centers on outtakes and alternate versions of well-known songs recorded from 1964 to 1970.

History :


After the release of Hot Rocks 1964–1971 in 1971, an album entitled Necrophilia was compiled for release as the follow-up, with the aid of Andrew Loog Oldham, featuring many previously unreleased (or, more accurately, discarded) outtakes from the Rolling Stones' Decca/London period. While that project failed to materialize—with More Hot Rocks (Big Hits & Fazed Cookies) being released in its place—most of the unreleased songs were held over for a future project. In 1974, in order to give it an air of authority, Bill Wyman involved himself in compiling an album he entitled Black Box. However, Allen Klein wanted more Mick Jagger/Keith Richards songs in the project for monetary reasons, and Wyman's version remained unreleased. Metamorphosis was issued in its place.

Most tracks that appear on side one of the vinyl album (all tracks up until "Try a Little Harder", except for "Don't Lie to Me") are demo songs, written by Mick Jagger and Keith Richards for other artists to perform. They were mostly recorded with session musicians like Big Jim Sullivan on guitar, Clem Cattini on drums, and Jimmy Page on guitar, and were not intended for release by the Rolling Stones. Indeed, on most of these tracks the only Rolling Stones member that appears is Mick Jagger. While "Out of Time" and "Heart of Stone" were already well-known, they appear here in drastically different renditions, with session players providing the backing. Side two includes unreleased band recordings created up until the Sticky Fingers sessions of 1970.

Released in June 1975, Metamorphosis came out the same day as the band's authorized hits collection Made in the Shade and was also seen to be cashing in on The Rolling Stones' summer Tour of the Americas. While the critical reaction was lukewarm (many felt some of the songs were best left unreleased), Metamorphosis still managed to reach #8 in the US, though it only made #45 in the UK. Two singles, "Out of Time" (featuring Mick Jagger singing over the same backing track used for Chris Farlowe's 1966 version) and a cover of Stevie Wonder's "I Don't Know Why" briefly made the singles charts.

Upon its initial release, Metamorphosis was released with 16 songs in the UK, while the American edition had only 14—omitting tracks "Some Things Just Stick in Your Mind" and "We're Wastin' Time".

The album's cover art alludes to Franz Kafka's novel The Metamorphosis.

In August 2002, the full UK edition of Metamorphosis was issued in a new remastered Compact Disc and SACD digipak by ABKCO Records.

Track listing:

All songs by Mick Jagger and Keith Richards, except where noted.

Side one

"Out of Time" – 3:22
"Don't Lie to Me" (Hudson Whittaker) – 2:00
"Some Things Just Stick in Your Mind" – 2:25
"Each and Everyday of the Year" – 2:48
"Heart of Stone" – 3:47
"I'd Much Rather Be With the Boys" (Andrew Loog Oldham/Keith Richards) – 2:11
"(Walkin' Thru The) Sleepy City" – 2:51
"We're Wastin' Time" – 2:42
"Try a Little Harder" – 2:17

Side two

"I Don't Know Why" (Stevie Wonder/Paul Riser/Don Hunter/Lula Hardaway) – 3:01
"If You Let Me" – 3:17
"Jiving Sister Fanny" – 2:45
"Downtown Suzie" (Bill Wyman) – 3:52
"Family" – 4:05
"Memo from Turner" – 2:45
"I'm Going Down" – 2:52

Recording details :

"Out of Time" – 3:22

The demo—with Mick Jagger on lead vocal—for Chris Farlowe's hit single version, recorded 27–30 April 1966

"Don't Lie to Me" – 2:00

Recorded on 12 May 1964
Incorrectly credited to Mick Jagger and Keith Richards on the album
Line up: Mick Jagger (vocals), Keith Richards (guitar), Brian Jones (guitar), Charlie Watts (drums), Bill Wyman (bass), Ian Stewart (piano)

"Some Things Just Stick in Your Mind" – 2:25

Recorded on 13 February 1964
The first version of this song to be released (in early 1965) was by the American duo Dick and Dee Dee, followed closely by the Vashti Bunyan recording.

"Each and Everyday of the Year" – 2:48

Recorded in early September 1964
Bobby Jameson's version of this song features the same backing track as this recording. It was also covered by a group that went by the name of Thee, both in 1965

"Heart of Stone" – 3:47

Recorded 21–23 July 1964 with Jimmy Page on guitar and Clem Cattini on drums

"I'd Much Rather Be With the Boys" – 2:11

Recorded in February 1965
Originally released by The Toggery 5 in 1965.

"(Walkin' Thru The) Sleepy City" – 2:51

Recorded in early September 1964
Originally released by The Mighty Avengers in 1965

"We're Wastin' Time" – 2:42

Recorded in early September 1964
Originally released by Jimmy Tarbuck in 1965

"Try a Little Harder" – 2:17

Recorded on 13 February 1964

"I Don't Know Why" – 3:01

Recorded on 3 July 1969 (the same night that Brian Jones died) during the sessions for Let It Bleed . The music after the stop was spliced in at a later stage. The second slide guitar solo by Mick Taylor is a copy of the first solo
Incorrectly credited to Mick Jagger, Keith Richards and Mick Taylor on the first pressing of the album. The credits were corrected with the second pressing and on the 2002 SACD version

"If You Let Me" – 3:17

An Aftermath outtake, recorded 3–6 March 1966
Line up: Mick Jagger (vocals), Keith Richards (guitar), Brian Jones (guitar), Charlie Watts (drums), Bill Wyman (bass), Ian Stewart (piano)

"Jiving Sister Fanny" – 2:45

Recorded in June 1969, during the Let It Bleed sessions, with Mick Taylor on lead guitar

"Downtown Suzie" – 3:52

Recorded on 23 April 1969 as a Let It Bleed outtake under the original title "Sweet Lyle Lucie". It features Ry Cooder on open G tuned guitar.

"Family" – 4:05

Recorded on 28 June 1968 as a Beggars Banquet outtake.
Line up: Mick Jagger (vocals), Keith Richards (guitars), Charlie Watts (drums), Bill Wyman (bass), Nicky Hopkins (piano), Jimmy Miller (percussion)

"Memo from Turner" – 2:45

Recorded on 17 November 1968; a different take was released as a Mick Jagger solo single in October 1970 and featured in the film Performance.
Featuring Mick Jagger on vocals and Al Kooper on guitar, the identity of the other musicians on this track is not certain, with Jim Capaldi and Steve Winwood of Traffic, as well as the other Rolling Stones, being mentioned as playing on it.

"I'm Going Down" – 2:52

Recorded 14–15 July 1970 as a Sticky Fingers outtake
Credited to Mick Jagger, Keith Richards and Mick Taylor on the first pressing of the album. The credits were changed to 'Jagger/Richards' with the second pressing and on the 2002 SACD version.
Line up: Mick Jagger (vocals), Keith Richards (guitar), Mick Taylor (bass), Charlie Watts (drums), Bobby Keys (sax), Rocky Dijon (percussion), Stephen Stills (unknown instrument)

Studio albums : Moroccan Roll (1977) - UK #37[4]

Morrocan Roll (1977) is the second studio album by Brand X. The title is a pun referring to this being their second album: "more rock and roll". The album is mostly instrumental; only "Sun in the Night" is sung by Phil Collins.

Track listing :

Side one

"Sun in the Night" (Goodsall) – 4:25
"Why Should I Lend You Mine (When You've Broken Yours Off Already)..." (Collins) – 11:16
"...Maybe I'll Lend You Mine after All" (Collins) – 2:10
"Hate Zone" (Goodsall) – 4:41
"Collapsar" (Lumley) – 1:33

Side two

"Disco Suicide" (Lumley) – 7:55
"Orbits" (Jones) – 1:38
"Malaga Virgen" (Jones) – 8:28
"Macrocosm" (Goodsall) – 7:24

Personnel :

John Goodsall – guitar, bass, vocals, sitar, echo
Percy Jones – bass, autoharp, harp, marimba
Robin Lumley - keyboards, piano, synthesizer, Fender Rhodes, Clavinet, Moog synthesizer, vocals
Phil Collins – drums, vocals (1), piano
Morris Pert – percussion

External links :

http://www.discogs.com/Brand-X-Moroccan-Roll/master/34861

Discography : Studio albums

Unorthodox Behaviour (1976)
Moroccan Roll (1977) - UK #37[4]
Masques (1978)
Product (1979)
Do They Hurt? (1980)
Is There Anything About? (1982) - UK #93[4]
Xcommunication (1992)
Manifest Destiny (1997)
Missing Period (recorded 1975-1976, released 1997)

1992–1999

Goodsall and Jones formed a 'power trio' version of Brand X with drummer Frank Katz in 1992, releasing Xcommunication the following year. To make up for the lack of a keyboard player, Goodsall used a Gibson Max midi guitar system to trigger synths, samples and keyboard sounds along with his guitars. This line-up went on to record 1996's Manifest Destiny, and tour Japan and Europe in 1997 with keyboard player Kris Sjobring and ex-Gong drummer Pierre Moerlen replacing Katz.

In recent years, Goodsall has recorded with Franz Pusch and performed regular solo concerts with guest musicians. Jones and Katz formed Tunnels (1993-2006), releasing five albums. Goodsall played guitar on Tunnels:Progressivity (2002).

After Brand X's 1979 world tour (the last with Collins), Goodsall moved to Los Angeles and worked as a session musician, and as a member of the band Zoo Drive (1980-1987), which included Doug Lunn, Paul Delph and Spinal Tap drummer Ric Parnell. Goodsall has also performed and/or recorded with Bill Bruford, Desmond Dekker, Peter Gabriel, Billy Idol, Bryan Adams, Toni Basil and Mark Isham. Goodsall released two albums with his band Fire Merchants, before reforming with Brand X and recording Xcommunication and Manifest Destiny. Several bootleg compilation albums (some of which are listed below) have surfaced without Brand X's consent and continue to be sold illegally.

History : 1975–1980

Brand X started in 1975 as a "jam" band funded by Island Records, whose A&R rep Danny Wilding wrote down the name "Brand X" to keep track of their activity in the studio calendar and the name stuck. Original drummer/vocalist Phil Spinelli and rhythm guitarist Pete Bonas quit the band after recording the 1st (disappeared/unreleased) Brand X album. Genesis drummer Phil Collins took over on drums and in early 1976 Unorthodox Behaviour was released to coincide with an extensive UK tour. Collins was replaced in following years by a formidable array of drummers, including Kenwood Dennard, Chester Thompson, and Mike Clark (an innovative funk jazz fusion pioneer known for his work with Herbie Hancock's Headhunters). Most recently the drum chair was filled by Frank Katz. Percussionist and composer Morris Pert was added later for the follow-up Moroccan Roll. (The band had previously employed other percussionists, including Gaspar Lawal,[2] Bill Bruford and Preston Heyman).

In early 1977, Brand X decided to recruit a replacement drummer for Collins due to conflicting schedules with Genesis (although Collins rejoined for strategic dates throughout the year) and Kenwood Dennard of Pat Martino's group was recruited in New York, making his debut on the band's US tour (a 32-date affair in May and June 1977) and appearing on part of the live album Livestock. Collins came back to the fold for a series of dates in September 1977 including two appearances on the same day in London (Crystal Palace garden party) and Paris (Fete de l’Humanite) - the first time ever a band played two open-air shows in different countries on the same day. A second US tour followed late in the year, again with Dennard on drums.

In 1979, Collins re-joined Brand X for part of the series of recording sessions which would generate enough material for two albums, 1979's Product and 1980's Do They Hurt?. These took place at Startling Studios, located in Ringo Starr's countryside home (formerly owned by John Lennon), with two distinct line-ups operating in alternation (Mike Clark again providing drums on the other tracks), as Jones later explained. "Our record and management companies were both complaining about poor record sales and telling us we had to make the music more accessible. Some of the guys agreed to go along with this but I felt that to do this would not generate a new audience but would probably just alienate the one that we already had. The only solution was to have two bands, one being more accessible and the other being more experimental. For my stuff the lineup was Robinson, Clark, Goodsall and me; for the other direction it was Lumley, Collins and Goodsall with John Giblin on bass. We recorded in shifts, ours was 8pm to 4am and the others, 10am to 6pm".

A UK tour took place in April and May 1980 (co-headlining with Bruford), with Mike Clark again on drums.[3]

John Goodsall and Percy Jones, who wrote all but a few tunes by Brand X, have never been paid royalties for over 35 years of worldwide sales for the 1st 6 legally released albums or the subsequent 10 or more compilations. Only one company, Buckyball Records, an indie label has ever paid the 2 composers royalties. Hit And Run Music, EMI, Virgin, Passport Records, Ozone, Pangea Music etc. continue to default on their debts to Goodsall and Jones. Goodsall's composition 'The Poke' was wrongly credited to Peter Robinson who had no part in writing that tune.
[edit]

Brand X

Brand X was a jazz fusion band active between 1975–1980 and 1992-1999. Noted members included Phil Collins (drums), Mike Clark (drums), Percy Jones (bass), John Goodsall (guitar)[1] and Robin Lumley (keyboards).

In 1992, original members Goodsall and Jones formed a new trio version of Brand X, with drummer Frank Katz.

Face Value (album)

Face Value is the debut solo album by Genesis front man Phil Collins, released in February 1981 on the Virgin label internationally and Atlantic Records in North America. The album is notable for the hit single, "In the Air Tonight", whose dark mood was inspired by the fallout of Collins' first marriage.

Earth, Wind & Fire

Earth, Wind & Fire is an American R&B and funk band formed in Chicago, Illinois, in 1969 by Verdine and Maurice White. Also known as EWF, the band has won six Grammy Awards and four American Music Awards. They have been inducted into both the Rock and Roll Hall of Fame and the Vocal Group Hall of Fame.[1][2] Rolling Stone has described them as "innovative, precise yet sensual, calculated yet galvanizing" and has also declared that the band "changed the sound of black pop".[3] In 1998, they were ranked at number 60 on VH1's list of the 100 Greatest Artists of Rock N' Roll.[4]

The band's music contains elements of African, Latin American, funk, soul, pop and rock music, jazz and other genres. The band is known for the dynamic sound of their horn section, and the interplay between the contrasting vocals of Philip Bailey's falsetto and Maurice White's tenor.[5] The kalimba (African thumb piano) is played on all of the band's albums.[6]

1980–1984: Breakout mainstream success

After his attempt to save his marriage (which ended in divorce), Collins returned to the UK in August 1979, and found himself in a holding pattern while Banks and Rutherford were working on solo recordings. With time to spare and new equipment in his home, Collins immersed himself in the recording of home demos that would become his first solo album Face Value (released in 1981) and provide two songs for the upcoming Genesis project. In addition, he rejoined Brand X for their 1979 tour[citation needed], and appeared on their album Product. When the three bandmates came back together to begin recording their next album, Duke, the product was much more the result of all three working together equally. Duke was the real transition from their 1970s progressive rock sound to the 1980s pop era.[16] The use of a drum machine became a consistent element on subsequent Genesis albums, as well as on Collins's solo releases. The first Genesis song to feature a drum machine was the Duke track "Duchess". The more commercial Duke was well received by the mainstream media, and was the band's first UK number one album, while the tracks "Misunderstanding" and "Turn It On Again" became live performance favourites.

Duke was followed by Abacab, which features a collaboration with the Earth, Wind & Fire horn section on the track "No Reply at All". Much of the album's rehearsals took place at The Farm, the band's newly-built studio in Surrey, and the site where all of their subsequent albums were recorded. The album used a forceful drum sound which used an effect called gated reverb, which uses a live—or artificially reverberated—sound relayed through a noise gate set, which rapidly cuts off when a particular volume threshold is reached. This results in a powerful "live" sounding, yet controlled, drum ambience. The distinctive sound was first developed by Peter Gabriel, Collins, and their co-producer/engineer Hugh Padgham, when Collins was recording the backing track for "Intruder", the first song on Gabriel's 1980 solo album. The technique, in addition to Padgham's production, had been apparent on Face Value (1981), Collins' debut solo album. The "gated" drum sound would become an audio trademark of future Genesis and Collins albums.[27]

The Abacab tour was also a significant moment in live entertainment history; in that it marked the first public appearances of the Vari-lite automated moving light system, the development of which had been paid for by the band and their management.

In 1982, the band released the live double album Three Sides Live. The U.S. version contains three sides of live material—hence the album's title—in addition to a side of studio material. The studio material includes the song "Paperlate", which again features an Earth, Wind and Fire horn section. In the UK and the rest of Europe, the studio material was replaced by a fourth side of live recordings from previous tours. 1982 closed with a one-off performance alongside Gabriel and Hackett at the Milton Keynes Bowl, under the name Six of the Best. The concert was hastily put together to help raise money for Gabriel's WOMAD project, which at the time was suffering from considerable financial hardship.[28] Hackett, who arrived late from South Africa, performed the final two songs of the show ("I Know What I Like (In Your Wardrobe)" and "The Knife") with his former bandmates.

1983's eponymous Genesis album became their third consecutive number one album in the UK. The album includes the radio-friendly tracks "Mama" and "That's All", and re-introduced the band's flair for lengthy pieces in "Home by the Sea". The track "Just a Job to Do" was later used as the theme song for 1985's ABC detective drama The Insiders. The album became a worldwide success, although somewhat unusually for a Genesis album, it provides no "extra" material. The sessions from the previous five studio albums dating back to 1976's A Trick of the Tail had all generated other songs that would be released as B-sides to singles or on EPs. Any other song ideas were held back for solo projects, in which all three members were, by this time, heavily involved.

1978–1979: And Then There Were Three

Following the departure of Hackett, Rutherford took on guitar duties in the studio and the band was getting closer to a balance of what each member provided from a creative standpoint. The group decided to continue as a trio, a fact they acknowledged in the title of the 1978 album ...And Then There Were Three.... The album was a further move away from lengthy progressive epics, and yielded their first American radio hit, "Follow You Follow Me", whose popularity led to ...And Then There Were Three... being the band's first U.S. Platinum-certified album.

For live performances that year, Rutherford alternated again between guitar and bass with Daryl Stuermer, formerly guitarist with Jean-Luc Ponty's band. Generally, Rutherford played the guitar pieces he composed during the most recent album, but stuck with bass playing for all of the material recorded prior to 1978. Stuermer effectively played everything that Hackett would have performed had he remained with the band. Their 1978 world tour took them across North America, over to Europe, back to North America, and, eventually, to their first performances in Japan at the end of 1978.

As the band had been recording and touring constantly since the winter of 1977–78, it was decided by Banks, Collins, and Rutherford to take the majority of 1979 off. Collins had previously informed his bandmates that he needed to attempt to save his marriage by following his wife to her new home in Vancouver. If they planned to go back into the studio, they were going to have to count him out. Banks and Rutherford responded by proposing that the band go into hiatus for the majority of 1979 while he sorted out his family issues and they would record solo material in the meantime.

1976–1977: The four-man era

The group auditioned reportedly over 400 lead singers to find a replacement for Gabriel. Phil Collins, who had provided backing vocals, coached prospective replacements.[19] Eventually, the band decided to use Collins as the lead vocalist[20] for 1976's A Trick of the Tail. The new producer David Hentschel, who had served as engineer on Nursery Cryme, gave the album a clearer-sounding production. Critics noted that Collins sounded "more like Gabriel than Gabriel did".[21]

Despite the success of the album, the group remained concerned with their live shows, which now lacked Gabriel's elaborate costume changes and dramatic behaviour. Since Collins required the assistance of a second drummer while he sang, Bill Bruford, drummer for Yes and King Crimson was hired[22] for the 1976 tour. Their first live performance without Peter Gabriel was on 26 March 1976, in London, Ontario, Canada.[citation needed]

Later that year, Genesis recorded Wind & Wuthering, the first of two albums recorded at the Relight Studios in Hilvarenbeek in the Netherlands.[3] Released in December 1976,[23] the album took the second part of its title from Emily Brontë's novel Wuthering Heights, whose last lines—"how anyone could ever imagine unquiet slumbers for the sleepers in that quiet earth"—inspired the titles of the seventh and eighth tracks.[24]

For the 1977 Genesis tour, the jazz fusion-trained Chester Thompson—a veteran of Weather Report and Frank Zappa—took on live drumming duties. Collins' approach to Genesis shows differed from the theatrical performances of Gabriel, and his interpretations of older songs were lighter and more subtle. At the 1982 Milton Keynes reunion show, Gabriel admitted that Collins sang the songs "better", though never "quite like" him.[25]

Guitarist Hackett had become increasingly disenchanted with the band by the time of Wind & Wuthering's release,[16] and he felt confined. He was the first member of the band to record a solo album, 1975's Voyage of the Acolyte, and greatly enjoyed the feelings of control over the recording process that working within a group could not provide. Hackett had asked that a quarter of Wind & Wuthering be allocated to Hackett's songs, which Collins described as "a dumb way to work in a band context".[26] While Hackett was given songwriting credits on the two instrumental tracks "Unquiet Slumbers for the Sleepers..."/"...In That Quiet Earth" , the Hackett/Collins' "Blood on the Rooftops" was never performed live, and his song "Please Don't Touch" (which appeared as the title track to his next solo album released in 1978) was rejected by the rest of the band, who opted for the shorter and catchier three-minute instrumental "Wot Gorilla?" which closes Side 1 of the Wind & Wuthering album. Hackett left the band following the release of the 1977 Spot the Pigeon EP while the band was in the studio mixing together the live album Seconds Out.

The acclaimed Seconds Out live album was recorded during the 1976 and 1977 tours and was to be Hackett's final release with Genesis. Rutherford took on guitar duties in the studio, and during live performances alternated guitar and bass with the session musician Daryl Stuermer.

1971–1975: The classic era

Collins and Hackett made their studio debut in 1971 on Nursery Cryme, which features the epic "The Musical Box" and Collins's first lead vocal performance in "For Absent Friends", the song was also the first written by new members Collins and Hackett within the band. Two engineers were hired and then quit before John Burns took over during the recording of their next album,[9] and this began a successful three-album collaboration between Burns and the group. Foxtrot was released in October 1972 and contains what has been described as "one of the group's most accomplished works",[10] the 23-minute multi-part epic "Supper's Ready". Songs such as the Arthur C. Clarke-inspired "Watcher of the Skies" solidified their reputation as songwriters and performers. Gabriel's flamboyant and theatrical stage presence, which involved numerous and elaborate costumes and surreal spoken song introductions, made the band a popular live act.[11] Genesis Live, was recorded on the Foxtrot tour in 1973, shortly before the band's upcoming album was released.[9]

Selling England by the Pound was released in November 1973 and was well received by critics and fans.[12] Gabriel insisted on the title, a reference to a current Labour Party slogan, in an effort to counter the impression that Genesis was becoming too US-oriented.[13] Selling England by the Pound features Collins's second lead vocal performance to date in "More Fool Me." The album also contains "Firth of Fifth" and "I Know What I Like (In Your Wardrobe)"; these songs became part of their live repertoire, with the latter becoming their first charting single, reaching #17 on the UK singles charts.

During this period Hackett became an early user of the electric guitar "tapping" technique, which was later popularised by Eddie Van Halen, as well as "sweep-picking", which was popularised in the 1980s by Yngwie Malmsteen.[14] These virtuoso guitar techniques were incorporated in the song "Dancing with the Moonlit Knight". At the same time, the band signed with new manager Tony Smith, who published all subsequent Genesis songs through his company Hit & Run Music Publishing.

In 1974, Genesis recorded a double disc concept album The Lamb Lies Down on Broadway which was released on 18 November. In contrast to the lengthy tracks featured on earlier albums The Lamb Lies Down on Broadway is a collection of shorter tracks, connected by a number of segues. The story describes the spiritual journey of Rael, a Puerto Rican youth living in New York City, and his quest to establish his freedom and identity.[15] During his adventure, Rael encounters several bizarre characters including the Slippermen and The Lamia, the latter being borrowed from Greek mythology and influenced by a poem by Keats.

The band embarked on a world tour to promote the album, performing it 102 times in its entirety, with Gabriel adding spoken narration. During their live performances, Genesis pioneered the use of lasers and other light effects, most of which were built by the Dutch technician Theo Botschuijver. A customised handheld unit was used to channel laser light, which allowed Gabriel to sweep the audience with various light effects.

Creating the ambitious The Lamb Lies Down on Broadway album strained relations between band members, particularly Banks and Gabriel, who were good friends.[3] Gabriel was the lyricist, while the other band members wrote the music, with the exception of "Counting Out Time" and "The Carpet Crawlers". "The Light Dies Down on Broadway" was co-authored by Banks and Rutherford. The other-worldly, blurbling, sequenced synth sounds and shattering glass loops in the track "The Waiting Room", as well as the vocal effects in the track "The Grand Parade of Lifeless Packaging" coined "Enossifications", were produced by the ambient composer Brian Eno.

During the Lamb tour, Gabriel announced to his bandmates that he had decided to leave the band,[16] citing estrangement from the other members, and the strains of his marriage and the difficult birth of his first child. Nonetheless, he saw his commitment through to the conclusion of the tour. In a letter to fans, delivered through the music press at the end of the tour, entitled Out, Angels Out, Gabriel explained that the "...vehicle we had built as a co-op to serve our songwriting became our master and had cooped us up inside the success we had wanted. It affected the attitudes and the spirit of the whole band. The music had not dried up and I still respect the other musicians, but our roles had set in hard."[17] Collins later remarked that the other members "...were not stunned by Peter's departure because we had known about it for quite a while." The band decided to carry on without Gabriel.[18]

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

History : 1967–1970: The beginning

Genesis was formed in 1967 when Peter Gabriel and Tony Banks were students at Charterhouse School in Godalming. Formed out of school bands Garden Wall and The Anon,[2] Genesis's original line-up consisted of Peter Gabriel (vocals), Anthony Phillips (guitar), Tony Banks (keyboards), Mike Rutherford (bass & guitar) and Chris Stewart (drums).[3] The group (minus Stewart) originally formed as a songwriting partnership with no intention of performing, but decided to start playing their own music when they were unable to find anyone else willing to record it.

Charterhouse School alumnus Jonathan King attended a concert at Charterhouse in 1968 while the band was still in school. Following the concert, another student gave King a tape of songs the band had recorded and King thought enough of them to sign them to a recording contract. King was a songwriter and record producer who had a hit single at the time, "Everyone's Gone to the Moon". King named the band Genesis (after previously suggesting the name Gabriel's Angels[4]), recalling that he had "thought it was a good name... it suggested the beginning of a new sound and a new feeling."


Genesis Timeline[hide]
1967 Gabriel, Banks, Phillips, Rutherford, Stewart
1968 Gabriel, Banks, Phillips, Rutherford, Silver
1969 Gabriel, Banks, Phillips, Rutherford, Mayhew
1970 Gabriel, Banks, Barnard, Rutherford, Collins
1971 Gabriel, Banks, Hackett, Rutherford, Collins
1975 Collins, Banks, Hackett, Rutherford 1
1977 Collins, Banks, Rutherford 2
1997 Wilson, Banks, Rutherford 3
1999 Band on hiatus
2006 Collins, Banks, Rutherford 2
ADDITIONAL PERSONNEL
1Bill Bruford, Chester Thompson
2 Chester Thompson, Daryl Stuermer
3 Nick D'Virgilio, Nir Zidhyaku, Ant Drennan
Wikimedia Commons has media related to: Genesis (history)

The resulting album, From Genesis to Revelation, was released on Decca Records in March 1969. During the sessions, Stewart was replaced by John Silver on drums. The band recorded a series of songs influenced by the light pop style of the Bee Gees, one of King's favourite bands at the time. King assembled the tracks as a concept album, and added string arrangements during the production. Their first single, "The Silent Sun", was released in February 1968. The album sold poorly but the band, on advice from King, decided to pursue a career in music.[5] King holds the rights to the songs on the From Genesis to Revelation album and has re-released it many times under a variety of names, including In the Beginning, Where the Sour Turns to Sweet, Rock Roots: Genesis, ...And the Word Was and, most recently, The Genesis of Genesis.

Silver was replaced by John Mayhew before the recording of Trespass. Genesis then secured a new recording contract with Charisma Records.[6] The band built a following through live performances which featured the band's hypnotic, dark and haunting melodies and Gabriel's numerous eye-catching costumes.

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

Ill health and recurring stage fright caused Phillips to leave the band in the summer of 1970.[7] Phillips would later record many solo albums, sometimes in collaboration with other Genesis members. Phillips's departure traumatised Banks and Rutherford, causing the band to doubt whether it could continue.[8] However, the remaining members decided to carry on, replacing Mayhew and Phillips with Phil Collins on drums and Mick Barnard on guitar in the autumn of 1970. Barnard's tenure was short-lived, and the band brought in Steve Hackett, formerly of Quiet World, on guitar in January 1971, solidifying the classic five-man lineup.

Genesis (band)

Genesis (band)
Genesis

[Genesis performing "Carpet Crawlers" in Pittsburgh, Pennsylvania USA on their 2007 Turn It On Again tour. L to R: Daryl Stuermer, Mike Rutherford, Tony Banks, Phil Collins; not pictured: Chester Thompson]

Background information :
Origin Godalming, Surrey, England
Genres Rock, progressive rock, symphonic rock, pop rock
Years active 1967–1999, 2006–present
Labels Virgin, Charisma, Decca
Associated acts : Mike + The Mechanics, Brand X
Website : www.genesis-music.com

Members
Phil Collins
Tony Banks
Mike Rutherford
Past members
Peter Gabriel
Steve Hackett
Anthony Phillips
John Mayhew
John Silver
Chris Stewart
Ray Wilson

Genesis are an English rock band that formed in 1967. The band currently comprises the longest-tenured members Phil Collins, Mike Rutherford and Tony Banks. Past members Peter Gabriel, Anthony Phillips and Steve Hackett also played major roles in the band in its early years. Genesis are among the top 30 highest-selling recording artists of all time with approximately 150 million albums sold worldwide.[1]

Genesis began as a 1960s pop rock band. During the 1970s, they evolved into a progressive rock band, incorporating complex song structures and elaborate instrumentation, while their concerts became theatrical experiences with innovative stage design, pyrotechnics, elaborate costumes and on-stage stories. This second phase was characterised by lengthy performances such as the 23 minute "Supper's Ready", the 1974 concept album, The Lamb Lies Down on Broadway and the two acclaimed albums A Trick of the Tail and Wind and Wuthering. In the 1980s, the band produced accessible pop rock music and fewer progressive pieces. This change of direction gave them their first number one album in the United Kingdom, Duke, and their only number one single in the United States, "Invisible Touch".

Genesis has changed personnel several times. Stage fright forced founding member Anthony Phillips to leave the band in 1970. In 1975, Collins, then the band's drummer, replaced Peter Gabriel as lead singer after a lengthy search for a replacement. To facilitate Collins's move to lead vocals during concerts, Bill Bruford and Chester Thompson played drums for the band as they toured, with Collins joining in briefly during lengthy instrumental passages. In 1977, guitarist Steve Hackett left the band. After Phil Collins left the band in 1996, Genesis recruited Ray Wilson (formerly of Stiltskin). Wilson appeared on the 1997 album Calling All Stations, after which the band announced an indefinite hiatus. However, in 2007, Banks, Collins and Rutherford reunited for a 20-city tour of Europe and North America, which included a free concert at Rome's Circo Massimo in front of 500,000 fans. Genesis was among five bands inducted into the Rock and Roll Hall of Fame in 2010.

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Véronique Sanson (full name, Véronique Marie Line Sanson,^[1] born 24 April 1949, in Boulogne-Billancourt, near Paris, France) is a two-time Victoires de la Musique Award-winning French singer-songwriter, musician, and producer with an avid following in her native country.

She brings a very personal vocal style to the singing of French pop songs: Her voice has a very strong vibrato. Today, Véronique Sanson is still considered to be one of the most talented French songwriters, and each of her appearance in the media is a popular event.

Unlike most previous French artists of the Sixties and early Seventies, who mostly released EPs usually consisting of a collection of singles, B-sides and covers, Sanson was one of the first female artists to release actual albums with a full-length artistic statement and comprising songs flowing together thematically. In 1972, her breakthrough album (Amoureuse) was reviewed by many critics as a revolution, and ten years after Barbara, Véronique Sanson became one of the very first French female singer-songwriters to break into stardom.

Over the course of a four-decade career, and despite her tumultuous love life and difficulties in overcoming alcoholism, she has never failed in her artistic career, establishing herself as one of the most prominent artists in France, with an impressive series of hits, sold-out concerts and platinum albums.

Sanson was romantically involved with French singer-songwriter Michel Berger from 1967 to 1972. Their love story has become a part of French pop culture, especially through songs they wrote to each other long after they broke up. From 1973 to 1979 she was married to American rock musician Stephen Stills. Their son, Chris Stills, is also a musician. " One of her songs, Amoureuse, was covered in English in 1973 by singer Kiki Dee, and became a major hit in the United Kingdom, and has been covered since by various other singers, from Polly Brown (1973) to Olivia Newton John (1974) and a dance-music version by Illusive, featuring Amanda Abbs (1997). In 1974, Patti Dahlstrom recorded a second version with her own lyrics, entitled "Emotion", and this new version was covered by Helen Reddy (1974) and Shirley Bassey (1975). Many other covers of "Amoureuse" have been recorded in French, German, Japanese...^[2]

Véronique Sanson plays piano and guitar. According to the SACEM, Sanson has sold over 5,8 million albums in her native country alone.^[3]

Véronique Sanson - Vancouver - Olympia 76 (10/17)

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