Genesis Band Quotes

Asleep by the Smiths Vapour Trail by Ride Scarborough Fair by Simon & Garfunkel A Whiter Shade of Pale by Procol Harum Dear Prudence by the Beatles Gypsy by Suzanne Vega Nights in White Satin by the Moody Blues Daydream by Smashing Pumpkins Dusk by Genesis (before Phil Collins was even in the band!) MLK by U2 Blackbird by the Beatles Landslide by Fleetwood Mac Asleep by the Smiths (again!) -Charlie's mixtape

We hate Simple Minds. They were no.1 in our Top Five Bands or Musicians who will have to be shot come the musical revolution (Michael Bolton, U2, Bryan Adams, and, surprise surprise, Genesis were tucked in behind them. Berry wanted to shoot The Beatles, but I pointed out that someone had already done it.

Rock 'n' roll music, in the end, is a source of religious and mystical power. Your playing can suck, your singing can be barely viable, but if when you get together with your pals in front of your audience and make the noise, the one that is drawn from the center of your being, from your godhead, from your gutter, from the universe's infinitesimal genesis point... you're rockin' and you're a rock 'n' roll star in every sense of the word. The punks instinctively knew this and created a third revolution out of it, but it is an essential element in the equation of every great musical unit and rock 'n' roll band, no matter how down-to-earth their presentation.

I also think that Phil Collins works better within the confines of the group than as a solo artist—and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.

In Hobbes’ state of nature, when a male individual conquers (contracts with) a female individual he becomes her sexual master and she becomes his servant. Rousseau’s conjectural history of the development of civil society tells how women must ‘tend the hut’, and in La Nouvelle Héloise Julie superintends the daily domestic business at Clarens. The story has been told again more recently – this time as science – by the sociobiologists. E. O. Wilson’s story of the genesis of the contemporary sexual division of labour in the earliest stages of human history is held to reveal that the division is a necessary part of human existence. The story begins with the fact that, like other large primates, human beings reproduce themselves slowly: Mothers carry fetuses for nine months and afterward are encumbered by infants and small children who require milk at frequent intervals through the day. It is to the advantage of each woman of the hunter– gatherer band to secure the allegiance of men who will contribute meat and hides while sharing the labor of child-rearing. It is to the reciprocal advantage of each man to obtain sexual rights to women and to monopolize their economic productivity.4 That is to say, science reveals that our social life is as if it were based on a sexual contract, which both establishes orderly access to women and a division of labour in which women are subordinate to men.

So our dream was to combine the feeling and the emotional rock potential of The Who and even Zeppelin and bring the complexity of a band like Genesis and Yes. “And we wanted to do that in a three-piece format. We wanted to be the world’s most complicated three-piece band.

All journalists stand on the shoulders of giants, whether they admit it or not. In many cases, my book was vastly enhanced by the superlative work of other journalists, writers, and financial historians, who have themselves explored some of the subjects and themes I have tried to knit together in one sweeping narrative. Peter Bernstein is a huge inspiration, and his books were of tremendous help for some of the earlier chapters, as was Colin Read’s The Efficient Market Hypothesists. Lewis Braham’s biography of Jack Bogle is essential reading for anyone interested in the tumultuous life of Vanguard’s founder. Ralph Lehman’s The Elusive Trade was exhaustively detailed on the genesis of ETFs, and Anthony Bianco’s The Big Lie vividly tells the story of WFIA/BGI in the Pattie Dunn era. I have also learned an enormous amount from working with or admiring from afar financial journalists like John Authers, Gillian Tett, James Mackintosh, Philip Coggan, and Jason Zweig, as well as industry experts such as Deborah Fuhr, Ben Johnson, Eric Balchunas, and David Nadig. They are all titans upon whose shoulders I nervously perch.

Jack dropped his own pack from his shoulders, reached in and grabbed the medical kit. He opened it and took a quick inventory. Much of it he didn’t recognize, but he saw what looked like big band aids and grabbed two of those, a roll of gauze, a tube that said antibacterial, and a tube that said coagulant. He glanced at the instructions on the tube of coagulant. It said ‘squeeze liberal amount into wound, cover wound with skin patch.’ Jack opened the tube and shoved the tube nozzle into the small hole and squeezed.

Duke is the band’s commercial breakthrough, particularly in Germany. It starts Genesis mania there, which leads into Phil Collins mania. It will sell hugely in Britain, too, but gets a terrible review in Melody Maker, and on a couple of occasions I’m anointed “Wally of the Week” in the music press. Why? There’s the old saw that the “inkies” (as Melody Maker, NME and Sounds are collectively known) are automatically suspicious of anything that becomes hugely popular—the perception is that something has been dumbed down so as to appeal to the masses. Equally, “prog” is fast becoming genre non grata at the indie-, post-punk- and New Wave–loving music papers. As frontman with Genesis, I am a target for such ire. Equally, I will hold my hands up and admit that, with all the success, it’s quite possible that I have been giving off an unintentional smugness.

If ever I was going to quit Genesis in favor of my solo career, in theory this would be the time, with the tailwind of No Jacket Required still blowing hard. But at the same time, I’ve missed the guys. Tony and Mike have become more lovable as time goes on, which is the reverse of the traditional rock-band narrative. Tony, formerly rather diffident and difficult to talk to, has become a great friend, funny and witty. He’s a different person, especially with a glass of wine in him. Mike, too, has loosened up.

And The Lamb Lies Down on Broadway, now? It’s one of the few Genesis albums I can put on and be surprised by, not that I can ever remember having listened to it in its entirety. But it’s a high-water mark for the band in some respects, and even the Spinal Tap reference is a compliment, backhanded or otherwise. To quote Peter’s final lines onstage with Genesis: “It’s only rock’n’roll, but I like it.

Peter, Mike and Tony’s background is a world away from mine. Our schooling, class, family—on paper, we couldn’t be farther apart. For all of early Genesis’ gigging and recording experience, they’ve been somewhat cloistered. I’ve been schooled in the rough and tumble of the life of a gigging performer and musician. I’ve been on the stage in London’s West End, a regular down the front at the Marquee, the drummer for an almost comically diverse array of groups, bands and combos. I have ducked and dived through swinging sixties Soho, and I have the energy, momentum and enthusiasm to prove it. I can apply all of that to the rather more conservative, rather less worldly Genesis. I’m also quick with a joke, a mood-lightening attribute that will come in very handy when Peter, Mike and Tony revert to school playground bickering. When they start arguing about who stole whose protractor, I can always step in with some distracting bonhomie. My personality, and my ability to break the ice, is exactly what these buttoned-up public schoolboys need, even if they don’t know it. English reserve will only take you so far. In the same way that my very limited experience as a songwriter means I will end up being the band’s musical arranger in these early days, I can also rearrange the mood.

Foxtrot features “Supper’s Ready,” the 23-minute song suite that will, for much of the seventies, contribute to the public perception of the band. A lot of Genesis “heads” regard it as our magnum opus, and I’d go along with that. It’s greater than the sum of its parts, though some of those parts are brilliant, notably “Apocalypse in 9/8 (Co-Starring the Delicious Talents of Gabble Ratchet)” and “As Sure As Eggs Is Eggs (Aching Men’s Feet).

In December 1972 we play our first two American shows. Our landfall in the new world is not incredibly auspicious. We arrive to discover that our U.S. manager, Ed Goodgold, also manager of Woodstock heroes Sha Na Na, has booked us a show at Brandeis University near Boston, Massachusetts. At lunchtime. So our first show on American soil is an unceremonious, crashing disappointment. New England students are less keen on English rock bands than we’d assumed, and seem more interested in their studying or their sandwiches. This does not bode well for Genesis’ fortunes in the United States of America.