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Genesis - Official Website

Genesis - Official Website
Release The Singles: 1986-2013 Mike & The Mechanics celebrate 25 years since the release of their biggest hit with their first definitive, cross label collection of their biggest hits released through Universal on 21st October. Formed in 1985 by Genesis founder Mike Rutherford, Mike & The Mechanics had a series of hit songs including Silent Running (On Dangerous Ground), All I Need Is A Miracle, Word Of Mouth and Over My Shoulder. However, it was with The Living Years, that the band went on to have the biggest hit of their career. Now, 25 years on, the track takes pride of place on the collection of hits, B-Sides and rarities along with a new track When My Feet Don’t Touch The Ground and a previously unheard track One By One. Mike said: “ I am proud of the writing and recording of so many of the songs and of all the musicians involved along with the producers/ engineers and technical staff.

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Guilt Machine Cover and original artwork by Christophe Dessaigne Logo and layout by Thomas Ewerhard Release dates Germany, Austria, Switzerland: 28 August 2009 Europe: 31 August 2009 North America: 29 September 2009 Released by Mascot Records Live - Genesis In early 1973, Genesis allowed the taping of a couple of live shows for broadcast in America as part of the King Biscuit Flower Hour syndicated radio show -- most of their current set, drawn from their albums up through 1972's Foxtrot, was represented. A few months later, Tony Stratton-Smith, the head of Charisma Records, to which the group was signed, approached them about allowing him to fill the extended gap between Foxtrot and their next album, Selling England by the Pound, by releasing a live album from this same taped performance. The bandmembers, who now say they were somewhat distracted at the time by their work on the new album, agreed to it. And the result was Live, which was originally the only official document of the group in performance with Peter Gabriel in the lineup.

Star One With a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has firmly established himself worldwide as driving force in progressive rock. While best known for his rock opera project Ayreon, the multi-talented Dutchman also regularly embarks on musical side projects such as Ambeon, Guilt Machine and Star One. Arjen’s side projects all explore different aspects of his musical personality, with each new release being a creative reaction to the style of its predecessor. Star One is no exception. Space Metal (2002) Space Metal (2002) Foxtrot - Genesis Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound -- which doesn't necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power. There's might and majesty here, and it, along with "Get 'Em Out by Friday," is the truest sign that Genesis has grown muscle without abandoning the whimsy.

Ayreon New Ayreon Release – The Theory of Everything AYREON was born two decades ago Arjen was suddenly and inexplicably overwhelmed by a compulsion to create rock-operas. This was back in the 1990s, the era of grunge and alternative rock, so the idea of releasing a rock opera was unthinkable to most sensible people.

Nursery Cryme - Genesis If Genesis truly established themselves as progressive rockers on Trespass, Nursery Cryme is where their signature persona was unveiled: true English eccentrics, one part Lewis Carroll and one part Syd Barrett, creating a fanciful world that emphasized the band's instrumental prowess as much as Peter Gabriel's theatricality. Which isn't to say that all of Nursery Cryme works. There are times when the whimsy is overwhelming, just as there are periods when there's too much instrumental indulgence, yet there's a charm to this indulgence, since the group is letting itself run wild. Even if they've yet to find the furthest reaches of their imagination, part of the charm is hearing them test out its limits, something that does result in genuine masterpieces, as on "The Musical Box" and "The Return of the Giant Hogweed," two epics that dominate the first side of the album and give it its foundation.

Trespass - Genesis Genesis' first truly progressive album, and their first record for the Charisma label (although Trespass was released in America by ABC, which is how MCA came to have it), is important mostly as a formative effort. Peter Gabriel, Tony Banks, and Michael Rutherford are here, but the guitarist is Anthony Phillips and the drummer is John Mayhew. Gabriel, Banks, Phillips, and Rutherford are responsible for the compositions, which are far more ambitious than the group's earlier efforts ("Silent Sun," etc.). From Genesis to Revelation - Genesis This Genesis collection, which has appeared under license to various labels in addition to Decca and London in different configurations, is largely of historical interest. The group was still in its formative stages, the members barely past their 18th birthdays and still working out what they wanted to sound like. Mostly they sound like the Bee Gees trying to be the Moody Blues (picture something similar to the sound of the former group's Odessa album).

Genesis For the video game console, see Sega Genesis. For the Web Game, see Ge Ne Sis The classic 70s lineup. The Holy Trinity: Genesis Above: Peter Gabriel in garb for “Supper’s Ready” (Foxtrot) There are several things that make it challenging to discuss old school Genesis. First, virtually everyone knows and probably prefers the Phil Collins incarnation (or worse, people detest that outfit, which became increasingly hit-friendly and predictable throughout the ‘80s). Second, most folks, except prog fans, are unfamiliar with the albums made when Peter Gabriel fronted the band. Third, there is the whole Peter Gabriel is God factor. In Defense Of ... Both the Phil Collins and Peter Gabriel Eras of Genesis With Collins’ recent rumblings about returning to music, it’s time to lay the “which era is better” question to rest. “I have started thinking about doing new stuff ... some shows again, even with Genesis. Everything is possible. We could tour in Australia and South America. We haven’t been there yet.” (“Phil Collins announces return to music”, by Lowenna Waters, The Telegraph, 5 December 2013)

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