This program is a very sturdymini-sized book. It has various articles about other Charisma artists like String Driven Thing and Capability Brown.


 I've a feeling that when the rock analysts of the next decade go circumspectly about their business, they will find great difficulty in omitting Genesis from their chronicles.

 For in the past two years the band have slowly and meticulously carved out their own little musical niche and have grown slowly towards the apothesis with which their efforts must surely be rewarded.

 To say that Genesis are a unique rock band of multi coloured textures really only touches the surface of what they area bout, for at its best a Genesis gig is like watching a pantomime against the background of an orchestra.

 The organic development of the band can be traced through their albums - "Trespass", which first made the public sit up and take note a couple of years ago, then "Nursery Cryme" which consolidated their position, and now a sensational new album "Foxtrot".

And so finally Genesis have come of age and joinedthe top ranks of Britain's rock bands. In the past it was always a little risky to bestow them with superlatives but in recent months they have made some sensational inroads on the music scene.

 Critics have been comparing some of the finer aspects of their music with bands of the calibre of Yes and ELP, and the new album justifies all the accolades.

 Peter Gabriel's stage act has been described as more fearsome than Alice Cooper, more delightfully camp than David Bowie, but once again it is a natural rather than a contrived grace of movement than personifies the characters about which he sings, and captures the hearts of audiences.

 And so, to a dispassionate observer, Genesis arrived at the Reading Jazz & Blues Festival this summer as bright young hopefuls, and played midway through the Friday evening session.


No punches or garish expletives to win over the crowd- it was just the same Genesis, with guitarists Steve Hackett and Mike Rutherford sitting sedately towards the side of the stage as though waiting for, the conductor's cue in.

 Tony Banks created waves of sound from mellotron and organ, that night, Phil Collins, the artful dodger, showed why he commands so much respect from fellow, musicians, and the rest was left to the striking figure of Peter Gabriel, his head partly shaven, his eyes made up, his face painted.


 Out came the Genesis songbook- "The Knife","Twilight Alehouse", "Return of The Giant Hogweed" . . . and no wonder the crowds went mad.

 No band could have followed them on this showing and the crowd knew it - but already Genesis have moved into new territory-with the kind of enquiring minds that conjure up great music.

Jerry Gilbert