Genesis (sheet music in the #smlpdf)

Genesis (sheet music in the #smlpdf)

Noten Genesis

Best Sheet Music download from our Library.

Genesis The Return of the Giant Hogweed
Genesis – Anyway – The Lamb Lies Down in Broadway
Genesis – Book Score (Full Band Score)
Genesis – Firth Of Fifth Full Piano Score
Genesis – Firth Of Fifth Piano Solo
Genesis – Horizons (Guitar TAB)
Genesis – Horizons (Piano)
Genesis – Selling England by the Pound (voice, piano)
Genesis – Songbook – Deluxe Anthology
Genesis A Trick Of The Tail songbook
Genesis Apocalypse in 9 8

Genesis Best Of Vol 1 Songbook, including the songs:

1. Dancing with moonlight knight
2. The battle of epping forest
3. Blood on the rooftops
4. Alone tonight
5. Abacab
6. Mama
7. That’s all
8. Illegal alien
9. I can’t dance
10. In too deep

Genesis Firth Of Fifth
Genesis Nursery Cryme
Genesis Seconds Out Songbook

Genesis Selections from A Trick of the Tail and Wind Wuthering Authentic Guitar TAB (Genesis), Contains selections from A Trick of the Tail and Wind & Wuthering, which are considered by some to be the finest and most melodic of the band’s albums. Titles are: Afterglow * Blood on the Rooftops * Dance on a Volcano * Los Endos * Ripples * Robbery, Assault and Battery * Squonk * Wot Gorilla?

Genesis The Lamb Lies Down On Broadway

Total Records Found in the Library: 0, showing 120 per page

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sheet music pdf Genesis

Genesis The Platinum Collection- Very Best Of Genesis Playlist

Track Listing:

1.No Son Of Mine 2.Jesus He Knows Me 3.Throwing It All Away 4.Invisible Touch 5. Land Of Confusion 6.Mama 7.Tonight Tonight Tonigh 8.The Lamb Lies Down On Broadway 9.Paperlate 10….In That Quiet Earth 11.Afterglow 12.In The Cage 13.Alien Afternoon 14.Throwing It All Away 15.Land Of Confusion 16.Land Of Confusion 17.That’s All

free sheet music pdf Genesis

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free sheet music pdf Genesis

Best Sheet Music download from our Library.

Genesis (short history)

Genesis, one of the most popular groups in rock history, was born from the fusion of two youth bands formed in the mid-sixties at the Ghartherhouse Public School in Godalming, Surrey. After an end-of-term festival in the summer of 1966, Garden Wall singer Peter Gabriel (born February 13, 1950), along with pianist Tony Banks (born March 27, 1950) and drummer Chris Stewart, they were joined by lead guitarist Anthony Phillips and Anon’s rhythm guitarist Mike Rutherford (born October 2, 1950). Working in a rudimentary recording studio, the quintet produced a tape with five songs destined to end up in the hands of Jonathan King, one of the men on Decca’s artistic team. King was so impressed that he financed their further recordings and arranged a record deal for the group. In February 1968, Decca published Genesis’ first single, ‘The silent sun’, a tender acoustic motif signed by Banks and Gabriel, followed in May by ‘A winter’s tale’. Although neither of them were successful, King granted them the opportunity to release an album. ‘From Genesis to Revelation’ appeared in 1968, with John Silver on drums in Stewart’s place.

The little interest aroused by the album led Tony Banks to continue his studies at the University of Sussex, and Rutherford returned to Farnborough Technical College, but the group stayed in touch during the holidays to arrange and give final form to the songs written. individually for each of its components. In 1969 they sent other tapes to the producers, but they were rejected. Silver left the group and the rest of its members, invited by a former schoolmate, Richard MacPhail, to a country house in Dorking, began to compose the material destined to form the following album ‘Trespass’. After the entry of John Mayhew as drummer, Genesis offered their first concerts. During a series of performances at Ronnie Scott’s in London the group was discovered by the head of the new Charisma company, Tony Stratton-Smith, who immediately signed them. ‘Trespass’, published in October 1970, is composed of calm and acoustic songs, but they do not hide a trace of fear and pain in Gabriel’s voice. ‘White mountain’, ‘Stagnation’ and The Knife’ precisely define Cenesis’ new musical image.

At the end of the recordings, dissatisfied with its outcome, Anthony Phillips left the group, followed shortly by Mayhew. The new drummer was Phil Collins (born January 30, 1951), a young actor who had already played in a group called Flaming Youth. Meanwhile, ‘Trespass’ failed to chart. Genesis continued as a quartet for a brief period. Later, in December 1970, Steve Hackett (February 12, 1950) joined the group, after being discovered by Peter Gabriel in Melody Maker magazine advertisements as a guitarist looking for work. At this time Genesis developed its ideas in concerts, with Gabriel as a showman capable of improvising, between song and song, surreal narrations and mime performances. In 1971, Charisma organized a tour to promote the company’s three leading groups (Genesis, Van der Graaf Generator and Lindisfarne), a tour that Genesis continued alone. ‘Nursery cryme’ burst into stores like lightning in November.

With this album Genesis began to show their surreal nostalgia for an old England that perhaps never existed, an idyllic feeling, but also an insidious disillusionment, which became one of their trademarks. ‘The musical box’ transforms into a macabre story of vengeful ghosts, with Gabriel Iogrando’s voice transcending the text of the song to reach increasingly desperate and evocative tones; ‘The return of the giant Hogweed’ is a long keyboard-based song, and ‘The Fountain of Salmacis’ has clearly melodramatic power. The three compositions form the backbone of an album that helped cement the band’s reputation in Europe, particularly in Italy, France and Belgium, where Genesis frequently performed. At the Lincoln Festival in May 1972, the group opened the concert with the then unreleased ‘Watcher of the skies’, destined to remain for a long time the opening theme of every Genesis show, as well as ‘The knife’, the most strongly rock number, it was the farewell song.

Gabriel demonstrated all his talent as a showman: with his characterized face and body girded by a black mesh, he recited the lyrics of the songs or accompanied them with a note from the flute. Next would arrive the fox head, the red feminine dress and a whole wardrobe of extravagant costumes to theatrically underline his performances. ‘Supper’s ready’, a suite composed of seven songs, twenty-three minutes long and which occupies (along with the brief and acoustic ‘Horizons’) an entire side of their 1972 album, ‘Foxtrot’, definitively transformed Genesis into a consecrated group. It is an extraordinary musical page, interpreted through a sequence of changes in time and atmosphere, which takes on the aspect of a spiritual journey and evokes biblical and mythological figures. ‘Supper’s Ready’ became not only Genesis’ most famous composition, but also a touchstone that fans will continue to request from them at concerts in later years. ‘Foxtrot’ also includes ‘Watcher of the skies’, ‘Get’em out by Friday’ and a passionate slice of English mythology in ‘Canutility and the coastliners’; It is the first Genesis album to break into the top positions of the English charts.

The concerts offered in Great Britain in February 1973 began the golden era of Genesis and their recognition as the authors of the most elaborate visual show seen on stage until then. Although the lights, slide show, smoke, lightning and thunder were impressive, Gabriel’s presence was the centerpiece of the show. Peter transforms the concerts into catwalks of suggestive, surreal, threatening characters: a ghost, the fox, an old man, a flower. Genesis gained a reputation as eccentric Brits, a status accepted and admired in their homeland but not in the United States, where the spring 1973 tour was greeted with timid enthusiasm. After the publication of ‘Genesis live’, which occurred in July, Genesis returned to the studios to record ‘Selling England by the pound’. It is their most pastoral album, full of symbols; from the personification of Brittany (thanks to a Gabriel costume, when he performs ‘Dancing with the moonlit knight’) to the Thames, from London to the Shakespearean Romeo and Juliet.

‘Firth of fifth’, with Hackett’s guitar solo stimulating a river of emotions, is a wonderful elegy; ‘The cinema show’ is developed with great instrumentation by Banks, Rutherford and Collins; and ‘The battle of Epping forest’ is a lyrical tour de force for Gabriel’s lead role. The album reached third place in the English charts in the autumn of 1973, and ‘I Know What I Like (In Your Wardrobe)’, enriched by Banks’ synthesizers, became the group’s first hit single: it reached the position twenty-one on the lists of the Top of the Pops program. Tony Stratton-Smith handed over his position as the group’s manager to Tony Smith, a concert impresario, and Genesis capitalized on the success of the albums with a series of prestigious shows at the Rainbow and Drury Lane Theater in London, and across the United States. United States, where they were promoted in a more superficial way. Despite their popularity as a live band, the costs of their extravagant shows put them in a bad financial situation. In the midst of growing internal problems, during the slow summer and fall of 1974 Genesis created the historic, monumental ‘The lamb lies down on Broadway’.

A double album, less accessible than the previous works, ‘The lamb’ tells the story of Rael, a Puerto Rican hooligan dedicated to painting graffiti on New York subway walls. Miraculously transported through a labyrinthine underground world, Rael finds the lost souls known as ‘The Carpet Crawlers’, ‘Lilywhite Lilith’, the greedy snake-woman ‘The Lamia’ and the leper ‘Slipperman’. As Rael nears the end of his tormented journey he has the chance to redeem himself, giving up his past crimes to save the life of his drowning brother, or to save himself. With an act of courage, Rael chooses the humanitarian gesture and saves his brother, but only to discover that the body he has saved from the waters is none other than his own. Banks, Rutherford, Collins and Hackett are the authors of most of the music, with contributions from Brian Eno, and Gabriel of the plot and most of the lyrics of the album. But music and lyrics complement each other perfectly on Genesis’ most experimental (and least English) album.

From the languid, but sordid, panorama of the streets of New York described in the title song, through the fierce rock of ‘Back in New York City’, the ironic eroticism of ‘Counting out time’, the sound frameworks of ‘The waiting room’ and the seductive lightning of ‘The Lamia’ and ‘The silent sorrow in emty boats’ to the explosive consciousness of ‘It’, Genesis do not relax their strength and rhythm for a moment. The album is his most ambitious project, his richest, and most cinematic, rock work. The visual representation was impressive, with extensive use of slides and Peter Gabriel personalizing Rael in jeans and a leather jacket, using an incredible number of elements to embody the different characters in the representation. The resentment of the rest of the band members towards the role Gabriel had acquired within the group threatened to end in a breakup; but the singer had already decided to leave Genesis before finishing the world tour. Gabriel felt limited by the band’s lineup, and, as he stated in an open letter to the music press, he needed to rediscover himself on a personal level.

In 1975 Gabriel left the band, embarking on his solo career. The news shook the fans, but not the group, who continued as if nothing had happened. Drummer Phil Collins took on the role of singer and leader, and Bill Bruford, drummer for Yes and King Crimson, joined them to lend a hand on percussion. Collins’ voice is similar to Gabriel’s, although perhaps more tender and higher-pitched, and his showman quality also compensated, live, for the singer’s defection. The task of writing the lyrics was distributed among the four members, and in February 1976 ‘A trick of the tail’ appeared, a dreamy and tender album, interrupted by the groundbreaking ‘Squonk’ and the devastating attack of Los Endos. On an instrumental level, the album is affirmed as his best work, thanks also to the brilliant production of David Hentschel, and it sold more than any other previous album. A tour of North America and Europe, concluded with five nights at London’s Hammersmith Odeon in June, set new revenue records for the band. Even better than ‘A trick of the tail’ is ‘Wind and wuthering’, (December 1976).

If ‘Trespass’ was Genesis’ most wintery album, ‘Wind and Wuthering’ is their most autumnal album. The most significant song on the second side, the visceral and diaphanous instrumental ‘Unquiet slumbers of the sleepers… in that quiet earth’ takes its title from the last words of Wuthering Heights; The intensely romantic atmosphere evokes and condenses the entire spirit of the album, which includes a chapter in Scottish history with ‘The Eleventh Earl of Mar’ and the dramatic ‘All in a Mouse’s Night’. Once again Genesis talked about the search for a messiah (in ‘One for the Vine’), and performed one of their most beautiful love songs with ‘Afterglow’, in which Phil Collins demonstrated his excellent vocal skills. With Chester Thompson, from Frank Zappa’s band, on drums, replacing Bruford as a permanent member of the group for concerts, Genesis undertook a six-month world tour in early 1977. The most significant details of the tour are the security achieved by Collins in the double role of singer-drums and the deployment of laser effects, used in a special way to underline the atmospheres of ‘Supper’s ready’ and ‘Los Endos’.

The democratic rules that inspire the group’s decisions about the material to publish frustrated, in the long run, Steve Hackett, already in partial disagreement with his colleagues in the publication of ‘Wind and Wuthering’; The guitarist left the Genesis adventure in July 1977. His solo adventure had already begun in 1975, with a good album, ‘Voyage of the Acolyte’, in which Collins and Rutherford had also participated. The direct album published in 1977, the double ‘Seconds out’ comprises material from the last studio albums with Hackett. In April 1978 ‘And then there were three’ was published, an eloquent title that expressed the group’s intention to continue as a trio. Rutherford played all the guitar fragments, and for the concerts they hired the American guitarist Daryl Stuermer. Sales of the album even surpassed those of ‘A trick of the tail’, and the album produced two excellent singles: ‘Follow you, follow me’, and ‘Many too many’. But the critical comments on the album were very harsh, and ‘And then there were three’ went down in history as Genesis’ worst work, the most commercial, the least conceptual, composed of songs that were often weak and insipid compared to the suggestive ballads. From the past. Only ‘Deep in the motherlode’, dedicated to the pioneer years of old America, and ‘Burning rope’ reach a certain ambient density.

The songs that form the skeleton of the concerts were no longer an event, and Genesis became a band with too soft tones, for a broad but uncritical audience with not particularly demanding tastes. The 1980 album ‘Duke’ was a good step forward from the previous one. Rutherford had gained confidence and incisiveness on the guitar and Collins was at his best, with a vocal electricity that allowed him to go from the melancholic ‘Heathaze’ to the fun ‘Turn it on again’, which enters the English Top Ten like new single from the group. ‘Duke’s travels’ and ‘Duke’s end’, together they form an ambitious but effective minisymphony signed by Tony Banks. The next album, ‘Abacab’, from 1981, gave the group another hit (the single that gives the album its title), and showed Genesis in a relaxed version, although still capable of delivering a powerful blow. ‘Abacab’ was followed by a semi-direct album, the double ‘Three sides live’, dated 1982.

Each of the three surviving members undertook solo careers, to vent on their own albums the whims that the group’s harmony tended to repress. This is how Phil Collins became a star with the colossal success of two albums, ‘Face value’ (which contains the very popular ‘In the air tonight’), from 1981, and ‘Helio I must be going’, from 1982. His interest in jazz and funk, which had already found expression in Brand In 1983, his version of ‘You Can’t Hurry Love’, a piece by The Supremes included on their second album, reached first place in the English singles in the first months of 1983. In the last months of 1982 and at the beginning of 1983, The original members of Genesis, including Peter Gabriel, met again at a nostalgic reunion concert (and on a later occasion received the Ivor Novello Award for their contribution to the development and dissemination of British music), but it was only a matter of an isolated episode.

Genesis have released little material in the eighties; The members of the group are busy in their solo companies. The fifteenth chapter of the Genesis saga, simply titled ‘Genesis’, appeared in the fall of 1983, and shows that they still have something to say. ‘Genesis’ replaces the group’s characteristic sound with more essential arrangements, with Collins’ voice as the protagonist (although an instrumental song, ‘Second home by the sea’, is also present in the selection). ‘Mama’ is the single taken from the album. To satisfy the demands of the most nostalgic fans, Charisma released ‘Rock theatre’, a live album recorded in 1972 and 1973, obviously still with Gabriel and Hackett, and already available in Great Britain from the moment of the singer’s separation, as eighth official album of the group. ‘Rock theatre’ offers the best of Genesis’ early years repertoire; from the suite ‘Supper’s ready’ to the classics ‘I know what I like (in your wardrobe)’, ‘Watcher of the skies’, ‘The fountain of Salmacis’.

But Genesis is increasingly more a group of soloists than a true group: the intensity with which each of them pursues individual projects demonstrates this; in particular Phil Collins, who in 1985 signed his third album, titled ‘No jacket required’, from which the famous ‘Sussudio’ and ‘One more night’ were extracted. Collins has also become the author of themes for films (‘Against all odds’, for the film of the same name and ‘Separate lives’, a duet with Marilyn Martin for ‘Sunny Nights’), and participated in ‘Live Aid’; first in London, alone and in duet with Sting, and then, at the closing ceremony, in Los Angeles. He has also collaborated with Philip Bailey (achieving a number 1 with ‘Easy lover’), with Eric Clapton, Tears for Fears and a long and impressive etcetera. Rutherford, Banks and Hackett also continued their solo careers. But, returning to Genesis, in 1986 they published a new album, the controversial ‘Invisible touch’, an album that received a good reception from the public but bad reviews, when compared to Peter Gabriel’s more stimulating album, ‘So ‘, published at the same time.

‘Invisible touch’, despite containing a couple of songs that were successful as singles, ‘Invisible touch’ and ‘Tonight, tonight, tonight’, was revealed to be a routine album, which was promoted by a world tour that demonstrated the ability professionalism of the three musicians, supported by an extraordinary use of technical means. And, in particular, for a very sophisticated lighting team. In 1989, Phil Collins released a new album, ‘But Seriously’, and began a long solo tour. The fate of the group, one of the most popular in the history of rock, is unknown at the end of the eighties: it is not known how long the three survivors of Genesis will be motivated to keep the glorious group standing or to take carry out individual projects. Tony Banks is the least prolific. In 1979 he released an album, ‘A curious feeling’, interesting but not memorable and in 1989 he created his own band, Bank Statement. Mike Rutherford, after publishing ‘Small Creep’s day’ in 1980, created the pop group Mike & The Mechanics in 1985, in which the singer Paul Carrack and the drummer Peter Van Hooke participate (with two albums to their credit: the first, homonymous, in 1985 and the second, ‘Living years’, in 1989).

The most prolific is, without a doubt, the defector Hackett, who since 1975, the year of ‘Voyage of the Acolyte’, has developed a relatively obscure career as a rock instrumentalist: in 1978 he released ‘Please don’t touch’, in 1979 ‘Spectral mornings’, in 1980 ‘Defector’, in 1981 ‘Cured’, in 1983 ‘Highly strung’, in 1984 ‘Bay of kings’, close to the ‘New age’ sound, and ‘Till we have face’. In 1986 Hackett teamed up with former Yes Steve Howe, with whom he recorded an album. But in 1989 Hacket once again took up his solo guitar to sign ‘Momentum’, an album bathed in virtuosity but far removed from the glory of the recordings made with Genesis. The versatile Phil Collins, after having approached cinema as the author of themes for films, has also discovered his vocation as an actor, appearing as the protagonist of the film ‘Buster’, from 1988, whose soundtrack he is the author of.

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