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Anthony Edwin Phillips (born 23 December 1951) is an English musician and composer who gained prominence as the original lead guitarist of the rock band Genesis, from 1967 to 1970.[1] He left in July 1970 and learned to play more instruments, before he began a solo career. His departure from Genesis on the eve of the group's breakthrough to mainstream popularity has led him to be dubbed "the Pete Best of progressive rock" (though unlike Best, Phillips left voluntarily).[2]

Phillips released his first solo album, The Geese & the Ghost, in 1977. He continues to release solo material, including further solo albums, television and film music, collaborations with several artists, and compilation albums of his recordings.

Early life

[edit]

Phillips was born on 23 December 1951 in Chiswick, then a part of Middlesex, and grew up in the nearby Putney and Roehampton areas.[3] He attended St Edmund's preparatory school in Hindhead, Surrey, during which he formed a group and took part in a performance of "My Old Man's a Dustman" in the school hut as the singer, but forgot the words and was kicked out. This led to his decision to learn the guitar.[3][4] The Shadows were a major early influence on Phillips, who learned enough to perform a rendition of "Foot Tapper" in the school lounge.[5][6] At thirteen Phillips acquired a Fender Stratocaster and wrote his first song, "Patricia", an instrumental about the first girl he had a crush on.[7] It gradually evolved into the Genesis song "In Hiding", which appears on From Genesis to Revelation.[6] He was not entirely a self-taught guitar player; he received some tuition in rudimentary chords from classical guitarist David Channon, who became a big source of inspiration for Phillips, and used sheet music to songs by the Beatles that his mother would send him. Phillips then picked up more chord knowledge, and learned to copy music "reasonably well".[8] As a teenager, Phillips briefly lived in the United States.[9]

In April 1965, Phillips attended Charterhouse, an independent school in Godalming, Surrey.[10] In the following month, he formed a band with fellow pupils Rivers Jobe, Richard Macphail, Mike Rutherford, and Rob Tyrell, naming themselves Anon. They based their sets on songs by the Beatles and the Rolling Stones, and recorded one demo, Phillips's song "Pennsylvania Flickhouse".[10] The group disbanded in December 1966.[10] Phillips was also a member of another band during 1966, Spoken Word, which included David Thomas (vocals), Ronnie Gunn (piano), Jeremy Ensor (bass, later of the Principal Edwards Magic Theatre), David Chadwick (guitar), and Peter Gabriel (drums). They recorded an acetate, a cover of "Evening".[11]

Career

[edit]

1967–1970: Genesis

[edit]

In January 1967, after Anon had split up, Phillips and Rutherford became a songwriting unit and started recording several demos. They invited Charterhouse pupil Tony Banks, a member of Garden Wall, another disbanded school group, to play keyboards. Banks agreed, and suggested involving his Garden Wall bandmates, singer Peter Gabriel (the same one who was the drummer for Spoken Word) and drummer Chris Stewart.[10] After the five made a demo tape, it was given to Jonathan King, who signed them to his publishing company and had them record some singles. He named the group Genesis, and suggested they record a studio album, which became From Genesis to Revelation. Phillips was particularly angry when King added string arrangements to their songs without their knowledge, since the limitations of the recording technology meant that everything else on the album had to be reduced to mono as a consequence.[12] Phillips said he had little role in Genesis's songwriting during this period, and that most of the songs on From Genesis to Revelation were written by Gabriel and Banks.[13]

In September 1969, the 17-year-old Phillips chose not to pursue a university degree and instead reunite with Gabriel, Banks and Rutherford after they had decided to become a full-time band.[10][9] However, early in 1970 the constant touring had become wearing on Phillips partly due to the lack of scope for solos in the band's set and the shortage of time to develop new material.[14] To further complicate matters he had developed stage fright which got progressively worse as time went on, and battled with it for three months thinking it was a passing phase. After falling ill with bronchial pneumonia, Phillips was advised by his doctor to quit the band.[15] In June 1970, Phillips had recovered enough to reunite with his bandmates and record their second album, Trespass. Despite his various problems at the time, Phillips enjoyed the recording sessions.[16] By this time Genesis songs were more often written by the group as a whole, and Phillips was pleased when a song he had originally written by himself, "Visions of Angels", was expanded with a group-composed middle section that he felt made the song much more powerful.[17] After recording finished in July the band resumed touring, though early into the tour Phillips announced his decision to leave. His final gig took place at Haywards Heath on 18 July.[9] Tour manager Richard Macphail later said that the group seriously considered disbanding altogether in the wake of Phillips's departure.[18]

Nursery Cryme, the next Genesis album, opens with "The Musical Box" which is based on a piece written by Phillips and Rutherford originally titled "F#" (pronounced "F Sharp").[19] Steve Hackett, who became Genesis's guitarist half a year after Phillips left, commented that at the time of their fifth album, Selling England by the Pound, the 12-string guitar style developed during Phillips's era was still important to Genesis's work and he felt Phillips deserved more credit for "architecting the sound of Genesis".[20]

1970–1977: Studies and teaching

[edit]

After leaving Genesis, Phillips lacked a solid direction. He secured a place at the University of Kent to study history, but later said he had a "quasi-nervous breakdown" around this time and "the idea of going to university seemed completely terrifying."[21] He had recently listened to the Karelia Suite by Jean Sibelius and recognised his musical ability was "terribly limited", which encouraged him to become a more proficient musician.[22][23] He studied harmony, counterpoint, and orchestration at Guildhall School of Music and Drama in London on a part-time basis and from 1972, began teaching classical guitar.[21] He became a qualified music teacher in 1974 and taught at Reed's School in Cobham.[21] In the following year, he taught troubled adolescents in rehabilitation at Peper Harow House in Godalming which lasted into the 1980s.[9] By the late 1970s, Phillips had become proficient at the piano.

1977–present: Solo career

[edit]

Albums

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Phillips' debut solo album The Geese & the Ghost was released in 1977, and written and recorded intermittently between 1969 and 1976. It is an acoustic folk progressive rock album that was originally a collaboration with Mike Rutherford, but the latter was too involved with Genesis and had limited availability. Peter Cross produced the album's cover artwork, and would collaborate with Phillips on his future record sleeves until the 2000s. Although the album failed to make a commercial impact, it has gained retrospective acclaim.[citation needed]

Phillips considered furthering his music education, but The Geese & the Ghost had earned enough for him to continue making albums.[24] He signed a three-album deal with Arista Records, but and the label insisted on more direct and commercially oriented songs. The first album was Wise After the Event, and featured Rupert Hine, Michael Giles, Mel Collins, and John G. Perry, with Phillips on lead vocals.[2] Released in 1978, it also failed commercially. In the same year, a compilation of off-cuts and incomplete pieces was released as Private Parts & Pieces on Passport Records the US. According to Phillips, the series "arose partly out of poverty. I was just getting by, library music was just getting going. I had to issue a collection of twelve-string or solo-piano stuff to boost my income."[2] Phillips continued with the series and put out twelve Private Parts and Pieces albums that range in musical style; the most recent edition, The Golden Hour was released in 2024.[25]

Sides was his final album released on Arista, and features one side of pop-oriented material and another of more adventurous and progressive rock-inspired tracks.[21] His next album was 1984 in 1981, which marked a major stylistic shift to electronic synthesizers and drum machine. In 1982, Phillips moved out of his parents' home in Send, Surrey to Clapham, south London, where he set up a recording studio. He struggled to pay the mortgage at first, and had several lodgers to help compensate.[26] Phillips continued with commercial-oriented pop with his next album Invisible Men, released in 1983. Like with Sides and 1984, it failed commercially.

In 1987, Phillips went to the US to promote Private Parts & Pieces VII: Slow Waves, Soft Stars as it has attracted some attention in the ambient and New-age circles. During his visit he was a guest presenter for VH1, and a proposed album for the New-age label Windham Hill Records was shelved as he "got the brief so completely wrong".[21] His fortunes increased soon after, when he signed a publishing deal with Virgin Records as a television and film writer, which also granted him an advance, two studio album releases, and a reissue of his back catalogue. This allowed him to purchase new equipment and marked a return to making a full-scale album, the instrumental Slow Dance.[21]

In 1988 he recorded an album with Harry Williamson called Tarka. The album's cover featured a picture of a woman and did not credit Phillips or Williamson, which led to it often being filed under "female vocalist" in record shops.[2] Phillips returned to the acoustic guitar with Field Day in 2005.

In 2014, Esoteric Recordings acquired Phillips' back catalogue and began a reissue campaign of most of his albums with bonus content.[27]

In 2024, Phillips revealed he had a potential new album of solo piano pieces, but ongoing wrist problems has prevented him completing it. He had expressed a wish to produce another full-scale album like Slow Dance, but said he lacked energy to practice, write, and record, and was no longer interested to become familiar with contemporary recording equipment.[26]

Library music

[edit]

Since leaving Genesis, Phillips' main source of income has been from his library music for television and film.[21] His first commissions were for Riverside Studios in 1976, and included a piece for a shampoo advert.[21][28] In 1981, he signed with the newly-formed production music label Atmosphere (now a part of Universal Production Music) and has appeared on many of its releases. In 1994, Atmosphere was acquired by BMG and the uptake in commission work secured him financially: "I made almost nothing for the first 25 years of my life, then was very lucky."[21] Phillips produces music for other companies, such as Extreme Music, 9 Lives, APM, Addictive Tracks, Audio Wallpaper, West One, and Cavendish, sometimes in collaboration with Chris White, Samuel Bohn, or James Collins.[29]

Other projects

[edit]

Phillips began writing material with Andrew Latimer of Camel in 1981, and was a featured performer on that band's album, The Single Factor (released in 1982).[30] He co-wrote "Tears on the Ballroom Floor" for I Hear Talk by Bucks Fizz.[31]

In 2008, Italian journalist Mario Giammetti published a biography on Phillips entitled The Exile.

Discography

[edit]

With Genesis

[edit]

Solo

[edit]

Appears on

[edit]
  • Intergalactic Touring Band – Intergalactic Touring Band (1977)
  • Mike Rutherford – Smallcreep's Day (1980)
  • Mother Gong – Battle of the Birds (1981)
  • Camel – The Single Factor (1982)
  • Iva Twydell – Duel (1982)
  • Asha (Denis Quinn) – Open Secret (1987)
  • Asha (Denis Quinn) – Mystic Heart (1989)
  • Asha (Denis Quinn) – Amadora (1991)
  • David Thomas & Ronnie Gunn – The Giants Dance (1996)
  • Various Artists – Sport + Leisure (1996)
  • ProgAID – All Around the World (2004)
  • Robert Foster – Guitar Sketches (2006)
  • Steve Hackett – Out of the Tunnel's Mouth (2009)
  • Various Artists – Factual Underscores 2 (2012)
  • Various Artists – The Summer Soundtrack (2013)
  • Al Lethbridge – Inspiring Worlds (2014)
  • Various Artists – Children's Party Themes-Halloween (2014)
  • John Hackett – Another Life (2015)
  • Various Artists – My Love Will Get You Home (2015)
  • Ellesmere – "Les Chateaux de la Loire" (2015)
  • The Gift – Why the Sea is Salt (2016)
  • Anna Madsen – Efflorescence (2016)
  • Various Artists – Science and Technology (2017)
  • Various Artists – Harmony for Elephants (2018)
  • Anon – "Pennsylvania Flickhouse" (2019)
  • Algebra – Deconstructing Classics (2019)

References

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Sources

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Anthony Phillips

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Anthony Phillips (born 23 December 1951) is an English , , and , renowned as a founding member and the original of the progressive rock band Genesis. Alongside , Tony Banks, and , he co-formed the band in 1967 while at , contributing significantly to its early sound through intricate guitar work, particularly on 12-string acoustics, and co-writing material for their debut albums (1969) and (1970). Phillips departed Genesis in 1970 due to health concerns and the pressures of touring, after which he pursued formal music studies at the Guildhall School of Music and Drama, earning the Licentiate of the Guildhall School of Music (LGSM) and later teaching . His solo career began with the 1977 album , featuring collaborations with and , and has since encompassed over a dozen studio albums, including (1978), Sides (1979), and the ongoing Private Parts & Pieces series, which reached its twelfth installment, The Golden Hour, in 2024. Phillips has also composed extensively for film, television, and library music, with works featured in BBC's Midway: Island of Life, ITV's Lifeboat, and numerous Survival wildlife programs, as well as commercials broadcast worldwide. Notable achievements include the 2016 Storm Thorgerson Grand Design Award for Esoteric Recordings reissues of his catalog and the world premiere of his piano composition Gemini for two pianos by Martha Argerich and Gabriele Baldocci in Valencia and Barcelona in 2018. His music blends , classical influences, and acoustic elements, earning acclaim for its melodic depth and instrumental innovation.

Early years

Childhood and family background

Anthony Phillips was born on 23 December 1951 in Chiswick, West London, England, into a wealthy family. His father worked as a banker and served as president of an insurance company until his death in 1997, while his mother, Pauline, provided a supportive home environment. Phillips had an older half-sister named Anne and a younger brother, Rob, born in 1958, who later took up the oboe as a musical pursuit. The family's affluence allowed for a stable upbringing in the Putney and Roehampton areas, where Phillips spent his early years. From a young age, Phillips was exposed to a range of musical styles through family and cultural influences, including the classical works of and the emerging pop sounds of and . These early encounters with both classical and contemporary music laid the groundwork for his later compositional interests, though formal training would come during his school years.

Education and musical influences

Phillips attended St Edmund's Preparatory School in , , during his early years, where he first explored music through group performances, including a rendition of "." In April 1965, at age 13, he enrolled at , an independent boarding school in , , marking the start of his more structured musical development. There, Phillips received his first guitar as a gift from his parents and began self-teaching the instrument, while also pursuing formal lessons in and to refine his technique. These school years laid the foundation for his acoustic and compositional skills, with Phillips experimenting with early songwriting as young as age 13, including the instrumental piece "," later featured on Genesis's archival releases. A pivotal aspect of his education at Charterhouse involved honing classical guitar proficiency, which emphasized precise fingerpicking and right-hand control, influencing his later layered arrangements. Phillips acquired both acoustic and electric guitars during this period, eventually incorporating a 12-string model that became central to his sound, enabling intricate arpeggios and harmonies. Phillips' formative musical influences blended classical, folk, and emerging rock elements. Classical composers and profoundly shaped his impressionistic and atmospheric style, drawing him toward elegant orchestration and subtle dynamics. Folk guitarists such as inspired his acoustic explorations, evident in his intricate fingerstyle techniques. Additionally, the progressive rock of provided early exposure to symphonic structures and conceptual songwriting, guiding his transition toward . These inspirations, combined with pop acts like and , fueled his initial compositions and instrument acquisition, setting the stage for his rock involvement.

Genesis period

Band formation and early demos

Anthony Phillips first encountered Peter Gabriel, Tony Banks, and Mike Rutherford at in , , during 1966–1967, where they were fellow students drawn together by a shared interest in music. Phillips, who had honed his guitar playing through school activities, collaborated closely with Rutherford on early compositions, often using acoustic and 12-string guitars to create intricate arrangements. In early 1967, these connections led to the formal formation of the band Genesis, with Phillips serving as lead guitarist and a primary co-songwriter alongside his bandmates. The group emerged from the merger of two school bands, Anon (featuring Phillips and Rutherford) and Garden Wall (featuring Gabriel and Banks), marking the start of their collaborative songwriting efforts. The nascent Genesis conducted rehearsals in the school's music rooms and nearby spaces, focusing on original material that blended folk, classical, and rock influences. Phillips contributed significantly to these sessions, co-writing guitar-driven pieces that emphasized harmony and melody, such as early versions of tracks developed during this period. Among their initial recordings were demos captured in 1967, including "The Silent Sun," a gentle, Bee Gees-inspired song co-authored by Banks and Gabriel but shaped by the band's collective input, with Phillips providing rhythmic guitar support. These home-recorded tapes, produced on basic equipment, showcased the group's potential and were crucial in attracting external attention. In late 1967, producer Jonathan King, a former Charterhouse alumnus, discovered Genesis after receiving one of their demo tapes through a school contact, impressed by Gabriel's vocals and the band's songwriting. King took on management duties, renaming the band from The Garden Wall to Genesis—inspired by biblical themes he suggested for their material—and arranged a recording deal with Decca Records. This signing enabled professional sessions at Regent Sound Studios in London, where Phillips' acoustic guitar work began to define the band's early sound, though often layered under King's orchestral additions. The agreement marked Genesis' entry into the music industry, setting the stage for their debut releases.

From Genesis to Revelation and Trespass

Anthony Phillips played a pivotal role in Genesis' debut album, (1969), contributing to the composition and arrangement of several tracks alongside bandmates , Tony Banks, and . He provided rhythmic strumming on the for "Silent Sun," a Bee Gees-influenced pop single that highlighted the band's early melodic style. On "The Serpent," Phillips co-wrote the song with Banks and and delivered a standout that underscored the track's brooding atmosphere, originally titled "She is Beautiful" before adaptation to fit the album's concept. Additionally, he featured a brief solo on "The Conqueror," one of the few such instances in his Genesis tenure, employing a high-register wailing tone. The album's production, overseen by Jonathan King, presented significant challenges for Phillips and the band, with a frugal budget and rushed four-track recording resulting in squeezed dynamics and occasional distortion. Phillips expressed strong dissatisfaction with arranger Arthur Greenslade's addition of strings and brass, which he felt undermined the intended warm sound, describing it as an "indescribably awful feeling." These pop-oriented decisions, including King's mono reduction of backing tracks, rendered the sound "weedy and anemic" in Phillips' view, limiting artistic control. Commercially, the album achieved little success, selling only a few hundred copies upon its March 1969 release and often misfiled in record stores' religious sections due to its title, though it later gained reissues amid Genesis' rising fame. Phillips' contributions to Genesis' second album, (1970), marked a shift toward more expansive arrangements, with his acoustic 12-string guitar, lead , , and backing vocals integral to the sound. He co-wrote "Stagnation" with Banks, Rutherford, , blending intricate 12-string layers with orchestral elements to create a seminal progressive piece exploring themes of isolation. On "," his 12-string acoustics drove the track's aggressive riffs and folk-prog fusion, contributing to its heavier, more dynamic edge. This period saw the band's evolution from concise pop structures to experimental, longer-form compositions, influenced by Phillips and Rutherford's 12-string interplay and Banks' growing use of organ and , as they adapted to live performances with noisier audiences by increasing and power.

Departure from the band

Anthony Phillips departed from Genesis in July 1970, following the band's final concert with him on 18 July at . The decision stemmed from a combination of severe , exacerbated by a bout of glandular fever that had weakened his during intensive touring, and a growing desire to pursue academic studies rather than the demands of band life. Phillips made his last significant contributions to the band during the recording sessions for their second album, , in mid-1970, where he co-wrote and performed on tracks that showcased his intricate style. His exit had a profound emotional impact on the remaining members, nearly leading to 's dissolution as they grappled with the loss of a founding creative force. Despite the band's efforts to persuade him to stay— with members like Mike Rutherford trying to convince him for an extended period—Phillips ultimately left for good, citing irreconcilable personal challenges. Genesis then auditioned several guitarists over the ensuing months before recruiting in early 1971, marking a pivotal shift toward a more dynamic live sound. In later interviews, Phillips reflected on the departure without bitterness, describing it as an unavoidable necessity driven by fear: "I was basically, fundamentally scared." He acknowledged some regret over missing Genesis's later successes but emphasized the relief of escaping the touring pressures, noting that the decision allowed him to prioritize health and personal growth.

Transitional phase

University studies

After leaving Genesis in 1970, Phillips deferred planned university studies at the in philosophy and history. Instead, he pursued part-time external studies at the Guildhall School of Music and Drama in , , , and , earning a teaching diploma (LGSM) in December 1973. During this period, Phillips balanced his studies with musical activities, including composing scores for student film projects. These efforts helped develop his skills in and thematic development. His training in and influenced his later compositional approach, blending classical elements with .

Teaching and early compositions

Following his teaching diploma from the Guildhall School of Music and Drama in 1973, Phillips began a career as a part-time music teacher. He taught at , an independent day and boarding school in , starting in 1972. In 1975, he added teaching at , a therapeutic community in , , dedicated to supporting troubled adolescents through and rehabilitation; he continued there part-time until at least 1979. During this time, Phillips composed music for student film projects and early demos, honing his skills in orchestral and atmospheric scoring that would influence his later work. These pieces, often created in his home studio, reflected a blend of classical influences from his studies and his background. Phillips also pursued early collaborations, notably with former Genesis drummer on demo recordings in the summer of 1973. Amid a temporary lull in Genesis activities, the pair—joined by bassist —worked on tracks like "Silver Song," with Collins providing lead vocals; this session generated material that appeared on Phillips' 1977 debut solo album, . Balancing the demands of teaching, especially the emotionally intensive work at , with his growing compositional output proved challenging, as Phillips managed lesson planning and student support alongside recording sessions. He gradually shifted focus toward full-time music pursuits while continuing to teach part-time.

Solo career

Debut album and initial releases

Anthony Phillips' debut solo , The Geese & the Ghost, was released in March 1977 on Hit & Run Music in the . The , which took several years to complete with recording spanning from August 1973 to October 1976 at studios including Island Studios and Send Barns, was produced by Phillips alongside Simon Heyworth and his former Genesis bandmate Mike Rutherford. It featured elaborate orchestral arrangements and a blend of and folk elements, drawing on and mythical themes inspired by English countryside imagery and . The album showcased Phillips' songwriting in collaboration with Rutherford on several tracks, including the instrumental "Cole's Old Dear," a gentle acoustic piece evoking rural , and the epic title track suite, which incorporated and string sections for a symphonic feel. Guest appearances added depth, with providing lead vocals on "Which Way the Wind Blows" and "Silver Song," while Rutherford contributed guitar, bass, and keyboards throughout. These elements highlighted Phillips' transitional style from his Genesis roots, emphasizing intricate guitar work and narrative-driven compositions. Following the debut, Phillips released Wise After the Event in May 1978 on in the UK and June 1978 in the US, produced by . The album shifted toward a more intimate, acoustic-oriented sound with pastoral lyrics and subtle orchestral touches, as heard in tracks like "Regrets" and the instrumental "Birdsong." His third album, Sides, arrived in April 1979 on Arista, further embracing acoustic guitar-driven arrangements and diverse song structures, including pop-inflected pieces like "I Want Your Love" alongside folk-prog hybrids. Recorded primarily at Studios, it reflected Phillips' evolving preference for lighter, more personal instrumentation over the grandeur of his debut. The extended production timeline for , amid Phillips' studies and teaching commitments, presented logistical challenges, yet the received positive critical notice in circles for its ambitious scope, earning a 7.8/10 rating on . Subsequent releases like garnered acclaim for their delicate acoustic finesse, though initial commercial success remained modest, solidifying Phillips' niche as a thoughtful in the post-Genesis landscape.

Private Parts & Pieces series

The Private Parts & Pieces series represents a cornerstone of Anthony Phillips' solo output, commencing with the eponymous Volume I in 1978 as a collection of primarily and instrumentals recorded between 1972 and 1976. This inaugural release, subtitled "A collection of guitar and piano solos, duets and ensembles," showcased Phillips' intricate work, drawing from his early acoustic roots, and featured evocative pieces such as "Master of Time," a contemplative seven-minute composition blending classical influences with pastoral imagery. Issued initially on vinyl by Passport Records in the and Arista in the UK, it established the series' format as an archival anthology of intimate, non-commercial material, allowing Phillips to explore personal themes without the pressures of mainstream expectations. The series evolved across subsequent volumes, expanding from pure acoustic foundations to incorporate broader instrumentation and subtle electronic elements in later entries, while maintaining a focus on introspection and natural motifs. Volume II: Back to the Pavilion followed in , emphasizing guitar duets and ensembles with a nostalgic tone, released on vinyl by Arista. Volumes III: Antiques (1982) and IV: A Catch at the Tables (1984) continued this trajectory, with the former highlighting duets in collaboration with Enrique Berro García and the latter delving into contrapuntal guitar works inspired by 17th-century music, both issued on vinyl and later formats. By Volume V: Twelve (1985), Phillips centered on 12-string guitar explorations themed around the months of the year, while Volume VI: Ivory Moon (1986) shifted toward solo pieces spanning 1971–1985, reflecting seasonal and reflective moods. Volumes VII: Slow Waves, Soft Stars (1987) introduced ambient synth layers alongside guitar, evoking serene landscapes, and VIII: (1992) blended folk elements with guest musicians, capturing rural American inspirations—all progressively available in reissues. Later volumes further diversified: IX: Dragonfly Dreams (1996) returned to with ethereal, nature-infused vignettes; X: Soirée (1999) focused exclusively on solo in a romantic vein; XI: City of Dreams (2012) integrated electronics and orchestral touches for dreamlike sequences; and XII: The Golden Hour (2024) featured contemplative suites like the four-part "Wynchmore Hill Suite," emphasizing twilight introspection, released on by Esoteric Antenna. Boxed sets, such as the 2015 Esoteric Recordings edition of Volumes I–IV and the 2016 set for V–VIII, have preserved and expanded access to these works, often including bonus tracks from archival sessions. Throughout its run, the series has sustained Phillips' career by blending unreleased archival material with new compositions, fostering a dedicated audience for his nuanced, thematic explorations of time, , and —evident in titles like "Field of Eternity" from Volume I and "Motherforest" from Volume II—without venturing into full vocal or rock-oriented albums. This ongoing project, now spanning over four decades and multiple formats from vinyl to digital, underscores Phillips' commitment to instrumental storytelling, evolving stylistically from folk-classical purity to ambient-infused subtlety while remaining rooted in acoustic intimacy.

Later studio albums and collaborations

In the early , Phillips ventured into more experimental and vocal-driven territory with his 1984, released in June 1981 on Passport Records. Inspired by George Orwell's dystopian novel, the features a synth-heavy, suite divided into two main parts, "1984 Part I" and "1984 Part II," bookended by shorter tracks like "Prelude" and "Postlude." Phillips primarily handled keyboards and synthesizers, with guest contributions from John Hackett on and on , marking a shift from his earlier acoustic focus toward progressive electronic sounds. This was followed by Invisible Men in 1983 (US release) and 1984 (UK release) on Passport Records (US) and PRT Records (UK), a collaborative effort with songwriter Richard Scott that introduced pop-rock elements with vocals. The album blends catchy melodies, electronic keyboards (including Polymoog and ), and diverse instrumentation such as saxes by Bimbo Acock and percussion by Joji Hirota, produced by Phillips, Scott, and Trevor Vallis. Tracks like "Sally" and "" highlight Phillips' songwriting in a more commercial vein, contrasting his prior instrumental work. The late 1980s saw Phillips engage in film-inspired collaborations, notably Tarka (1988) with Harry Williamson on PRT Records. This instrumental soundtrack, based on the novel , fuses English folk melodies with classical orchestral arrangements and rock influences, featuring Phillips and Williamson on acoustic guitars and keyboards, violin by Krysia Osostowicz, and the National Philharmonic Orchestra conducted by Jeremy Gilbert. Produced by Simon Heyworth, it exemplifies Phillips' ability to integrate acoustic and symphonic elements. Entering the 1990s, Phillips explored ambient and neoclassical realms with (1990) on , a 50-minute suite in two parts emphasizing orchestral and electronic textures. Composed and produced by Phillips with Simon Heyworth, it includes by Martin Robertson and by Ian Hardwick, with strings conducted by John Owen-Edwards. The album's meditative style influenced later reissues, including a 2024 2CD edition by Esoteric Recordings featuring remastered audio and unreleased vignettes. A notable collaboration from this period is Dragonfly Dreams (1996, as Private Parts & Pieces IX) with Joji Hirota on Arcangelo Records, though it draws on earlier recordings. This album merges acoustic guitars, keyboards, and Japanese percussion, co-written in part with Quique Berro Garcia and Richard Scott, creating a dreamy, world-music-infused that bridges Phillips' folk roots with ambient experimentation. Phillips' output in the 2010s and 2020s reflects an evolution toward hybrid acoustic-electronic compositions, often with collaborators. Strings of Light (2019) on Esoteric Recordings is a double-CD instrumental collection showcasing Phillips on 6- and 12-string guitars, cittern, and Fender Stratocaster, produced with James Collins and emphasizing melodic, classical-inspired guitar work. Recent joint projects with Collins include Beyond the Outer Reaches (November 2024) on The Scoring House, a 15-track ambient album blending orchestral strings, synthesizers, and acoustic elements for a cosmic, progressive atmosphere, and Perpetual Motion (June 2025), continuing this fusion with electronic pulses and guitar-driven motifs across 15 pieces. This period also involves reissues highlighting Phillips' archival depth, such as the expanded 2CD reissue of The Anthony Phillips Band's Sail the World (original 1994, reissued April 2025) on Esoteric Recordings, which adds 15 unreleased bonus tracks and remastered audio, underscoring his ongoing progressive and ambient influences in a hybrid sonic palette.

Additional contributions

Library and production music

Anthony Phillips began contributing to library and in the late 1970s, primarily through collaborations with labels like KPM Music Library, where he composed atmospheric tracks designed for use in film, television, and other media. His work for KPM intensified during the , focusing on mood-enhancing cues that could be licensed for various productions. Notable releases include the 1999 English Pastoral compilation on Atmosphere Music, compiling 19 cues evoking rural English landscapes through folk and classical influences. Phillips' style in these works often merges his signature acoustic techniques—honed in his solo career—with orchestral arrangements and electronic textures, creating versatile soundscapes for non-narrative media. Phillips has composed numerous cues specifically for television and , including themes for wildlife documentaries such as those featured in the Survival and Natural World series, where his evocative, nature-inspired compositions underscore animal behaviors and environmental narratives. These pieces emphasize subtlety and emotional depth, prioritizing accessibility for broadcasters and filmmakers. In recent years, Phillips has revisited his archive through compilations like Cinematic Guitars (2024), a collaboration with James Collins on Addictive Tracks Ltd., which remasters and presents 10 guitar-centric tracks originally created for production use, highlighting his enduring impact in the .

Film, television, and guest appearances

Anthony Phillips has composed extensively for television, particularly nature documentaries, drawing from his production library to create atmospheric scores that enhance visual storytelling. He contributed music to over a dozen episodes and specials of the ITV series , including award-winning programs like Creatures of the Magic Water (adapted from his piece "The Flies"). His work for Survival was compiled on the 1995 album , co-composed with Joji Hirota, featuring tracks such as "Sunrise and Sea Monsters" used in episodes exploring . Additionally, Phillips scored segments for the BBC's Natural World series and provided music for Discovery Channel's , notably the 2000 episode "," with cues like "Jurassic Shark: Opening Theme" and "Voyage of the ." In film and television drama, Phillips' compositions appear in series such as the 2018 Spanish Netflix production Fariña, where tracks like "A Moment in Time" underscore narrative tension. He has also written for Channel 4 plays and the ITV series Lifeboat, often utilizing and orchestral elements to evoke emotional depth. These scores, sometimes sourced from his broader library music catalog, highlight his versatility in blending influences with subtle, evocative soundscapes. Beyond scoring, Phillips has made notable guest appearances on other artists' albums, contributing guitar and arrangements. He played 12-string guitar on Mike Rutherford's 1980 solo album Smallcreep's Day, adding textured layers to tracks like "Moonshine" and "Time and Time Again." On Camel's 1982 release , Phillips provided guitar on several songs, including "A Heart with Your Name On It," complementing the band's progressive style. Other contributions include guitar and keyboards on select tracks of David Thomas and Ronnie Gunn's 1996 album The Giants Dance. These one-off collaborations reflect Phillips' enduring connections within the progressive rock community.

Discography

Albums with Genesis

Anthony Phillips contributed to Genesis' first two studio albums as the band's original guitarist and co-songwriter, providing acoustic and parts alongside his collaborative writing efforts.

From Genesis to Revelation (1969)

Released on 7 March 1969 by and produced by , From Genesis to Revelation marked Genesis' debut, with Phillips handling guitar duties across all tracks and co-writing every song alongside Tony Banks, , and . The album's track listing, as per the original LP release, includes:
  • "Where the Sour Turns to Sweet" (3:14) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "In the Beginning" (3:46) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "Fireside Song" (4:18) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "The Serpent" (4:39) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "Am I Very Wrong?" (3:33) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "In the Wilderness" (3:31) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "The Conqueror" (3:42) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "In Hiding" (3:02) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "One Day" (3:21) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "Window" (3:34) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "In Limbo" (3:31) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
  • "Silent Sun" (2:14) – Phillips on guitar, co-written by Phillips, Banks, , Rutherford
Phillips also provided backing vocals on select tracks, contributing to the album's pop-oriented sound influenced by producer King's guidance.

Trespass (1970)

Genesis' second album, , released on 23 October 1970 by and self-produced by the band, featured Phillips prominently on 12-string , lead , and , with backing vocals; all tracks were composed and arranged collectively by the band members. Phillips' work defined the album's folk-prog texture, particularly in extended pieces, while his lead added dynamic solos. The track listing includes: This was Phillips' final recording with Genesis, as he departed the band in mid-1970 due to health and creative pressures. No further albums feature his contributions during his tenure.

Solo studio albums

Anthony Phillips' primary solo studio albums demonstrate his evolution from roots to instrumental and electronic explorations, often featuring collaborations with notable musicians. His debut, , released in March 1977 on Hit & Run Music in the UK (catalogue HIT 001) and Passport Records in the US, is a progressive folk-rock effort with orchestral elements. Key personnel include Phillips on guitars, keyboards, and vocals; on lead vocals and drums for tracks like "Which Way the Wind Blows"; on bass, guitar, and 12-string guitar; and John Hackett on flute. Additional contributors feature Viv Stanshall on vocals and on orchestral arrangements. Private Parts & Pieces I: Back to the Pavilion, released in 1978 on (UK, OVED 73) and Records (US), launched Phillips' long-running instrumental series focused on pieces, drawing from archival recordings of the 1970s. It features Phillips primarily on 12-string and 6-string guitars, with occasional and . The follow-up full-length, , arrived in May 1978 on in the UK (SPART 1063) and Records in the US (PB 9828). Produced by , the album blends acoustic songwriting with progressive structures and emphasizes Phillips' lyrical themes of reflection and loss. Key personnel comprise Phillips on guitars, keyboards, and vocals; on drums; John G. Perry on bass; on saxophone and flute; and Nitty Gritty on backing vocals, with Hine also contributing and backing vocals. Sides, released in 1979 on Passport Records (US, PL 9882), is an all-instrumental album showcasing Phillips' 12-string guitar techniques across 18 concise tracks, evoking pastoral and classical moods without vocals or overdubs. Phillips performs all instruments, primarily acoustic guitars. The Private Parts & Pieces series continued with installments such as II: Back to the Pavilion (1980, Arista), III: Antiques (1982), IV: (1982), and subsequent volumes up to XII: The Golden Hour (2024), compiling and expanding on his instrumental guitar works, often with guest musicians on winds and strings. Shifting toward electronic territory, 1984 was issued in June 1981 on PVC Records in the US (PVC 8911) and RCA in the UK and Europe. This instrumental suite, inspired by dystopian themes, highlights Phillips' use of synthesizers, sequencers, and drum machines for ambient and rhythmic textures. Key personnel include Phillips on all instruments and programming, with Richard Scott assisting on percussion and effects. Invisible Men, released in 1983 on Mercury Records (US, 405 422-1) in collaboration with Richard Scott, combines Phillips' guitar and compositional skills with electronic elements in a concept album format exploring futuristic narratives. Phillips on guitars and keyboards; Scott on synthesizers and programming. In more recent years, Phillips returned to instrumental orchestral forms with , originally released in 1990 on Venture (CDVE 903) but reissued in deluxe editions by Esoteric Recordings, including a 2021 expanded version featuring remastered audio and bonus material. The album is a 50-minute suite for guitar, keyboards, and , evoking pastoral and contemplative moods. Key personnel feature Phillips on acoustic and electric guitars, keyboards, and ; the London Philharmonic conducted by John Owen Edwards; and additional players like Martin Robertson on and the Speachi Quartet. Strings of Light, released in 2019 on Esoteric Recordings (2CD + DVD, EANT 1051), is a double album of 24 newly composed instrumental guitar pieces inspired by Phillips' collection of rare guitars, blending ambient, melodic, and classical styles. Phillips on guitars and arrangements, with guests including Joji Hirota on Japanese percussion. Phillips' latest primary release in the series, The Golden Hour (also known as Private Parts & Pieces XII), came out on 31 May 2024 via Esoteric Antenna (a Cherry Red label, ECAT 1073). This self-produced instrumental collection draws on acoustic guitar-driven suites and ambient pieces, reflecting personal and nostalgic themes. Key personnel are primarily Phillips on guitars, keyboards, and arrangements, with guest contributions from Nick Stone on oboe and cor anglais, and James Sawyer on cello.

Compilations, reissues, and live recordings

Anthony Phillips has released several compilations that gather tracks from his earlier solo works, often including previously unreleased material to provide retrospective overviews of his instrumental and compositional style. One of the earliest such efforts is Harvest of the Heart (1985, Cherry Red Records), a vinyl LP compiling selections from the first four volumes of his Private Parts & Pieces series, augmented by two new unreleased tracks, "Lullaby" and "The Golden Hour," offering fans a curated snapshot of his acoustic guitar explorations up to that point. This was followed in 2014 by the expanded Harvest of the Heart: An Anthology (Cherry Red Records), a five-CD box set that not only remasters the original compilation but incorporates additional archival pieces from his Private Parts & Pieces installments, spanning over five hours of music and emphasizing his evolution in ambient and pastoral compositions. The Archive Collection series represents a significant archival endeavor, collecting rare demos, alternate mixes, and unreleased recordings from Phillips' career. Archive Collection Volume I (2004, Voiceprint Records) features 21 tracks of previously unavailable material, including demos from 1972 like "Take This Heart" and instrumental versions from the , with the first 1,000 copies including a bonus EP; it was later expanded and remastered in 2022 as part of a two-volume clamshell alongside Archive Collection Volume II (2008, originally 20 tracks of further rarities such as 1973 guitar demos and 1977 outtakes). The 2022 (Esoteric Recordings), totaling over 100 tracks across five CDs, adds 12 new bonus pieces to Volume I and remasters the entire collection, highlighting Phillips' early songwriting sketches and instrumental experiments that influenced his later works. Reissues of Phillips' albums have frequently involved expansions with bonus material, enhancing accessibility to his discography through modern remastering. Notable among these is the 2017 deluxe edition of Slow Dance (1989 original), released as a 2CD + DVD set by Esoteric Recordings, featuring a remastered stereo mix, a new 5.1 surround sound mix by Simon Heyworth, and a bonus CD of eight unreleased vignettes and alternate mixes composed during the album's sessions. This was followed by a more affordable 2CD jewel case reissue in 2024, retaining the remastered audio and bonus tracks while omitting the DVD to focus on the core expanded content. In 2025, Esoteric Recordings issued a 2CD remastered and expanded edition of Sail the World (1994 original), now comprising 41 tracks including the full remastered album and a second disc of 15 previously unreleased bonus recordings from the era, capturing Phillips' orchestral and thematic scoring approach. Similarly, the 1978 live session Radio Clyde received a remastered and expanded edition in 2025 (Esoteric Recordings), presenting high-quality, uncut performances without overdubs from Phillips' promotional appearances that year, restricted to selections from his then-recent albums Wise After the Event and Private Parts & Pieces II. Live recordings in Phillips' catalog are sparse, reflecting his preference for studio work, but key releases preserve rare performances. The sessions from 1978 stand out as one of his few documented live efforts, originally issued in 2003 and expanded in 2025 to include full session tracks like "" and "Moonshooter," recorded in studio but performed live-style for broadcast. Another archival live document is The Living Room Concert (1995 original, Paschal Records), a intimate 1993 home recording remastered and reissued in 2020 as a digipak CD (Esoteric Recordings), featuring acoustic renditions of staples such as "" and "Which Way the Wind Blows," emphasizing Phillips' solo guitar prowess in a casual setting.

Guest and collaborative works

Anthony Phillips has contributed as a guest musician and co-composer to various projects outside his solo catalog, often reuniting with former collaborators or partnering with like-minded artists in progressive and music. A notable early came on Mike + The Mechanics founder Mike Rutherford's debut solo album Smallcreep's Day (1980), where Phillips provided keyboards throughout the record, adding atmospheric layers to tracks like the title suite. This reunion with his longtime Genesis bandmate highlighted Phillips' evolving keyboard skills and contributed to the album's symphonic prog leanings. In 1982, Phillips joined for their album , performing guitar and keyboards on several tracks, including "A Heart with Your Name On It" and "Sasquatch." His contributions brought a familiar Genesis-era texture to the sessions, which took place at , supporting leader Andy Latimer's vision during a transitional period for the band. Phillips' collaborative efforts include the 1988 album Tarka with producer and musician Harry Williamson, a soundtrack-inspired work based on Henry Williamson's novel . As co-composer and multi-instrumentalist, Phillips handled guitar, keyboards, and orchestration across its three movements, creating an evocative pastoral soundscape. The duo extended this partnership with Gypsy Suite (1995), where Phillips again co-composed and performed, blending folk and classical elements in a suite originally conceived in the . More recent collaborations feature Phillips partnering with composer James Collins on Beyond the Outer Reaches (2024), a 15-track album exploring cinematic themes, with Phillips contributing guitar and compositional input. This was followed by (2025), another joint effort emphasizing fluid, motion-inspired arrangements through Phillips' signature acoustic and work. Phillips has also guested on progressive rock projects, such as providing guitar on Ellesmere's Les Châteaux de la Loire (2015), enhancing the album's historical French-themed instrumentals alongside artists like John Hackett. These appearances underscore his enduring role in the prog community, often bridging his classical influences with ensemble performances.

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