Anthony George "Tony" Banks (born March 27, 1950) is an English songwriter,
pianist/keyboard
player, and guitarist. He is one of the founding members of progressive
rock group Genesis and one of only two
members (the other being guitarist/bassist Mike
Rutherford) to belong to Genesis throughout its entire
history.
Banks is the most private of the Genesis members; most of what
is known about his early life is from the book on Genesis by Armando
Gallo.
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Contents
- 1 Early
years
- 2 Career
- 2.1 Role
in Genesis
- 2.2 Film
scoring
- 2.3 Sound
innovations
- 3 Solo
discography
- 3.1 Guest
vocalists on Tony Banks albums
- 3.2 Songs
sung by Tony Banks solo
- 4 Equipment
used by Tony Banks over the years
- 4.1 From
Genesis to Revelation (1969)
- 4.2 Trespass
(1970)
- 4.3 Nursery
Cryme (1971)
- 4.4 Foxtrot
(1972)
- 4.5 Selling
England By The Pound (1973)
- 4.6 The
Lamb Lies Down On Broadway (1974)
- 4.7 A
Trick of the Tail (1976)
- 4.8 Wind
and Wuthering (1977)
- 4.9 ...And
Then There Were Three... (1978)
- 4.10 Duke
(1980)
- 4.11 Abacab
(1981)
- 4.12 Genesis
(1983)
- 4.13 Invisible
Touch (1986)
- 4.14 We
Can't Dance (1991)
- 4.15 The
Way We Walk (We Can't Dance Tour) (1991–1992)
- 4.16 Calling
All Stations (1997)
- 4.17 Calling
All Stations Tour (1997–1998)
- 4.18 Turn
It On Again Tour (2007–present)
- 5 Notes
- 6 External
links
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Early years
Banks was born in East Hoathly, Sussex, England. He
received classical training in piano, and taught himself to play
guitar. He attended Charterhouse School in the mid-1960s, where he met
fellow student Peter Gabriel in 1965.
Banks originally planned to study mathematics in higher education, and
after Charterhouse he took a leave of absence from Sussex
University to explore Genesis, and never returned.
Career
Banks and Gabriel, together with drummer Chris Stewart,
formed a band called The Garden Wall. This band merged with another
called Anon, which included Mike Rutherford and Anthony
Phillips. They recorded a set of demos which ultimately led
to the formation of the band that became Genesis.
Role in Genesis
Banks' elaborate arrangements and keyboard solos — such as the
piano introduction to "Firth of Fifth" and the instrumental
section of "The Cinema Show" — helped to
establish Genesis' sound. In addition to playing keyboards, Banks
contributed (along with Steve Hackett and Mike
Rutherford) to Genesis' 12-string acoustic passages in songs such as "The Musical Box", "The
Cinema Show", and the beginning part of "Supper's
Ready." Banks also was an occasional back-up vocalist and sang co-lead
vocals on "The Shepherd," an unreleased track from 1970 which finally
surfaced on the Genesis Archive 1967-75
boxed set.
Banks' compositions are credited to be the driving force of
Genesis' music, particularly in material recorded before 1979. Notable
Banks-penned Genesis songs include "Mad Man Moon," "One for the Vine",
and the anthemic ballad "Afterglow," which remained
a popular exeunt to the Banks-driven "medleys" (conglomerations of
Genesis' most-popular keyboard solos) that the group played during live
shows for years.
After the departure of Gabriel and guitarist Steve
Hackett from Genesis, Banks was the first of the three
remaining members of the group to release a solo album. But unlike
bandmates Phil Collins, who saw great
solo success, and Mike Rutherford, who had a successful side career
with Mike and the Mechanics,
Banks's solo efforts usually sold only to a core audience of Genesis
devotees. In 1998, fans formed a tribute band
called Strictly Banks, and performed a set
of Banks's solo songs.
On 7 November 2006, after so much speculation regarding a
reunion, a press conference held by Banks, Collins, and Rutherford
announced the upcoming Turn It On Again: The
Tour in 2007.
This announcement comes as the band are about to celebrate 40 years in
the music business.
Film scoring
Banks has also created some film scores. The movie The
Wicked Lady features a score by Banks, and the film escaped sinking
into total obscurity only because it featured (a bare-breasted) Marina
Sirtis who later became well-known for her work with the Star Trek
television program. He wrote the soundtrack to Quicksilver,
starring Kevin
Bacon the single from which was produced by Richard James Burgess.
After Genesis went into hiatus in 1998, Banks continued to write. A set of
(mostly) recently-composed orchestral pieces was recorded and released
on the 2004
album Seven: A Suite for Orchestra.
Sound innovations
Banks pioneered many keyboard sounds and a technique of using
the MIDI interface to the Roland drum machine "backwards", using the
drum machine to switch the keyboards on and off, to create the
pulsating sound in "Mama" (on the 1983 Genesis
album) and "By You" on The Fugitive. (Probably on
other songs as well, but the effect was used sparingly).
Banks uses a hand-over-hand playing style in several songs to
allow himself to play faster. This is notable on (the song) "The Lamb
Lies Down On Broadway", "The Carpet Crawlers", and later
on "No Reply At All". (The last of which
has a music video which shows the technique briefly.) This style
enables him to transition from one chord to the next very rapidly. He
most often arpeggiates
the chords he plays in this style.
Solo discography
- 1979 A
Curious Feeling
- 1983 The Wicked Lady
(soundtrack)
- 1983 The Fugitive
- 1986 Soundtracks
- 1989 Bankstatement
- 1992 Still
- 1995 Strictly
Inc
- 2004 Seven: A Suite For Orchestra
Guest vocalists on Tony Banks
albums
- Kim Beacon
- Fish - Best known as the
(former) Marillion
frontman.
- Jim Diamond
- Toyah Willcox
- Alistair Gordon
- Jayney Klimek - of the Australian-German band The Other
Ones, a one-hit wonder in 1987 with "Holiday".
- Nik Kershaw
- Andy Taylor - This is not
the Andy Taylor of Duran Duran, as is commonly mistaken. (There is a
photograph of this Andy Taylor in the CD booklet which proves this
conclusively: He looks nothing like the Duran Duran
guitarist, and is much younger looking than his namesake.)
- Jack Hues - Best known as the Wang
Chung frontman
Songs sung by Tony Banks solo
- All songs on The Fugitive album
(besides two instrumentals)
- "Big Man" on Bankstatement album
- "Hero for an Hour" on Still
album
Equipment used by Tony Banks
over the years
The equipment lists in this section are derived from The
Genesis Discography
up until the 1991-era keyboard rig. This list was compiled in the early
1990s from various sources, including album liner notes, lists of tour
gear for the band, etc. (The origin of the rest of the equipment lists
is unknown.) Banks would not take his entire rig with him on tour, but
did take most of it. Taking a grand piano on tour was not practical, so
those parts on the albums were played on the electric piano. (Before it
was dropped, for example, the "Firth of Fifth" intro was played on the
electric piano.) He did take the Synclavier on the road with him, and
it is visible in many of the performance videos from the 1983-1987 era.
Changes to the keyboard rig were incremental over the years. Probably
the two most drastic changes were the removal of the acoustic sampling
Mellotron around 1980, when the then-new polyphonic synthesizers made
it possible to play string sounds; and the dramatic overhaul of the rig
for the We Can't Dance tour where Banks had only
four slim keyboards onstage. (This latter shakeout involved the
jettisoning of the Synclavier, and made songs like "Home by the Sea"
sound quite different.)
From Genesis to
Revelation (1969)
Trespass
(1970)
- Piano [used on album only]
- Hammond L-122 tonewheel organ
-> Leslie speaker
- Hohner
Pianet
N
- Mellotron
Mk II - hired from King Crimson
Nursery Cryme
(1971)
- Piano [used on album only]
- Hammond L122 tonewheel organ ->
Leslie
speaker
- Hohner Pianet N
- Mellotron Mk II - hired from King Crimson
Foxtrot (1972)
- Piano [used on album only]
- Hammond L-122 tonewheel organ
-> Leslie speaker
- Hohner Pianet N
- Mellotron Mk II - hired from King Crimson
Selling England By The
Pound (1973)
- Piano [used on album only], notably 'Firth of Fifth'
- Hammond T-102 tonewheel organ
-> Leslie speaker
- Hohner Pianet N
- Mellotron M400 - with the 3 violins, 8 voice choir and
brass tape sets. The flute set is used on "The Battle of Epping Forest"
- ARP Pro-Soloist (monophonic preset
synthesizer)
- RMI Electric
piano [used live only]
The Lamb Lies Down On
Broadway (1974)
- Steinway
Piano [used on album only]
- Hammond T-102 tonewheel organ
-> Leslie speaker
- RMI Electric piano
- Mellotron M400 - with the 3 violins, 8 voice choir and
Brass tape sets
- Elka Rhapsody (string synth) [used on album only]
- ARP Pro-Soloist
A Trick of the Tail
(1976)
- Piano [used on album only]
- Hammond T-102 tonewheel organ
-> Leslie speaker
- RMI Electra 368 Electric piano -> Fender Blender
fuzz effect and MXR
Phase 100 phaser
- Mellotron M400 - with the 3 violins, 8 voice choir and
Brass tape sets -> Echoplex tape echo and MXR 10 band EQ
- ARP Pro -Soloist -> Echoplex tape echo and Leslie
Rotating Speaker (on Robbery Assault and Battery)
- ARP
2600 (analogue synthesizer) -> Echoplex tape echo [studio only]
Wind and Wuthering
(1977)
- Piano [used on album only]
- Hammond T-102 tonewheel organ
-> MXR
Phase 100 phaser and Boss
CE-1 stereo chorus
- RMI Electra 368 Electric piano -> Fender Blender
fuzz effect and MXR Phase 100 phaser
- Mellotron M400 - with the 3 violins, 8 voice choir and
Brass tape sets -> Roland RE-201 space echo and MXR 10
band EQ
- ARP Pro-Soloist -> Roland RE-201 space echo
- ARP 2600 -> Roland RE-201 space echo [used on album
only]
- Roland RS-202 [used on album only]
- Fender Rhodes electric piano [used on
album only]
Note: The MXR
Phase 100 phaser and Boss
CE-1 stereo chorus were used to replace the Leslie
speaker. The RS-202 was mainly used to replace the Mellotron, though
not used live.
...And Then There Were
Three... (1978)
- Piano [studio only]
- Hammond T-102 tonewheel organ
-> MXR
Phase 100 phaser and Boss
CE-1 stereo chorus
- Yamaha CP-70
Electric Grand piano -> Boss CE-1 stereo chorus
- Mellotron M400 - with the 3 violins, 8 voice choir and
Brass tape sets-> Roland RE-201 space echo and MXR 10 band
graphic EQ
- ARP Pro-Soloist -> Roland RE-201 space echo
- ARP 2600
-> Roland RE-201 space echo
- Roland RS-202 [used on album only]
- Moog
Polymoog
(polyphonic analogue synthesizer) -> MXR
Distortion+ and MXR Phase 100
Duke (1980)
- Acoustic grand piano (studio only)
- Yamaha CP-70 (through Boss CE-1 Chorus)
- Yamaha CS80 (through Boss Chorus)
[studio only]
- Sequential Circuits Prophet 5 -> MXR Phase 100 phaser and
Boss CE-1
stereo chorus
- ARP
Quadra (through MXR Distortion+)
- Moog Polymoog (studio only)
- Roland VP330 (through MXR 10-band EQ and Boss Chorus)
- Hammond T102 organ through MXR Phase 100 Phaser and Boss
CE-1 Chorus)
The CS80 was used a lot on the album as well as the CP-70
piano. Tony used the Prophet 5 and Quadra on just a few occasions on
the album. But the Quadra especially was used a lot as a polysynth and
lead synth on the Duke tour. The Prophet 5 was used more for string
like sounds as well as the flutes on Duke's Travels (last bars before
Duke's End kicks in) and Cul-De-Sac.
Abacab (1981)
- Piano (studio only)
- Yamaha CP-70 (through Boss CE-1 Chorus)
- Moog Polymoog (studio only)
- Yamaha CS80 (studio only) (through Boss CE-1 Chorus and MXR
Distortion+)
- ARP Quadra (through MXR Distortion+ and Lexicon Digital
Delays)
- Sequential Circuits Prophet 10 -> MXR Phase 100 phaser and
Boss CE-1
stereo chorus
- Roland VP330+ Vocoder (through MXR 10 band EQ)
- NED Synclavier 2 [studio only]
There are rumors that the EDP Wasp was used.
Genesis (1983)
- Yamaha CP-70 electric grand piano -> Boss CE-1
Stereo Chorus
- ARP Quadra polyphonic analogue synthesizer
- Sequential Circuits Prophet-10 polyphonic analogue
synthesizer -> MXR
Phase 100 phaser and Boss
CE-1 stereo chorus
- NED
Synclavier
II digital synthesizer (FM and Additive, no sampling option)
- E-mu
Emulator
early digital sampler
- Roland VP-330 Vocoder and string/choir
[studio only]
- Some equipment put through MXR and Lexicon digital delays
Invisible Touch
(1986)
- Yamaha CP-70 electric grand piano (with Kenton MIDI
retrofit)
- ARP Quadra synthesizer/string machine
- Sequential Circuits Prophet-10
synthesizer (with Kenton MIDI retrofit)
- NED Synclavier II digital synthesizer (FM and Additive, no
sampling option)
- E-mu Emulator II digital sampler (with analog
SSM filter and VCAs)
- Yamaha
DX7 digital FM synthesizer
- AKAI
S900 12-bit Digital Rack
sampler
- Roland MKS-80
analogue rack synthesizer
- Yamaha TX816
digital FM rack synthesizer - 8 DX7s in a rack
- Korg
DVP voice processor - vocoder
- Equipment put through Yamaha REV7 digital reverb and
Lexicon digital delays
We Can't Dance
(1991)
- Korg Wavestation digital vector
synthesizer
- Roland JD-800 digital synthesizer
- Roland Rhodes MK-80
digital piano / mother keyboard
- Roland Rhodes VK-1000
digital organ / electric piano
- Ensoniq
VFX digital
synthesizer
- Yamaha CP-80
electric grand piano- (88-key version of CP-70)
- E-mu Emulator III digital 16 bit
sampler
- Equipment put through Yamaha SPX1000 and SPX90 effects plus Roland reverb unit
The Roland JD-800 was responsible for the
distinctive percussion sounds on the title track.
The Way We Walk
(We Can't Dance Tour) (1991–1992)
- Korg Wavestation digital vector synthesizer
- Roland JD-800 digital synthesizer
- Roland Rhodes MK-80 mother keyboard
- Ensoniq SD1 digital
synthesizer - More reliable sibling of VFX
- Sequenced by Alesis MMT-8
Tony used these synths to also control his 2x 20HE rack units
with the following gear:
- E-Mu Emulator III digital 16 bit sampler in rack form
- Kurzweil 1000PX digital piano
module
- E-Mu Proteus/2 XR
sample playback modules (four units with Tony's own samples, one with
Proteus presets)
- Voce DMI-64 MkII digital organ module (two units)
- Yamaha TX7 synth module DX7 in a rack
All of the above are mixed into two Roland M480 mixers and put through
Yamaha SPX90 effects and a Roland SDE3000 reverb unit. All midi
routings done by two MidiTemp MMP88 patchbays. Audio routings from the
mixer through the effect units done with the Yamaha PLS1 line switcher
which is also used to extract the Roland JD-800 audio and send it to the
main PA desk.
Also used was a MIDI Gate unit (brand unknown) which is used
for the song Mama which they performed 5 times in the USA leg of the
WCD tour.
Calling All Stations
(1997)
- Korg Trinity digital workstation
synthesizer
- Korg Wavestation digital vector synthesizer
- Roland JD-800
digital synthesizer
- Roland JV-1080
digital rack synthesizer
- Yamaha CP-80 electric grand piano
Calling All Stations Tour
(1997–1998)
- Korg Trinity Plus digital workstation
synthesizer
- Roland A-90 MIDI mother keyboard
- Roland JD-800 digital synthesizer
These are then linked into 2 Opcode Studio 5 LX MIDI processor
and 2 custom-made MIDI mixers and used to control these rack units:
- Two E-mu Emulator]] 4 digital 16-bit rack samplers
- Two Korg Wavestation SR digital rack vector synthesizer
- Korg Wavestation A/D digital rack vector synthesizer and vocoder
- Korg 01R/W digital rack synthesizer
- Roland JV-1080 digital synthesizer
- Three E-mu Proteus/2 XR digital sample playback modules
- E-mu Proteus/2 XR Orchestral digital sample playback module
- E-mu Proteus/1 digital sample playback module
- Two E-mu Vintage Keys digital sample playback modules
- Yamaha TX7 synth module - Yamaha DX7 in rack
All of the above are mixed into a Mackie LM3204 line
mixer then put through Yamaha SPX1000 effects processor (four units)
and Roland SRV-2000 effects processor. A Yamaha PLS1 line selector sends this to
a Chiddingford Mixer for his Shure SM600 transmitter to his ear monitor.
Turn It On Again Tour
(2007–present)
- Korg
OASYS digital workstation synthesizer
- Korg Wavestation digital vector synthesizer (master
keyboard only)
- Roland A90 (master keyboard only)
- E-MU Proteus1 (Customised with samples of Tony's vintage
keyboards) - 4 units (only 2 in use)
- E-mu E4
- Korg Wavestation SR
- Roland JD990 - 2 units
- Yamaha TX7
- Alesis MMT-8 sequencer
- 2 Mackie LM-3204 rack-mounted mixers (only 1 in use)
- Miditemp PMM-88 (Patchbay)
- Yamaha SPX-2000 (Effects) - 2 units
Notes
-
Gallo
-
Gallo
-
Masters, Tim. "Genesis reunion 'not about money'",
BBC News, 7 November 2006.
-
cyberreviews.skwc.com/genesis.html
External links
| v • d • e Genesis |
| Tony
Banks | Phil
Collins | Mike
Rutherford |
| Peter Gabriel | Steve
Hackett | Anthony Phillips | John
Mayhew | John Silver | Chris Stewart | Bill
Bruford | Daryl Stuermer | Chester
Thompson | Ray Wilson |
| Discography |
| Studio albums: From Genesis to Revelation
| Trespass | Nursery
Cryme | Foxtrot
| Selling England by the
Pound | The Lamb Lies Down on
Broadway | A
Trick of the Tail | Wind
& Wuthering | ...And Then There
Were Three... | Duke
| Abacab
| Genesis | Invisible
Touch | We
Can't Dance | Calling
All Stations |
| Live Albums: Genesis
Live | Seconds
Out | Three
Sides Live | Live/The
Way We Walk, Volume One: The Shorts | Live/The
Way We Walk, Volume Two: The Longs | Gladiators
- Live in Rome |
| Compilations: Turn It On Again: The Hits
| Platinum Collection |
| Box sets: Genesis Archive 1967-75
| Genesis Archive 2:
1976-1992 | Genesis
1976-1982 |
| EPs: Spot
the Pigeon | 3 X 3 |
| Films: Genesis:
In Concert |