As you'll guess, over the years I've had loads of messages from fans of some of the acts and projects I've been involved in - from all the singles (the UK Records collection is shifting loads and provoking huge interest) to things like 10cc, The Rocky Horror Show, Chumbawamba, The Sun Has Got His Hat On... but most of all are the incredible army of Genesis fans, possibly provoked by the upcoming BBC documentary which I'm meant to be in at length though who knows whether I'll end up on the cutting room floor of history.

The Chinese Whispers of inaccuracy have been increased by social media enabling the uninformed and even malicious to rephrase and adapt the reality.

But a new fan site seems keen to discover and establish the truth so, in hopes they succeed - here's the link...

thegenesisarchive.co.uk/

JK, thank you for letting your forum know that there is a place where curious people can learn about what became of the group you originally signed to JonJo music.

We hope to cover all aspects of the history of the group. and if possible with your help we would be fascinated with getting some accuracies to the Genesis of the group you saw something worthwhile in.

Regards

All at The Genesis Archive

Indeed - as anyone reading 65 My Life So Far knows, I found them when I returned to Charterhouse as a successful pop star (one hit in 1965) and independent producer (another hit It's Good News Week in 1965). They had no name - I gave them Genesis as it was the start of my serious production career. Signed them to Jonjo Music (NOT Decca - where I was never a "talent spotter" as incorrectly invented on WikiWrongDia) and made several singles and their first album - From Genesis To Revelation - which I still think is terrific and reflects their shyness, innocence and naivety at the time. Like my original Rocky Horror Show soundtrack - in both cases they don't represent what the projects later became but superbly show the early days. I always find capturing that early enthusiasm and energy and keenness an essential and often ignored musical quality.

In both cases - there is not only a place but a crucial reality in the more polished, expert and professional sounds that time, experience and practice bring to players, actors, performers, engineers, studios. But there's a lot to be said for the different but equally essential qualities of youth or the first attempts to convey enthusiasm.

The dangers of much "history" is both that "chinese whispers" adapt the truth as years go by and, in many cases, amateurs don't research properly. As an example, my autobiography contains cuttings from national and music papers detailing all the facts at the time (like my running Decca for Sir Edward Lewis - unpaid - twice; an extraordinary and unbelievable situation) but these clippings are ignored as not being acceptable sources because they have been reprinted in something I wrote. Whether they consider I have the time or even the expertise to doctor these is never explained - nor why I would want to do so!

I suspect usually lazy "editors" assume I've quoted instead of carried the actual cuttings and therefore disbelieve it. Getting a copy of the book and looking at the photos is far too much effort!