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GENESIS

Symphonic Prog • United Kingdom


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Genesis biography
Formed in 1967 at Charterhouse School, Godalming, Surrey, UK - Disbanded in 1998 - Shortly reunited in 2007-08


Beloved Symphonic prog rock through to stadium filling rock titans

Any biography of Genesis must recognise that there are distinct periods in the band's history, and that any discussion should recognise that musically and lyrically, the band which filled vast stadia throughout the 1990's was a completely different creature to that which played sweaty student halls filled with spotty young men in the early 1970's.

The original incarnation of the band had its origins in two outfits formed by Peter GABRIEL (vocals & flute), Tony BANKS (keyboards), Michael RUTHERFORD (bass & rhythm guitars), and Anthony PHILLIPS (lead guitars) whilst boarding students at the elite English public school, Charterhouse in the mid-1960's. Outside the confines of an extremely stuffy atmosphere, the world was becoming far more liberated, socially, sexually, politically, and musically, and these bands represented an outlet for young men who, basically, as young men do, wanted some of that.

The two acts coalesced into one, and the students had the novel idea of placing a tape of their music into the hands of Jonathan King whilst he was visiting his alma mater. King was, at this time, a big selling artist and musical impresario, and, consequently, someone who mattered in the rock world.

The tapes were basic, but King took a shine to Gabriel's voice, and recognised a unique sound and talent which, if nurtured, could become huge. He arranged for the band, with drummer Chris Stewart, to record some sessions in London, where the boys experimented with quite complex, orchestral pastiches. Knowing that King was not happy, the band penned Silent Sun, a song which was essentially a Bee Gees tribute single. The brothers Gibb were huge commercially at this time, and King was known to be a huge fan. The resulting album in early 1969 was named "Genesis to Revelation" by King, as representing something brand new and exciting in the musical world. It barely scratched the surface of the commercial music world, and, for many a year after, copies could still be found in the bargain bin section of stores.

Following this, there was, initially, some d...
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GENESIS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

GENESIS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.54 | 1370 ratings
From Genesis to Revelation
1969
4.13 | 2702 ratings
Trespass
1970
4.42 | 3666 ratings
Nursery Cryme
1971
4.61 | 4144 ratings
Foxtrot
1972
4.65 | 4768 ratings
Selling England by the Pound
1973
4.31 | 3425 ratings
The Lamb Lies Down on Broadway
1974
4.28 | 3015 ratings
A Trick of the Tail
1976
4.11 | 2295 ratings
Wind & Wuthering
1976
3.42 | 1717 ratings
...And Then There Were Three...
1978
3.52 | 1737 ratings
Duke
1980
2.62 | 1504 ratings
Abacab
1981
2.79 | 1505 ratings
Genesis
1983
2.51 | 1532 ratings
Invisible Touch
1986
2.66 | 1393 ratings
We Can't Dance
1991
2.45 | 1190 ratings
Calling All Stations
1997

GENESIS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1074 ratings
Genesis Live
1973
4.35 | 1108 ratings
Seconds Out
1977
3.49 | 603 ratings
Three Sides Live
1982
2.18 | 415 ratings
Live - The Way We Walk Volume One - The Shorts
1992
2.96 | 426 ratings
Live - The Way We Walk Volume Two - The Longs
1993
3.28 | 377 ratings
Live over Europe 2007
2007
4.44 | 18 ratings
Watcher of the Skies - 1972
2023

GENESIS Videos (DVD, Blu-ray, VHS etc)

4.47 | 180 ratings
In Concert 1976
1977
3.13 | 97 ratings
Three Sides Live
1982
3.33 | 76 ratings
The Mama Tour
1985
2.49 | 62 ratings
Visible Touch (VHS)
1987
3.38 | 52 ratings
A History Of Genesis
1991
3.39 | 89 ratings
The Way We Walk (DVD)
2001
3.92 | 60 ratings
The Genesis Songbook
2001
2.85 | 38 ratings
Inside Genesis 1975-1980
2003
3.23 | 119 ratings
Invisible Touch - Live At Wembley (DVD)
2004
3.09 | 91 ratings
The Video Show
2004
3.99 | 105 ratings
Genesis Live Video
2004
2.92 | 43 ratings
Inside Genesis The Gabriel Years 1970-1975
2004
3.13 | 21 ratings
Rock Review - A Critical Retrospective
2005
2.58 | 45 ratings
The Gabriel Era
2006
3.81 | 68 ratings
In London
2007
3.53 | 17 ratings
Up Close And Personal (DVD and book set)
2007
4.14 | 191 ratings
When In Rome
2008
3.18 | 17 ratings
Land of Confusion
2010
2.50 | 43 ratings
Sum Of The Parts
2014

GENESIS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.52 | 12 ratings
Presenting Genesis
1974
3.35 | 7 ratings
70's Pop Sound
1974
4.32 | 18 ratings
Genesis Collection Volume One
1975
4.39 | 17 ratings
Genesis Collection Volume Two
1975
2.69 | 61 ratings
Reflection - Rock Theatre
1975
4.09 | 31 ratings
The Best...
1976
2.62 | 22 ratings
Genesis in Concert
1977
3.65 | 10 ratings
The Story Of Genesis
1978
4.24 | 25 ratings
Nursery Cryme / Foxtrot
1979
3.29 | 9 ratings
The Lamb Lies Down On Broadway
1981
3.28 | 6 ratings
Genesis
1981
2.50 | 9 ratings
Genesis
1981
2.31 | 7 ratings
Genesis
1989
1.44 | 8 ratings
The Vertigo Years
1990
2.45 | 40 ratings
Turn It On Again - Best Of 81-83
1991
4.28 | 308 ratings
Archive 1967-1975
1998
2.83 | 30 ratings
The Original Album
1998
2.03 | 10 ratings
The Greatest
1998
2.26 | 125 ratings
Turn It On Again - The Hits
1999
3.00 | 169 ratings
Archive #2 1976-1992
2000
3.21 | 112 ratings
The Platinum Collection
2004
2.37 | 22 ratings
14 From Our Past
2007
3.51 | 111 ratings
Genesis 1983-1998
2007
2.21 | 52 ratings
Turn It On Again The Hits -The Tour Edition
2007
3.92 | 149 ratings
Genesis 1976 - 1982
2007
4.56 | 227 ratings
Genesis 1970 -75
2008
3.80 | 112 ratings
Genesis Live 1973 - 2007
2009
4.24 | 21 ratings
The Movie Box
2009
2.29 | 7 ratings
The Magic Of Time
2013
2.37 | 53 ratings
R-Kive
2014
2.91 | 26 ratings
The Last Domino?
2021
4.17 | 20 ratings
BBC Broadcasts
2023

GENESIS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.57 | 40 ratings
The Silent Sun / That's Me
1968
2.63 | 35 ratings
A Winter's Tale / One-Eyed Hound
1968
2.74 | 23 ratings
GENESIS
1969
4.11 | 69 ratings
The Knife
1971
4.24 | 34 ratings
Nursery Cryme
1972
3.23 | 69 ratings
Happy The Man
1972
4.06 | 78 ratings
Twilight Alehouse
1973
4.25 | 73 ratings
I Know What I Like (In Your Wardrobe)
1973
4.56 | 45 ratings
Watcher of the Skies
1973
4.05 | 22 ratings
I Know What I Like (In Your Wardrobe) / After The Ordeal
1973
3.78 | 23 ratings
I Know What I Like / More Fool Me
1973
4.30 | 20 ratings
The Lamb Lies Down On Broadway (Promo)
1974
4.13 | 61 ratings
Counting Out Time
1974
4.37 | 72 ratings
The Carpet Crawlers / The Waiting Room
1975
4.21 | 57 ratings
Counting Out Time / Riding The Scree
1975
4.53 | 30 ratings
The Lamb Lies Down On Broadway
1975
3.69 | 32 ratings
I Know What I Like (In Your Wardrobe)
1975
3.98 | 36 ratings
The Carpet Crawl
1975
4.35 | 40 ratings
A Trick of the Tail
1976
3.44 | 36 ratings
Ripples
1976
3.99 | 52 ratings
Entangled
1976
3.26 | 38 ratings
Your Own Special Way
1976
4.61 | 28 ratings
Entangled / Ripples
1976
4.42 | 31 ratings
A Trick Of The Tail / Squonk
1976
4.16 | 25 ratings
A Trick Of The Tail / Carpet Crawl
1976
4.00 | 18 ratings
I Know What I Like (In Your Wardrobe) / Carpet Crawl
1977
2.98 | 170 ratings
Spot the Pigeon
1977
3.24 | 19 ratings
Go West Young Man (In the Motherlode)
1978
3.23 | 65 ratings
Follow You Follow Me
1978
3.92 | 51 ratings
Many Too Many
1978
3.40 | 51 ratings
Duchess/Open Door
1980
2.92 | 50 ratings
Misunderstanding
1980
3.70 | 55 ratings
Turn it on again
1980
2.84 | 42 ratings
No reply at all
1981
2.89 | 65 ratings
Abacab
1981
2.69 | 46 ratings
Keep it dark
1981
2.40 | 53 ratings
3 X 3
1982
3.92 | 18 ratings
The Lady Lies
1982
3.04 | 19 ratings
Paperlate picture 7''
1982
2.91 | 38 ratings
Man On The Corner
1982
2.97 | 10 ratings
Turn It On Again (Live)
1982
4.09 | 11 ratings
I Know What I Like (In Your Wardrobe) / Counting Out Time
1982
3.69 | 13 ratings
Follow You, Follow Me / A Trick Of The Tail
1983
4.18 | 24 ratings
Home By The Sea
1983
4.36 | 37 ratings
Firth Of Fifth
1983
3.09 | 66 ratings
Mama
1983
2.92 | 45 ratings
That's All
1983
2.36 | 47 ratings
Illegal Alien
1983
2.59 | 27 ratings
Taking it all too hard
1984
2.78 | 9 ratings
Tonight, Tonight, Tonight Exclusive Candid Interview
1986
2.38 | 56 ratings
Invisible Touch
1986
2.38 | 41 ratings
Throwing It All Away
1986
2.08 | 46 ratings
In Too Deep
1986
2.61 | 63 ratings
Land of Confusion
1986
3.30 | 40 ratings
Tonight, Tonight, Tonight 12''
1987
3.30 | 30 ratings
Tonight, Tonight Tonight Tonight 7''
1987
3.55 | 47 ratings
No Son Of Mine
1991
1.79 | 14 ratings
We Can't Dance (Special Edition Volkswagen)
1991
2.48 | 21 ratings
Tell Me Why 5'' Cd single
1992
2.57 | 37 ratings
Jesus He Knows Me 5'' CD single
1992
2.37 | 48 ratings
I Can't Dance
1992
2.61 | 38 ratings
Hold On My Heart
1992
2.30 | 22 ratings
Never a Time
1993
2.75 | 21 ratings
Tell me why
1993
3.18 | 11 ratings
...Calling All Stations... Album Sampler...
1997
1.89 | 54 ratings
Congo
1997
2.57 | 39 ratings
Shipwrecked
1997
2.47 | 41 ratings
Not About Us
1998
2.90 | 39 ratings
The Carpet Crawlers 1999 promo CD
1999

GENESIS Reviews


Showing last 10 reviews only
 From Genesis to Revelation by GENESIS album cover Studio Album, 1969
2.54 | 1370 ratings

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From Genesis to Revelation
Genesis Symphonic Prog

Review by Lobster77

2 stars -The genesis of Genesis-

As the start for the symphonic prog band Genesis with Jonathan King lending a hand for the project this album gives promising vocals by Peter Gabriel displaying the potential for future editions of their discography. I have tried listening to this album but it doesn't strike as hard as other albums by the group. A good similarity is that this album is a dirty window with some clean spots that create better pieces.

 Trespass by GENESIS album cover Studio Album, 1970
4.13 | 2702 ratings

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Trespass
Genesis Symphonic Prog

Review by martindavey87

2 stars Genesis' second album, 1970's 'Trespass', kicks off what many fans consider the bands golden era of progressive rock. Their 1969 debut, 'From Genesis to Revelation', was far from befitting of one of my favourite bands, but with its successor, the British five-piece would release a string of albums that would go on to become highly revered by prog rock fans everywhere.

Well, except me.

I've actually had this album on-and-off my playlist for a number of years now. Unsure what to think about it, hoping that something might just click, but nope. Nothing. While the songs seem a bit more band-oriented than before, and the writing becoming more confident, overall, I still find this album pretty boring.

There are a couple of moments dotted around that sound interesting, but they kind of get lost in the shuffle. In fact, there's only really one track that I don't mind, and that's early classic 'The Knife'. I don't think it's particularly great or anything though, and it's doubtful I'll ever go out of my way to listen to it.

Which is a shame, because Genesis are one of my all-time favourite bands. But two albums into their discography, and I'm struggling. I should note though, that I grew up on the Phil Collins pop-era material, and while Collins has become synonymous with the name Genesis, at this point he's not yet a member of the band. So maybe he's the vital piece of the puzzle that's still missing. Moving on, perhaps I'll have more luck with their next album?

 Calling All Stations by GENESIS album cover Studio Album, 1997
2.45 | 1190 ratings

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Calling All Stations
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

2 stars Review Nº 860

"Calling All Stations" is the fifteenth and last studio album of Genesis and that was released in 1997. It was recorded following the Phil Collins's departure from the band in 1996. Vocalist Ray Wilson, the brother of Steven Wilson, who had fronted a short lived but popular grunge influenced outfit called Stiltskin, was brought on board after a lengthy auditioning period. Wilson's darker vocals were more reminiscent of Peter Gabriel than Collins. The drummers Nir Zidkyahu and Nick D'Virgilio, the Spock's Beard drummer, were called to supply the drums. The album met negative reviews upon its release, saying that Wilson was a good vocalist but that the album suffered from lack of good material.

"Calling All Stations" has eleven tracks. All songs were written by Tony Banks and Mike Rutherford except "Not About Us", "Small Talk" and "There Must Be Some Other Way" all written by Tony Banks, Mike Rutherford and Ray Wilson. The first track "Calling All Stations" is the title track. It's a good and interesting track that sounds different from what the band have ever done before. It's a song much more heavily that what was usual on the band driven by the sound of the keyboard and the guitars. We may say this is a surprising open for a Genesis' album. The second track "Congo" was the first single from this Genesis' album. It marked the debut of Ray Wilson as the vocalist of the band. It's a song with a clear pop tune with an African style drum beat. This is a song that became a hit across the Europe. It isn't a bad song indeed, but in reality it sounds too much to a pop song. The third track "Shipwrecked" was also a song chosen to be released as a single from this album, and it was only a minor hit. It's a simple ballad with a very simple musical structure that became a little bit repetitive. This isn't also a bad song, but it seems very clear that it was mainly made to be a big hit single. The fourth track "Alien Afternoon" is, without any doubt, until this moment, the best and most progressive song on the album. This is, in my humble opinion, the band's first attempt to return to their progressive roots. In reality, we are in presence of a pretty good song that sounds to the neo-prog style. The fifth track "Not About Us" was the third and final single taken from this Genesis' album. It was also the last single to feature Ray Wilson. It's a nice and beautiful ballad with great melody and full of emotion. It's certainly a song with the hand of Ray Wilson, which is beautifully and superiorly sung by him. The sixth track "It That's What You Need" is a great and another emotional ballad. It's a very slow and melancholic song very romantic, nice, catchy and pleasant to hear. This is, in my opinion, one of the better songs on the album. The seventh track "The Dividing Line" is with "Alien Afternoon", one of my two favourite tracks on the album, until now. It has an excellent drumming work and it's also, in my humble opinion, with "Alien Afternoon", the second song one the album with some progressive lines. The eighth track "Uncertain Weather" is another good song on the album. It has interesting lyrics and some beautiful musical moments. It's a track dominated by the synthesizers performed by Banks, which simply flows along the musical structure of the song. This represents another beautiful musical moment on the album. The ninth track "Small Talk" is one of my less favourite songs on the album. It's a song with some funk influence, but sincerely, I think they failed their objective. This is, in my opinion, a repetitive song with some pale creativity musical ideas. The tenth track "There Must Be Some Other Way" is with "Alien Afternoon" and "The Diving Line" the third highlight on the album and represents also their most progressive song on the album, too. This is a good song with the nice and crystalline vocals of Ray. This is, without any doubt, a song with some beautiful musical moments and also with clear progressive lines. The eleventh and last track "One Man's Fool" finishes the album in a very quiet and slow way. Despite being not a bad song, this isn't, for me, a brilliant song. It's also a very repetitive song without any kind of musical creativity. This is probably my less favourite song on the album.

Conclusion: "Calling All Stations" was almost a completely deception to me. I'm not saying this is a bad album but definetely I expected much more of it, really. Apparently, it had all the conditions to be a great progressive album. In the first place, Phil Collins quit the band leaving the door open to Tony Banks and Mike Rutherford left the pop influences of their last albums and return to the original progressive roots of the group. In the second place and in my humble opinion, their previous studio album "We Can't Dance", despite some pop songs, had a less pop oriented direction. In the third place, we were in the end of the 90's, a time when the progressive music has returned in force. There were also the times were many new prog bands arrived. So, is "Calling All Stations" a bad album? No. We can even say that it's a good album. But, it can be a good album to some other band, but not for a band like Genesis. So, this is the reason why I'm saying that "Calling All Stations" was almost a deception to me. It represents, without any doubt, an opportunity missed by Genesis to can return to their previous progressive roots. And I really think that their faithful fans deserved completely it. So, "Calling All Stations" became, in a certain way, a completely waste of time in Genesis' musical career.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Wind & Wuthering by GENESIS album cover Studio Album, 1976
4.11 | 2295 ratings

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Wind & Wuthering
Genesis Symphonic Prog

Review by sgtpepper

5 stars "Wind and wuthering" was yet again one in the streak of fantastic Genesis album. It was also the last truly progressive one. What superlatives can it hold? I consider it being most romantic and elegant Genesis album. Banks (composing, arrangements and playing) and Collins (drums, vocals) are in the exceptional shape. Unfortunately, Hackett isn't represented as much as he should, with the exception of "Blood on the rooftops", "Unquiet Slumbers for the Sleepers..." and "...In That Quiet Earth" though he is still an important contributor to the Genesis sound. Banks uses synths, digital piano and Mellotron architect a rich and one of a kind symphonic sound magnified by his choice of wonderful chord sequences. Collins has gained more colour and subtlety in his voice but wasn't yet at his peak. I like Rutherford use of a powerful bass pedal that augments Banks' approach.

The album starts with two exceptional fantasy tracks. Both are very well developed and bring additional graduation sections at the end. If you listen to this on YouTube, you'll see many listeners praising these epics. Banks mellow solo interludes cross the classical territory and create a natural flow. "One of the vine" is an example of tender singing, guitar and on the other hand, powerful ARP/synth instrumental section supported by disco-like drumming. The tension peak at 8:20 is yet another stunning clever part. Collins' range here is phenomenal. After stepping up to spectacular heights of the two first tracks, things get simplified on "Your own special way", it is closer to pop than prog. The song could have been shorter but Collin's voice treatment and Banks' digital piano solo in the middle are the highlights. "Wot gorilla" is perhaps the only jazz-tinged number that could have easily come out of "Trick of the tail" sessions. It's first two minutes are strong, then it loses the steam a bit. Nice collaboration between Banks and Hackett. "All in a mouse's night" takes us into a magical world of Mellotron, synths and dynamic changes. From 3:55 onward, the band pulls out a stunning symphonic moment with synth layers and dueling with guitar. "Blood on the rooftops" is an introspective melancholic number, not too progressive but well arranged and Hackett distinguished playing propel it to one of the most beautiful Genesis tracks. "In that quiet earth" reminds me a bit of "Los Endos" with its upbeat instrumentation but thankfully, it doesn't reference other pieces from the album. While former Genesis albums may have been more experimental and progressive, the magic of the "Trick of the tail", "Wind and wuthering" and "ATTWT" is at full display. Wind and wuthering has almost no flaws which would change from the next album on. I feel that the loss of Hackett did more to the band than Gabriel's departure. 4.5 stars

 Selling England by the Pound by GENESIS album cover Studio Album, 1973
4.65 | 4768 ratings

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Selling England by the Pound
Genesis Symphonic Prog

Review by Alxrm

4 stars Selling... is considered (and it is) an iconic album in prog rock. Hundreds of people have grown with it and swear by it, but personally I got to know Genesis later in my life through this album. Although I love it, I wouldn't rate it among my ever-favourites because the songs it contains are separated in my mind in two categories: the first one includes the masterpieces (Dancing With the Moonlight Knight, Firth of Fifth, and the final triad which I think of as one song) and the second which includes the remaining three (I Know What I Like, More Fool Me, The Battle of Epping Forest) that haven't clicked, each for its own reasons. In that sense, it isn't perfect to my ears, but then again the masterpieces are so luminous that they may outshine any flaws. The instrumental sections of Firth of Fifth and The Cinema Show alone could claim it.
 Inside Genesis 1975-1980 by GENESIS album cover DVD/Video, 2003
2.85 | 38 ratings

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Inside Genesis 1975-1980
Genesis Symphonic Prog

Review by martindavey87

2 stars Standard unofficial documentary, featuring a bunch of music people, none of whom I can actually remember right now, talking about Genesis. Like any of these types of DVD's, it's merely okay. This one has the benefit of including actual footage of the band, in performance and interviews, but ultimately, this is still a typical "independent critical review" type DVD. There's a bit focusing on what keys the songs are in (as if anyone asked for this!), and there's a good deal of attention given to Steve Hackett's solo stuff. But ultimately, this DVD is probably the sort of thing you'd watch one, then keep hold of as it belongs in your OCD-riddled collection.
 A Trick of the Tail by GENESIS album cover Studio Album, 1976
4.28 | 3015 ratings

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A Trick of the Tail
Genesis Symphonic Prog

Review by S.T. Zhang

2 stars A classic GENESIS Craftwork. Probably a masterpiece if you like symphonic prog. But as a listener from other sub-genres... It sounds boring. Just like what I've been said about Foxtrot, the album does have cozy moments that I'm glad to appreciate...But most of the time it just sounds tasteless. And there's problem with the lyrics. Sometimes it's so weird that I can't understand what they're trying to tell. The whole rhythm of the album was in slow pace that I couldn't help myself yawn when listening to it. Some songs where just "made to be long" and full of unnecessary information. I mean, 40 minutes is better, 30 minuets is totally fine! Anyway, it's just my own opinion. I'm not a Genesis fan... So I'd rather listen to Selling England.
 The Video Show by GENESIS album cover DVD/Video, 2004
3.09 | 91 ratings

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The Video Show
Genesis Symphonic Prog

Review by martindavey87

3 stars Two-and-a-half hours of Genesis music videos, there's not really much to complain about. I mean, I grew up on a lot of this. In fact, one of my earliest memories? and I don't just mean musical, but life memories, is seeing the video for 'I Can't Dance' on the TV we had on top of the fridge in the kitchen.

Granted, a lot of the videos are pretty naff by today's standards, and Phil Collins can always be relied upon to add an element of cheesy humour to a lot of these, but despite that, the music is pretty much perfect. Whether it's Gabriel, Collins, or hell, even Wilson-era, the material is spot-on.

It's just a shame there's no extras, because music video compilation DVD's are obsolete these days. Regardless, this definitely belongs in the collection of any Genesis fan.

 Live - The Way We Walk Volume Two - The Longs by GENESIS album cover Live, 1993
2.96 | 426 ratings

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Live - The Way We Walk Volume Two - The Longs
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 836

"The Way We Walk, Volume Two ? The Longs" is the fifth live album of Genesis and that was released in 1993. It has been recorded during their "We Can't Dance" live tour, which occurred in the year of 1992. It was also the final full-length Genesis' release to feature Phil Collins as a member of Genesis before his amicable split from the band, in 1996.

While its road companion live album, the preceding "The Way We Walk, Volume One ? The Shorts" was totally focused on their short and most commercial recent pop hit songs, "The Way We Walk, Volume Two ? The Longs" was entirely focused on their lengthier, less commercial and most progressive songs that were performed during that period of time.

The shared title that is common on these both live releases is a clear reference to the phrase "the way I walk", which appears in the lyrics of two different songs of the band, "I Can't Dance" that appeared on "The Way We Walk, Volume One ? The Shorts" and "I Know What I Like" that appeared on "The Way We Walk, Volume Two ? The Longs".

"The Way We Walk, Volume Two ? The Longs" has six tracks. All tracks on this live compilation were been recorded at Niedersachenstation, Hanover, Germany, in 1992. "Old Medley" is a medley of several tracks performed by Genesis through the years, with some excerpts of different tracks from Gabriel and Hackett's eras. On this live tour, it replaced "In The "Cage" medley and the "Old Medley" that appeared on the DVD of the Earls Court live show. The excerpts of the "Old Medley" belong to "Dance On A Volcano" that was taken from "A Trick Of The Tail", "The Lamb Lies Down On Broadway" that was taken from "The Lamb Lies Down On Broadway", "The Musical Box" that was taken from "Nursery Cryme" and "Firth Of Fifth" and "I Know What I Like (In Your Wardrobe)" that both were taken from "Selling England By The Pound". Curiously, this last excerpt has also very short excerpts from "That's All" and "Illegal Alien" that both were taken from "Genesis", "Your Own Special Way" that was taken from "Wind And Wuthering", "Follow You Follow Me" that was taken from "And Then There Were Three?" and "Stagnation" that was taken from "Trespass". "Driving The Last Spike" was originally released on "We Can't Dance". "Domino" is divided into two parts, "Part I ? In The Glow Of The Night" and "Part II ? The Last Domino". It was originally released on "Invisible Touch". "Fading Lights" was originally released on "We Can't Dance". "Home By The Sea/Second Home By The Sea" was originally released on "Genesis". "Drum Duet" was, as its name indicates, a live drum duet between Phil Collins and Chester Thompson.

"The Way We Walk, Volume Two ? The Longs" has a breathtaking sound, and it's almost another studio production. The "sterile" mix of the material makes this a live material on which, except for the applause, next to nothing can be heard from the audience. The first track "Old Medley" is an excellent medley almost focused on some of their best progressive works. It represents an incredible and unforgettable musical moment, with about 20 minutes long, and it's for me, one of the best medleys I've ever heard. The other four lengthy songs "Home By The Sea/Second Home By The Sea", "Domino", "Driving The Last Spike" and "Fading Lights" are all excellent live versions of the best and most progressive songs from "Genesis", "Invisible Touch" and "We Can't Dance", respectively. "Home By The Sea/Second Home By The Sea" sounds fresher and denser than in its 83 studio version. "Domino" is more powerful than ever and is played cleanly. "Driving The Last Spike" is one of the strongest tracks on "We Can't Dance" and sounds suspiciously very close to the original. "Fading Lights" is much more interesting, powerful and instrumentally embellished than on the studio original. The long instrumentals on "Fading Lights" and "Home By The Sea/Second Home By The Sea" will likely delight their fans. So, their best and most progressive songs after the 70's are almost present on "The Way We Walk, Volume Two ? The Longs". It only lacks to it "Duke's Travels/Duke's End" from "Duke" and "Dodo/Lurker" from "Abacab". Finally, the last track "Drum Duet" is a nice track and represents a good musical moment by both drummers.

Conclusion: "The Way We Walk, Volume Two ? The Longs" is an excellent live compilation from Genesis, especially because it's exclusively focused on some of their lengthier, less commercial and most progressive material work, contrary to their previous brother live album "The Way We Walk, Volume One ? The Shorts". As many of you know, I'm a big Genesis' fan and that I love especially their music from Gabriel and Hackett's era. Still, you also know that I like very much of some of their later tracks, especially their lengthiest and most progressive tracks. So, "The Way We Walk, Volume Two ? The Longs" has some excellent musical moments, despite being more a live compilation album, than a true live album. Finally, a last thought about both live compilation albums. If you have both parts (The Shorts and The Longs), you have all the essential tracks that appear on the last three Genesis' albums with Phil Collins in better and livelier versions than its studio versions. With both, you can skip "Invisible Touch", "We Can't Dance" and "Genesis".

Prog is my Ferrari. Jem Godfrey (Frost*)

 Live - The Way We Walk Volume One - The Shorts by GENESIS album cover Live, 1992
2.18 | 415 ratings

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Live - The Way We Walk Volume One - The Shorts
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 835

"The Way We Walk, Volume One - The Shorts" is the fourth live album of Genesis and that was released in 1992. It's a compilation of songs performed live on two different live tours and in several locations. Eight songs were from the "We Can't Dance" tour, in 1992 and the remaining three songs were from the "Invisible Touch" tour, in 1986 and 1987.

"The Way We Walk, Volume One - The Shorts" was followed in the following year by another compilation album, their road companion and fifth live album "The Way We Walk, Volume Two - The Longs". However, while "The Way We Walk, Volume One - The Shorts" was totally focused on their short and most commercial songs, "The Way We Walk, Volume Two - The Longs" was, as its name indicates, entirely focused on the lengthier, less commercial and most prog stracks.

The shared title that is common on these both live releases is a clear reference to the phrase "the way I walk", which appears in the lyrics of two different songs of the band, "I Can't Dance" that appeared on "The Way We Walk, Volume One ? The Shorts" and "I Know What I Like" that appeared on "The Way We Walk, Volume Two - The Longs".

"The Way We Walk, Volume One - The Shorts" has eleven tracks. "Land Of Confusion" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "No Son Of Mine" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Jesus He Knows Me" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Throwing It All Away" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in two different places, Knebworth Park, Stevenage, UK and Niedersachenstation, Hanover, Germany. "I Can't Dance" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Mama" was originally released on "Genesis". It was taken from the "Invisible Touch" live tour. It was recorded in the Wembley Stadium, London, UK. "Hold On My Heart" was originally released on "We Can't Dance". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "That's All" was originally released on "Genesis". It was taken from the "Invisible Touch" live tour. It was recorded in the Wembley Stadium, London, UK. "In Too Deep" was originally released on "Invisible Touch". It was taken from the "Invisible Touch" live tour. It was recorded in L.A. Forum, Inglewood, CA, USA. "Tonight, Tonight, Tonight" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany. "Invisible Touch" was originally released on "Invisible Touch". It was taken from the "We Can't Dance" live tour. It was recorded in Niedersachenstation, Hanover, Germany.

"The Way We Walk, Volume One - The Shorts" is a collection of some of Genesis' most recognizable songs. The track list opens with the strong and energetic "Land Of Confusion". It's a song of the 80's that concern the relations between the USA and Russia. As for me, the message is still relevant and fits in with the present. "Mama" and "No Son Of Mine" also touches upon difficult topics, such as, toxic relationships, domestic violence, and the character of the tyrant father are commonplace. In the live versions both tracks sound really great. "Jesus He Knows Me" is another big hit to hit the album. Probably everyone knows this dynamic keyboard and guitar intro and can hum at least a fragment of the song. "I Can't Dance" has a great, humorous and slightly bluesy feel and "Invisible Touch" is an absolute hit for many people. In this live version, it sounds great, especially because Collins allowed himself to improvise in the end. The album also includes slightly calmer songs, such as "Throwing It All Away", "Hold On My Heart" and "In Too Deep". Some romantic music with heart warming lyrics are certainly material for a hit in contrast with the more energetic and strong songs.

Conclusion: "The Way We Walk, Volume One - The Shorts" is, in general, a good live compilation album of Genesis, despite being only focused on some of their short and most commercial material. Who usually read my reviews knows that I'm a big Genesis' fan and that I love especially, their music from Gabriel and Hackett's era. They also know that I like very much of some of their later songs, especially their lengthy and most progressive songs. However, there are some short songs that I love, especially when they're performed live. So, "The Way We Walk, Volume One - The Shorts" has some very good musical moments like "Land Of Confusion", "No Son Of Mine", "Mama" and "Tonight, Tonight, Tonight". Of course it has also some songs like "Hold On My Heart" and "In Too Deep" that should never be part of the Genesis' catalogue but only of Phil Collins' catalogue. However, I'm convinced that "The Way We Walk, Volume One - The Shorts" is, in general, a good and nice selection of songs, very well performed and pleasant enough to be heard.

Prog is my Ferrari. Jem Godfrey (Frost*)

Thanks to ProgLucky for the artist addition. and to Lazland (w/ Quinino help) for the last updates

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