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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 | 1202 ratings
From Genesis to Revelation
1969
4.15 | 2395 ratings
Trespass
1970
4.42 | 3283 ratings
Nursery Cryme
1971
4.60 | 3743 ratings
Foxtrot
1972
4.64 | 4310 ratings
Selling England by the Pound
1973
4.31 | 3090 ratings
The Lamb Lies Down on Broadway
1974
4.28 | 2696 ratings
A Trick of the Tail
1976
4.11 | 2024 ratings
Wind & Wuthering
1976
3.43 | 1503 ratings
...And Then There Were Three...
1978
3.50 | 1514 ratings
Duke
1980
2.61 | 1310 ratings
Abacab
1981
2.79 | 1304 ratings
Genesis
1983
2.48 | 1335 ratings
Invisible Touch
1986
2.67 | 1215 ratings
We Can't Dance
1991
2.48 | 1046 ratings
Calling All Stations
1997

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

3.99 | 963 ratings
Genesis Live
1973
4.34 | 993 ratings
Seconds Out
1977
3.48 | 537 ratings
Three Sides Live
1982
2.14 | 371 ratings
Live - The Way We Walk Volume One - The Shorts
1992
2.91 | 382 ratings
Live - The Way We Walk Volume Two - The Longs
1993
3.26 | 340 ratings
Live Over Europe 2007
2007

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

4.47 | 169 ratings
In Concert 1976
1977
3.14 | 88 ratings
Three Sides Live
1982
3.37 | 68 ratings
The Mama Tour
1985
2.51 | 56 ratings
Visible Touch (VHS)
1987
3.38 | 47 ratings
A History Of Genesis
1991
3.40 | 85 ratings
The Way We Walk (DVD)
2001
3.95 | 56 ratings
The Genesis Songbook
2001
2.94 | 32 ratings
Inside Genesis 1975-1980
2003
3.26 | 108 ratings
Invisible Touch - Live At Wembley (DVD)
2004
3.08 | 82 ratings
The Video Show
2004
3.97 | 95 ratings
Genesis Live Video
2004
2.89 | 39 ratings
Inside Genesis The Gabriel Years 1970-1975
2004
3.06 | 17 ratings
Rock Review - A Critical Retrospective
2005
2.54 | 42 ratings
The Gabriel Era
2006
3.78 | 63 ratings
In London
2007
3.70 | 14 ratings
Up Close And Personal (DVD and book set)
2007
4.16 | 180 ratings
When In Rome
2008
3.69 | 13 ratings
Land of Confusion
2010
2.43 | 39 ratings
Sum Of The Parts
2014

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

3.25 | 5 ratings
Presenting Genesis
1974
3.18 | 3 ratings
70's Pop Sound
1974
4.21 | 10 ratings
Genesis Collection Volume One
1975
4.28 | 10 ratings
Genesis Collection Volume Two
1975
2.68 | 57 ratings
Reflection - Rock Theatre
1975
4.08 | 27 ratings
The Best...
1976
2.51 | 16 ratings
Genesis in Concert
1977
3.53 | 5 ratings
The Story Of Genesis
1978
4.18 | 17 ratings
Nursery Cryme / Foxtrot
1979
3.13 | 4 ratings
The Lamb Lies Down On Broadway
1981
3.10 | 2 ratings
Genesis
1981
2.38 | 5 ratings
Genesis
1981
5.00 | 2 ratings
Genesis
1989
1.33 | 5 ratings
The Vertigo Years
1990
2.34 | 33 ratings
Turn It On Again - Best Of 81-83
1991
4.27 | 268 ratings
Archive 1967-1975
1998
2.79 | 25 ratings
The Original Album
1998
3.00 | 5 ratings
The Greatest
1998
2.26 | 114 ratings
Turn It On Again - The Hits
1999
3.00 | 152 ratings
Archive #2 1976-1992
2000
3.19 | 100 ratings
The Platinum Collection
2004
2.08 | 21 ratings
14 From Our Past
2007
3.53 | 102 ratings
Genesis 1983-1998
2007
2.21 | 47 ratings
Turn It On Again The Hits -The Tour Edition
2007
3.93 | 138 ratings
Genesis 1976 - 1982
2007
4.53 | 215 ratings
Genesis 1970 -75
2008
3.81 | 105 ratings
Genesis Live 1973 - 2007
2009
4.40 | 15 ratings
The Movie Box
2009
1.60 | 5 ratings
The Magic Of Time
2013
2.24 | 42 ratings
R-Kive
2014

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

2.55 | 34 ratings
The Silent Sun / That's Me
1968
2.60 | 27 ratings
A Winter's Tale / One-Eyed Hound
1968
2.66 | 19 ratings
GENESIS
1969
4.10 | 60 ratings
The Knife
1971
4.12 | 22 ratings
Nursery Cryme
1972
3.18 | 60 ratings
Happy The Man
1972
4.05 | 73 ratings
Twilight Alehouse
1973
4.24 | 67 ratings
I Know What I Like (In Your Wardrobe)
1973
4.68 | 34 ratings
Watcher of the Skies
1973
3.94 | 18 ratings
I Know What I Like (In Your Wardrobe) / After The Ordeal
1973
3.61 | 18 ratings
I Know What I Like / More Fool Me
1973
4.33 | 18 ratings
The Lamb Lies Down On Broadway (Promo)
1974
4.19 | 54 ratings
Counting Out Time
1974
4.33 | 65 ratings
The Carpet Crawlers / The Waiting Room
1975
4.23 | 50 ratings
Counting Out Time / Riding The Scree
1975
4.58 | 24 ratings
The Lamb Lies Down On Broadway
1975
3.64 | 26 ratings
I Know What I Like (In Your Wardrobe)
1975
3.87 | 28 ratings
The Carpet Crawl
1975
4.38 | 34 ratings
A Trick of the Tail
1976
3.33 | 30 ratings
Ripples
1976
3.95 | 46 ratings
Entangled
1976
3.33 | 33 ratings
Your Own Special Way
1976
4.57 | 21 ratings
Entangled / Ripples
1976
4.48 | 23 ratings
A Trick Of The Tail / Squonk
1976
4.31 | 16 ratings
A Trick Of The Tail / Carpet Crawl
1976
3.71 | 14 ratings
I Know What I Like (In Your Wardrobe) / Carpet Crawl
1977
2.99 | 157 ratings
Spot the pigeon
1977
3.12 | 14 ratings
Go West Young Man (In the Motherlode)
1978
3.22 | 57 ratings
Follow You Follow Me
1978
3.98 | 47 ratings
Many Too Many
1978
3.41 | 48 ratings
Duchess/Open Door
1980
2.90 | 47 ratings
Misunderstanding
1980
3.73 | 50 ratings
Turn it on again
1980
2.75 | 38 ratings
No reply at all
1981
2.90 | 59 ratings
Abacab
1981
2.67 | 43 ratings
Keep it dark
1981
2.36 | 44 ratings
3 X 3
1982
3.92 | 17 ratings
The Lady Lies
1982
2.80 | 16 ratings
Paperlate picture 7''
1982
2.89 | 33 ratings
Man On The Corner
1982
2.85 | 8 ratings
Turn It On Again (Live)
1982
4.22 | 9 ratings
I Know What I Like (In Your Wardrobe) / Counting Out Time
1982
3.78 | 9 ratings
Follow You, Follow Me / A Trick Of The Tail
1983
4.26 | 18 ratings
Home By The Sea
1983
4.36 | 34 ratings
Firth Of Fifth
1983
3.06 | 58 ratings
Mama
1983
3.03 | 40 ratings
That's All
1983
2.31 | 40 ratings
Illegal Alien
1983
2.56 | 22 ratings
Taking it all too hard
1984
2.14 | 7 ratings
Tonight, Tonight, Tonight Exclusive Candid Interview
1986
2.42 | 49 ratings
Invisible Touch
1986
2.41 | 37 ratings
Throwing It All Away
1986
2.07 | 39 ratings
In Too Deep
1986
2.61 | 59 ratings
Land of Confusion
1986
3.42 | 36 ratings
Tonight, Tonight, Tonight 12''
1987
3.56 | 25 ratings
Tonight, Tonight Tonight Tonight 7''
1987
3.68 | 41 ratings
No Son Of Mine
1991
1.64 | 11 ratings
We Can't Dance (Special Edition Volkswagen)
1991
2.39 | 18 ratings
Tell Me Why 5'' Cd single
1992
2.62 | 33 ratings
Jesus He Knows Me 5'' CD single
1992
2.56 | 41 ratings
I Can't Dance
1992
2.62 | 34 ratings
Hold On My Heart
1992
2.31 | 20 ratings
Never a Time
1993
2.79 | 19 ratings
Tell me why
1993
3.25 | 8 ratings
...Calling All Stations... Album Sampler...
1997
1.90 | 51 ratings
Congo
1997
2.56 | 36 ratings
Shipwrecked
1997
2.46 | 39 ratings
Not About Us
1998
2.89 | 38 ratings
The Carpet Crawlers 1999 promo CD
1999

GENESIS Reviews


Showing last 10 reviews only
 Three Sides Live by GENESIS album cover Live, 1982
3.48 | 537 ratings

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Three Sides Live
Genesis Symphonic Prog

Review by Jack_608

5 stars This (specifically, the "fourth side live" version) is my favorite Genesis album. I have a lot of, shall we say, uncommon opinions about Genesis and their music, but this a hill I will (not literally) die on. Almost everything I love about Genesis is represented on this record.

Most of this set is pulled from recordings from the "Abacab" tour, with a few select older recordings added in for flavor. The "Abacab" and "Duke" material is very lively and lush, mixing catchier pop-rock moments with arena-prog bombast, extended instrumental jams, and occasional gentle atmosphere.

All five musicians are on top of their game. Phil Collins has come into his own as a lead vocalist, as has Mike Rutherford as a lead guitarist. Tony Banks is stoically competent as always. Chester Thompson holds down a steady groove with his own style--not as hard-hitting and room-filling as Phil Collins's gated-reverb sound, but he plays with a lot of groove and feel. On some songs, when Phil isn't busy crooning, he joins in on drums, and the double-drum is massive .. and fun. Then there's the unsung Daryl Steurmer, the rock-solid professional missing piece: sometimes dutifully thumping out eighth notes, sometimes shredding like the best of the guitar heroes.

Disc two (aka sides three and four) is filled with proggy goodness, though. "In the Cage" becomes larger than life with the thick sound design, and segues nicely into a sweet "Cinema Show" instrumental jam, bursting into a rolicking-yet- soaring "Slippermen" excerpt, and then blissfully falling into the climactic, lighter-waving "Afterglow." Then there's the mini-epic "One for the Vine," followed by a lush "Fountain of Salmacis," and ending with some bonus Bill Bruford on a mini-medley of "it" and the end of "Watcher of the Skies."

I should probably mention, though, there's a .. well, idiosyncratic version of "Misunderstanding" on here. If you're a Phil Collins hater and want a[nother] reason to torture a voodoo doll, this is the track for you--specifically, the last vamp-chorus.

But other than that, I think this is a pretty essential Genesis release. It's got a lively energy many of their studio albums lack. and it's got a great mixture of old material alongside the best of the early 80s.

 The Lamb Lies Down on Broadway by GENESIS album cover Studio Album, 1974
4.31 | 3090 ratings

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The Lamb Lies Down on Broadway
Genesis Symphonic Prog

Review by Jack_608

3 stars This is a very polarizing (double) album. For some, it's the pinnacle of progressive rock, the perfect melding of story and music, sweeping and epic. For others, it's a cautionary tale of hubris and excess. Me? I think it's .. okay.

I've listened to this record countless times, read the lyrics, read interpretations of the story, and I won't rehash that here. And for some reason, it just doesn't connect with me. I get what they were going for, and I enjoy some of the music. But the overarching concept doesn't feel very connected to me. It's a patchwork of musical ideas that that make more of a collage than a coherent whole piece.

The songs themselves are a mixed bag for me, too. The more popular songs, like the title track and "Carpet Crawlers," I just don't get that excited about. It doesn't help that Peter Gabriel's "cheeky naughty boy" schtick takes center stage on songs like "Counting out Time" and "Slippermen." There are some highlights for me though .. "Back in NYC" is a fun romp with a rockin 7/8 beat and badass attitude that leads into the gentle "Hairless Heart." "Anyway" and "Lamia" are lovely piano-driven numbers that recall the better parts of "Foxtrot" and the like. Throughout, Phil Collins's drumming is always an enjoyable groove. Unfortunately, there's a lot of filler material padding out large swaths of disc two.

All in all, it's not an okay listen, but it's also one that I rarely reach for. Every once in a while I'll get the urge to revisit it to see if it "clicks" with me, but it never does. It deserves its "classic" status for its sheer audacity, but my experience with it is somewhere between the "transcendent masterpiece" and "bloated pretentious crap" extremes of opinion.

 ...And Then There Were Three... by GENESIS album cover Studio Album, 1978
3.43 | 1503 ratings

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...And Then There Were Three...
Genesis Symphonic Prog

Review by Lupton

3 stars After the superb "Wind And Wuthering" I have alway felt "And Then Their Were Three" was a big disappointment.Obviously with Steve Hackett gone it would be unfair to expect them to carry on in the same vein as their previous albums especially as they decided not to replace him with another guitarist but have bassist Mike Rutherford step up to the mark. Infact his guitar playing is not the problem.Nor is the production which in retrospect is not dramatically different from the previous album.No- what the real problem is are the songs themselves.If they were to lose the long form songs which was their strength and replace them with shorter songs they really needed to make sure all of those songs were potential chart worthy. As it turned out only "Follow You Follow Me" gave them a big hit- admittedly a substantial hit as well which no doubt helped make the album a hit as well.But most of the other songs were simply not well crafted and song craftsmanship is something they usually excelled at. Even the one epic- "Burning Rope" seems a little clunky in places especially the chorus.My personal favourite track is the driving opener "Down and Out" with its complex rhythm and keyboard solo.It is a pity there are not more tracks like that. As it is- not a bad album but definitely their weakest to date

3 stars

 The Lamb Lies Down on Broadway by GENESIS album cover Studio Album, 1974
4.31 | 3090 ratings

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The Lamb Lies Down on Broadway
Genesis Symphonic Prog

Review by prog_traveller!!

5 stars In 1974 Genesis would release "The Lamb Lies Down on Broadway", the last album with Peter Gabriel as singer and leader, a record in which the British would move away from their inimitable sound between medieval and symphonic consolidated in records such as "Selling England by the Pound "or "Nursery Crime "to offer a new Genesis much more rocking and highly influenced by electronic music. "The lamb that lies on Broadway" is very poetic and each of its songs is even more poetic, you feel that you see each of its lyrical elements as the minutes go by.

We are facing a reflection of Peter Gabriel's claustrophobia within the group. Gabriel spits out a concept. The journey, initiatory and dreamlike, of a young Puerto Rican, Rael, who crosses the limits of reality together with his brother John, antagonist and eternal father figure of the young man.With the paucity of lyrics the other members of the group would take care of the musical aspect of the twenty-three pieces that make up this double album that, despite the discrepancies in the group, despite the change in style and despite the critical situation of several of its members, would become one of the emblems of progressive rock and one of the best records of the seventies. The set of songs on "The Lamb Lies Down on Broadway" is clearly conceptual, but despite this, the following songs can be highlighted: "Fly On A Winshield", a theme that unites the madness in which the whole concept of the album will be involved, the band creates an atmosphere so bizarre that it makes you feel an unconscious sense of dread just like its character, don't get me wrong, it's that feeling where the concept achieves its purpose. It's something so theatrical that it grabs you. The balance between Peter's staging as well as the musical part manage to immerse us in the aforementioned. "Cuckoo Cocoon", a theme that philosophically narrates Rael's calm using the allegory of a cocoon that explains life itself. "In The Cage", a clearly progressive theme that tells how Rael, the main character, breaks free from his cocoon of birth and is in a dark cave, with a very well achieved instrumental work that manages to create a true feeling of claustrophobia and in which Tony Banks's superb keyboard solo stands out. "The Chambers Of 32 Doors" is the perfect exposition of progressive elements that marked that era, the essence comes to life in Peter Gabriel's voice, the touch of Collins intensifies the bundle of sensations to a greater level. In this tune Rael has to choose between 32 doors and make the right choice. "Anyway" is another powerful piece in which Gabriel and all his potential as a singer merge with Banks' hypnotic piano to offer a truly overwhelming song. "The Lamia", one of the most beautiful songs ever written, I feel that it has all the components that give artistic richness to life itself. The lamias seduce Rael who falls before the sensuality of these mythological beings that have a beautiful face and torso of a woman but the remaining body of snakes, the character is so enchanted with them that he is led to that dark ritual of offering himself before them and then devour them. All of this is presented with impeccable music in which the piano and keyboards are once again the protagonists and that practically manages to get you into the story even without even knowing the lyrics.

This album exposed the musical fierceness of the band, made Genesis risk in sounds as in their concept and makes us live Rael's experiences first hand. It's simple, it's a masterpiece that deserves all the recognition in the world.

 Selling England by the Pound by GENESIS album cover Studio Album, 1973
4.64 | 4310 ratings

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Selling England by the Pound
Genesis Symphonic Prog

Review by prog_traveller!!

5 stars At the time of Selling England by the Pound, Genesis were firmly ruled by Peter Gabriel, who brought the baroque and refined atmospheres that characterized the band's compositions to a very high level. All seven pieces contain numerous medieval variations, acoustic, melodic and symphonic, and each instrumental intervention was a prerequisite for a further extension of the duration of the pieces, stimulating a musical chain reaction that opened new gashes in the supporting structure of the songs, until reaching higher peaks. In this way, each instrument added new shades of color, so that from each piece it was possible to extrapolate, if desired, melodic lines useful for building another three or four independent pieces.

The team, despite the conflicts that arose inside the group, formed an extremely well-coordinated and strong collective that complemented each other perfectly. The informal musical leader of this British band was keyboardist Tony Banks. This amazing instrumentalist has a remarkable ability to build atmospheric and multi-colored musical landscapes (introduction to "The Cinema Show"). He also had a significant impact on the arrangement and development of the entire material.

No less enthusiastic opinions gathered about the guitar master - Steve Hackett. Already in the opening track "Dancing With The Moonlit Knight" the guitarist impeccably controls the mood of the whole composition. He is also an absolute world champion in combining various musical threads into a compact form. It begins gently, we listen to Gabriel's gentle singing, but then we have constant twists, changes in dynamics and moods and colors. Flute parts here, keyboards there - in a word - incredible richness.

"I Know What I Like", is sprinkled with a certain amount of black humor. It begins with the sound of an electric lawn mower (imitated by keys), followed by a catchy riff invented by Steve Hackett. Most of the piece is sung with two voices, and even polyphony. The vocal parts of Peter Gabriel and Phil Collins complement each other creating an incredibly harmonious whole. Then comes another great composition - "Firth Of Fifth". It begins with a short piano solo by Tony Banks. The middle part of the piece is a long instrumental fragment. Initially, it is based on a piano and flute, but halfway through it you can hear Hackett's beautiful guitar solo - a response to Banks' piano solo. It is probably the most beautiful, or at least the most famous guitar solo in the band's entire work. "More Fool Me" - sung entirely by Phil Collins with the accompaniment of Mike Rutherford playing the acoustic guitar, differs slightly from the album level, but in a way it becomes an indicator of the band's later work. "Battle Of Epping Forest", also presents a slightly weaker level compared to the rest of the album. It begins with a marching sound followed by the remaining instruments and vocals. The piece is quite complicated and this composition, in turn, became an indicator of the solo work of Peter Gabriel. "After The Ordeal", begins with acoustic guitars with a piano backing, and in the middle of it comes another great Hackett solo. "The Cinema Show" consists of two parts. The first is a gentle vocal piece that begins with a verse / chorus structure. In the broadest sense based on T. S. Eliot's "The Waste Land", the text revolves around Romeo and Juliet, who are getting ready for the cinema, with Romeo getting quite keen on Juliet. After a short bridge, for which the whole band comes together, the acoustic part returns and Gabriel plays a lyrical flute solo. The bridge again, and the first part of the song is over. The second part of the song begins after almost exactly six minutes with a rather harsh cut. It then basically consists of a four and a half minute keyboard solo by Tony Banks, with the exception of a beautiful, wistful melody, "The Cinema Show" ends after a long guitar motif from "Dancing with the Moonlit Knight" "Aisle of Plenty" is a kind of short reprise of a part of "Dancing with the Moonlit Knight", and also takes up the themes of the opening piece in the text.

"Selling England By The Pound" turned out to be an absolutely brilliant album. Those who love progressive rock will love this album. Rock music at the very highest level.

 Foxtrot by GENESIS album cover Studio Album, 1972
4.60 | 3743 ratings

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Foxtrot
Genesis Symphonic Prog

Review by prog_traveller!!

5 stars The evolutionary process of Genesis, started with Trespass and significantly improved with Nursery Crime, reaches very high levels with Foxtrot, published for the well-known Charisma Records in 1972. The full length contains five songs and the famous Supper's Ready suite, lasting no less than 23 minutes, which is quite common in the context of English progressive, which is basically the most important part of Foxtrot. Genesis on "Foxtrot" is clearly a self-confident band - in terms of performance and composition. Peter Gabriel uses his vocal abilities more and more abundantly, showing his almost acting ingenuity, which allows him to treat the rock vocalist's voice as a very versatile medium.

Tony Banks' activity is so clear that the keyboards are the sound support of this music. Characteristically, "Foxtrot" is the album on which Banks used to the greatest extent in the band's career the benefits of melotron sounds, which can already be heard in the solemn introduction opening the album "Watcher of the Skies". The omnipresence of keyboard sounds largely degrades the guitar to the role of a rhythmic instrument, but nevertheless it is easy to hear the greater confidence in both electric and acoustic parts of Steve Hackett. It is combining catchy vocals, aggressive guitar, varied keyboards and a rather complex rhythm section play. "Time Table" is a simple, melodic song for a change, very enjoyable but a bit too conventional. More complex is the next track, "Get 'em Out by Friday", which draws attention with the theatrical vocal part of Peter Gabriel, who plays various roles, accompanied by appropriately diverse and well-thought music. "Can-Utility and the Coastliners" feels like another casual song at first, but it grows interesting over time. It is a unique, full of twists and turns in composition, encyclopedic programmatic track that can store so much music in just five minutes. "Supper's Ready" is a fascinating musical and verbal story that explores the concepts of good and evil with the help of abundant means both in the musical and textual layer. The ensemble in this suite, consisting of seven parts, with ingenious musical patents and appropriate instrumental solutions, perfectly fit within the limits of musical decorum, with a magnificent form enabling Gabriel to fully flourish literary possibilities, used in the form of more or less understandable metaphors, verbal games, manifestations and sometimes absurd sense of humor.

Fantastic album from start to finish, and this album is a masterpiece of progressive rock.

 Nursery Cryme by GENESIS album cover Studio Album, 1971
4.42 | 3283 ratings

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Nursery Cryme
Genesis Symphonic Prog

Review by prog_traveller!!

4 stars Phil Collins played the drums, and, Steve Hackett, took the place of Anthony Phillips on the guitar, Michel Rutherford leaves aside his guitar aims and focuses on the bass, Tony Banks begins to stand out as the artistic and instrumental soul of the group, behind his tangle of keyboards. "Nursery Cryme" is a development of the style known from the previous album. Seven songs, including three long, almost 10-minute long and highly complex ones, and four shorter compositions. The line-up change resulted in a sharper but more refined sound for the band. The cover is designed by Paul Whitehead and recalls the theme of the killer nurse playing golf with the heads of unfortunate babies, but its gloomy atmosphere will not prevent the English band from establishing itself with this record, on a large scale first in Italy, before in the homeland and in the rest of Europe. The fantastic 40 minutes of the album are a succession of exciting musical frescoes, where Gabriel and Banks build mythological tales and incomparable allegories, with the jubilation in the final "The Fountain Of Salmacis", an epic and dreamy fairy tale that tells mythical tales of hermaphrodites and water lilies.

The Musical Box, which opens the whole thing, does not come as a surprise at first glance. This is still the style we met on Trespass. At least for the first 5 minutes, because later the ride begins without a grip. We have a sharp guitar solo, crazy drums and such a pace acceleration that Genesis has not yet given us. In general, the entire piece is perfectly constructed, multi-threaded, the subsequent elements intertwine with each other perfectly, and the whole is coherent. The second track - "For Absent Friends" - is a short, about a minute long miniature. "The Return Of The Giant Hogweed" is not as variable as "The Musical Box" and doesn't have that much drama, but it keeps you in suspense thanks to Hackett's wonderful guitar sounds. It is also one example of two-handed taping guitar playing. Peter Gabriel sings less theatrically. The whole thing is kept in check by Phil Collins extremely precise drumming. The text tells about an invasive plant brought from the Caucasus - Mantegazzi borscht, planted as an ornamental plant in royal gardens. This plant then spread uncontrolled outside gardens and plantations. Next we have shorter compositions. First, the beautiful "Seven Stones" wich features wonderful solo by Tony Banks performed on the MK-II melotron .Then we have some black humor in the next short song "Harold The Barrel" - Its characteristic feature is fast piano sounds based on a speeding rhythm section. "Harlequin" is based on the sound of 12-string guitars. The album is closed by an extensive composition "The Fountain Of Salmacis". It is a typical representative of progressive rock at its best. Like most of the tracks in the earlier elaborate compositions, there are numerous mood swings and great drama. A characteristic feature of the piece is a guitar solo that turns into a melotron. Noteworthy is Peter Gabriel's singing, supported by Phil Collins, and the great playing of the rhythm section. The recording ends with a short unison sound of all instruments, following Steve Hackett's wonderful guitar solo.

Dreamlike, fairytale, full of great suggestions, "Nursery Cryme" is the first Genesis masterpiece of the Gabriel era, a fundamental record of English progressive rock.

 Trespass by GENESIS album cover Studio Album, 1970
4.15 | 2395 ratings

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Trespass
Genesis Symphonic Prog

Review by prog_traveller!!

4 stars The second Genesis album, entitled Trespass and released on October 23, 1970, includes the first significant developments towards progressive rock, a genre that will find its accomplishment in the epochal subsequent works of the British combo. With Trespass, whose wonderful cover is the work of the famous English illustrator Paul Whitehead (he also made other covers of Genesis albums, Van Der Graaf Generator, Le Orme and Peter Hammill), we definitely veered towards other shores: the compositions became longer, elaborate, full of melody and better highlight the undoubted technical skills of all the musicians. With Trespass the Genesis begin to make people understand what they are capable of, at just 19 years old . Album influenced by "In the court of Crimson King", represents the first real prog step of our heroes.

The fantastic story of this album opens with "Looking for Someone", where Gabriel's delightfully stentorian voice is combined with a minimal backing track. It will be a "trademark" of the band, also used in subsequent albums. The piece is well structured, with sweet aerial parts and harder sections in response. We continue immersing ourselves in a panorama of mountains and snow-covered woods with "White Mountain" where Gabriel's voice sings an evocative and poignant melody. A piece that involves very well orchestrated accelerations and pauses. "Vision of Angels" is another beautiful moment. The combination of acoustic guitar and keyboards is truly enchanting, with some delicate moans of mellotron and a superfine midsection that slowly leads to the climax of the track, in a choral ascent that leads to the clouds. "Stagnation" - Gabriel's plaintive voice inaugurates the piece, and then starts in a long instrumental section with a keyboard sound that dangerously borders with Nice. The song builds up to an overwhelming conclusion, with Gabriel wearing the anguish on his vocal cords, the melody moves towards a crescendo with an accentuation of the acoustic guitar and keyboards, and then makes room for the organ in more complex arrangements. The piece ends with a beautiful flute and a choral work similar to the previous track. "Dusk" shows the folk profile of Genesis, with Gabriel again grappling with the meaning of life. The ending is explosive: "The Knife" which will be repeated in millions of concerts. Hard, expressive song, with a hammond in the foreground and two excruciating Phillips solos, angry and full of guitar inventiveness, among the best ever performed by the band.

The greatness of Genesis was yet to come, of course, but this Trespass is a high-calorie slice of early prog and "The Knife" is a foretaste of it, one of the essential explosions of the creativity of the Gabriel era.

 Foxtrot by GENESIS album cover Studio Album, 1972
4.60 | 3743 ratings

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Foxtrot
Genesis Symphonic Prog

Review by Foxey

4 stars We open the album with Watcher Of The Skies. It starts with some majestic sounding Mellotron, which feels very sci-fi-ish. After about two minutes of Tony Banks playing it, the rest of the band fades in. Peter Gabriel's vocals are his strongest yet, and while the song does feel a bit chaotic, it most certainly does not get in the way. Time Table is alright, with an okay electric piano solo. If it was on an album by some other artist, it would've been a highlight. But with the two great mini-epics on this album, it's a bit of a step down. After that we have Get 'Em Out By Friday. Peter's speaking in all sorts of voices here, and while they may seem charming at first, eventually they just become annoying. Closing out Side One is Can-Utility And The Coastliners, which tells of the ancient and well-known legend of King Canute. Heard of it? Yeah, me neither. Nevertheless, it's an okay track, but it once again is a bit chaotic. Opening Side Two is the short and sweet instrumental Horizons, which borrows a bit from Bach and doesn't do much else. Taking up the rest of the side is Supper's Ready, widely considered to be Genesis' masterpiece. You can view it as a medley, but that wouldn't do the song justice. I won't get into the plot of the song much, but basically it's a story which involves a couple traveling across a strange world together. They get turned into seeds down at Willow Farm, and when they finally bloom, they witness the Apocalypse. What bad luck. Overall, the album is a good'un, with its highs and lows, and it's a perfect example of prog rock, warts and all.
 Foxtrot by GENESIS album cover Studio Album, 1972
4.60 | 3743 ratings

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Foxtrot
Genesis Symphonic Prog

Review by Lieutenant_Lan

4 stars Foxtrot is the fourth studio album by the English band Genesis, which released in October 1972. The instrumentation on this album is really good but its structured weird sometimes, but otherwise its beautiful at times, and fun at times. The production on this album is really good, but some of the tones are off. The vocals are good, but could be better, the lyrics are pretty good though. This is the Genesis fans pick of favorite Genesis album. Which I get its a great album, but I do not think its as good as Selling England by the Pound. I will give it a 4/5, Excellent but not Perfect, and an excellent addition in any prog collection.
Thanks to ProgLucky for the artist addition. and to Lazland (w/ Quinino help) for the last updates

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