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GENESIS

Symphonic Prog • United Kingdom


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Genesis picture
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 Videos (YouTube and more)


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Selling England By The PoundSelling England By The Pound
Atlantic Catalog Group 2014
$8.93
$8.92 (used)
FoxtrotFoxtrot
Atlantic Catalog Group 2014
$8.83
$7.99 (used)
The Lamb Lies Down On Broadway (2CD)The Lamb Lies Down On Broadway (2CD)
Atlantic Catalog Group 2014
$8.79
$8.78 (used)
A Trick of the TailA Trick of the Tail
Atlantic Catalog Group 2015
$8.58
$7.98 (used)
TrespassTrespass
Geffen 1993
$6.01
$7.32 (used)
Turn It On Again - The HitsTurn It On Again - The Hits
Flashback Atlantic 2007
$4.25
$3.00 (used)
The Lamb Lies Down on Broadway (1974)(2LP)The Lamb Lies Down on Broadway (1974)(2LP)
Atlantic Catalog Group 2018
$19.92
$41.01 (used)
AbacabAbacab
Atlantic Catalog Group 2015
$7.98
$7.40 (used)
Turn It on Again: The Tour EditionTurn It on Again: The Tour Edition
Atlantic Catalog Group 2007
$14.86
$5.76 (used)
DukeDuke
Atlantic Catalog Group 2015
$8.61
$8.60 (used)
Right Now on Ebay (logo)
Genesis - Turn It on Again (The Hits, CD 1999) USD $1.52 [0 bids]
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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)

2.55 | 1083 ratings
From Genesis To Revelation
1969
4.16 | 2173 ratings
Trespass
1970
4.42 | 2975 ratings
Nursery Cryme
1971
4.60 | 3403 ratings
Foxtrot
1972
4.63 | 3903 ratings
Selling England By The Pound
1973
4.30 | 2790 ratings
The Lamb Lies Down On Broadway
1974
4.28 | 2429 ratings
A Trick Of The Tail
1976
4.10 | 1833 ratings
Wind & Wuthering
1976
3.44 | 1366 ratings
...And Then There Were Three...
1978
3.49 | 1368 ratings
Duke
1980
2.60 | 1195 ratings
Abacab
1981
2.78 | 1186 ratings
Genesis
1983
2.45 | 1213 ratings
Invisible Touch
1986
2.66 | 1107 ratings
We Can't Dance
1991
2.49 | 951 ratings
Calling All Stations
1997

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

3.99 | 886 ratings
Genesis Live
1973
4.32 | 906 ratings
Seconds Out
1977
3.43 | 481 ratings
Three Sides Live
1982
2.10 | 345 ratings
Live - The Way We Walk Volume One - The Shorts
1992
2.88 | 356 ratings
Live - The Way We Walk Volume Two - The Longs
1993
3.23 | 312 ratings
Live Over Europe 2007
2007

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

4.47 | 157 ratings
In Concert 1976
1977
3.11 | 80 ratings
Three Sides Live
1982
3.38 | 63 ratings
The Mama Tour
1985
2.49 | 53 ratings
Visible Touch (VHS)
1987
3.37 | 45 ratings
A History Of Genesis
1991
3.39 | 79 ratings
The Way We Walk (DVD)
2001
3.95 | 55 ratings
The Genesis Songbook
2001
2.92 | 31 ratings
Inside Genesis 1975-1980
2003
3.24 | 98 ratings
Invisible Touch - Live At Wembley (DVD)
2004
3.06 | 77 ratings
The Video Show
2004
3.96 | 89 ratings
Genesis Live Video
2004
2.86 | 37 ratings
Inside Genesis The Gabriel Years 1970-1975
2004
3.06 | 17 ratings
Rock Review - A Critical Retrospective
2005
2.46 | 38 ratings
The Gabriel Era
2006
3.74 | 55 ratings
In London
2007
3.78 | 13 ratings
Up Close And Personal (DVD and book set)
2007
4.16 | 171 ratings
When In Rome
2008
3.69 | 13 ratings
Land of confusion
2010
2.43 | 36 ratings
Sum Of The Parts
2014

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

5.00 | 2 ratings
Presenting Genesis
1974
5.00 | 1 ratings
70's Pop Sound
1974
4.12 | 7 ratings
Genesis Collection Volume One
1975
4.19 | 7 ratings
Genesis Collection Volume Two
1975
2.67 | 55 ratings
Reflection - Rock Theatre
1975
4.10 | 25 ratings
The Best...
1976
2.51 | 16 ratings
Genesis in Concert
1977
4.05 | 3 ratings
The Story Of Genesis
1978
4.15 | 14 ratings
Nursery Cryme / Foxtrot
1979
3.50 | 2 ratings
The Lamb Lies Down On Broadway
1981
5.00 | 1 ratings
Genesis
1981
4.00 | 2 ratings
Genesis
1981
5.00 | 2 ratings
Genesis
1989
1.18 | 3 ratings
The Vertigo Years
1990
2.47 | 30 ratings
Turn It On Again - Best Of 81-83
1991
4.27 | 260 ratings
Archive 1967-1975
1998
2.76 | 24 ratings
The Original Album
1998
3.00 | 3 ratings
The Greatest
1998
2.23 | 109 ratings
Turn It On Again - The Hits
1999
2.99 | 146 ratings
Archive 2 1976 - 1992
2000
3.20 | 94 ratings
The Platinum Collection
2004
2.00 | 20 ratings
14 From Our Past
2007
3.51 | 97 ratings
Genesis 1983-1998
2007
2.27 | 44 ratings
Turn It On Again The Hits -The Tour Edition
2007
3.93 | 130 ratings
Genesis 1976 - 1982
2007
4.52 | 205 ratings
Genesis 1970 -75
2008
3.82 | 98 ratings
Genesis Live 1973 - 2007
2009
4.42 | 12 ratings
The Movie Box
2009
2.25 | 4 ratings
The Magic Of Time
2013
2.26 | 38 ratings
R-Kive
2014

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

2.55 | 31 ratings
The Silent Sun / That's Me
1968
2.53 | 23 ratings
A Winter's Tale / One-Eyed Hound
1968
2.56 | 15 ratings
GENESIS
1969
4.05 | 55 ratings
The Knife
1971
4.08 | 19 ratings
Nursery Cryme
1972
3.18 | 55 ratings
Happy The Man
1972
4.04 | 68 ratings
Twilight Alehouse
1973
4.23 | 60 ratings
I Know What I Like (In Your Wardrobe)
1973
4.67 | 29 ratings
Watcher of the Skies
1973
3.86 | 14 ratings
I Know What I Like (In Your Wardrobe) / After The Ordeal
1973
3.31 | 13 ratings
I Know What I Like / More Fool Me
1973
3.91 | 11 ratings
The Lamb Lies Down On Broadway (Promo)
1974
4.15 | 47 ratings
Counting Out Time
1974
4.31 | 58 ratings
The Carpet Crawlers / The Waiting Room
1975
4.19 | 45 ratings
Counting Out Time / Riding The Scree
1975
4.47 | 17 ratings
The Lamb Lies Down On Broadway
1975
3.56 | 22 ratings
I Know What I Like (In Your Wardrobe)
1975
3.79 | 23 ratings
The Carpet Crawl
1975
4.36 | 25 ratings
A Trick of the Tail
1976
3.20 | 22 ratings
Ripples
1976
3.93 | 38 ratings
Entangled
1976
3.23 | 24 ratings
Your Own Special Way
1976
4.64 | 14 ratings
Entangled / Ripples
1976
4.50 | 16 ratings
A Trick Of The Tail / Squonk
1976
4.25 | 12 ratings
A Trick Of The Tail / Carpet Crawl
1976
3.50 | 10 ratings
I Know What I Like (In Your Wardrobe) / Carpet Crawl
1977
2.99 | 144 ratings
Spot the pigeon
1977
3.10 | 12 ratings
Go West Young Man (In the Motherlode)
1978
3.16 | 50 ratings
Follow You Follow Me
1978
4.01 | 42 ratings
Many Too Many
1978
3.38 | 42 ratings
Duchess/Open Door
1980
2.88 | 41 ratings
Misunderstanding
1980
3.71 | 42 ratings
Turn it on again
1980
2.69 | 33 ratings
No reply at all
1981
2.87 | 51 ratings
Abacab
1981
2.86 | 37 ratings
Keep it dark
1981
2.50 | 37 ratings
3 X 3
1982
4.00 | 13 ratings
The Lady Lies
1982
2.88 | 15 ratings
Paperlate picture 7''
1982
2.80 | 27 ratings
Man On The Corner
1982
2.88 | 7 ratings
Turn It On Again (Live)
1982
3.83 | 6 ratings
I Know What I Like (In Your Wardrobe) / Counting Out Time
1982
3.33 | 6 ratings
Follow You, Follow Me / A Trick Of The Tail
1983
4.25 | 15 ratings
Home By The Sea
1983
4.31 | 30 ratings
Firth Of Fifth
1983
3.13 | 52 ratings
Mama
1983
2.96 | 35 ratings
That's All
1983
2.24 | 36 ratings
Illegal Alien
1983
2.54 | 20 ratings
Taking it all too hard
1984
3.00 | 4 ratings
Tonight, Tonight, Tonight Exclusive Candid Interview
1986
2.42 | 45 ratings
Invisible Touch
1986
2.37 | 34 ratings
Throwing It All Away
1986
2.05 | 36 ratings
In Too Deep
1986
2.59 | 53 ratings
Land of Confusion
1986
3.39 | 33 ratings
Tonight, Tonight, Tonight 12''
1987
3.59 | 22 ratings
Tonight, Tonight Tonight Tonight 7''
1987
3.75 | 36 ratings
No Son Of Mine
1991
2.22 | 9 ratings
We Can't Dance (Special Edition Volkswagen)
1991
2.56 | 16 ratings
Tell Me Why 5'' Cd single
1992
2.60 | 29 ratings
Jesus He Knows Me 5'' CD single
1992
2.56 | 36 ratings
I Can't Dance
1992
2.65 | 31 ratings
Hold On My Heart
1992
2.43 | 19 ratings
Never a Time
1993
2.89 | 17 ratings
Tell me why
1993
3.60 | 5 ratings
...Calling All Stations... Album Sampler...
1997
1.88 | 45 ratings
Congo
1997
2.52 | 32 ratings
Shipwrecked
1997
2.52 | 34 ratings
Not About Us
1998
3.23 | 34 ratings
The Carpet Crawlers 1999 5' promo CD
1999

GENESIS Reviews


Showing last 10 reviews only
 Genesis Collection Volume Two by GENESIS album cover Boxset/Compilation, 1975
4.19 | 7 ratings

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Genesis Collection Volume Two
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nš 228

"Genesis Collection Volume Two" is a special compilation of Genesis. This is an economic package including their fourth studio album "Foxtrot", released in 1972 and their fifth studio album "Selling England By The Pound", released in 1973, on a double vinyl disc. It included two indispensable albums of the band and it would be a worth purchase, in those days. These are considered the two best studio works by them. Both are two masterpieces that can be joined to "Nursery Cryme" and "The Lamb Lies Down On Broadway", in Gabriel's era. But, for those who have already both albums, this compilation only can be interesting as an addition for those who are vinyl progressive collector's fans.

The line up on both albums is the same. So, we have Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford and Phil Collins.

As I've already reviewed these two albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my both reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I did before, but I'm only going to make a global appreciation of both albums.

"Foxtrot": "Foxtrot" was the album that confirmed definitely Genesis as one of the leading forces of the British symphonic progressive rock movement. It included, for the most Genesis' fans, the ultimate favourite track in form of the 23 minute, "Supper's Ready". This music suite, consisted of several different parts and compositions that, unlike the title track from Yes' "Close To The Edge", clearly were separated by several ideas that later were glued together to make the whole track. But, despite of that, it all worked superb, and the binding main melody is undoubtedly one of the most beautiful melodies the band ever wrote and the composition stand as one of the progressive rock's ultimate masterpieces ever. And the rest of the album kept the same high level of quality. The opener "Watcher Of The Skies" was an airy and energetic song that for many years would become the opening number in almost all the concerts performed by Genesis. "Get 'Em Out By Friday" was the Genesis song that allowed Gabriel most to really act out with several different characters. And "Foxtrot" also included one of their most overlooked gems, "Can-Utility And The Coastliners". Despite its modest length, the song managed to capture absolutely every side of the band in some very beautiful themes and melodies. So, "Foxtrot" is just as essential for any progressive rock fan as air and food are.

"Selling England By The Pound": Back in the studio again, Genesis made, perhaps, their best studio album, "Selling England By The Pound". The album was a flawless masterpiece that demonstrated some of the best and most perfect song writing, arrangements, production and performance that could be found in the 70's symphonic progressive rock music. The album also showed Genesis from their most British side, as most of the lyrics were influenced by the British history, legends and folklore. Hackett delivered my all time favourite guitar solo in the stunningly beautiful track "Firth Of Fifth". "The Cinema Show" started as a typical Genesis' tune of the quiet and atmospheric kind, but built up to an impressive and mighty instrumental part that I wish could go on forever. And at the very end, they returned to the main theme of the fantastic opener "Dancing With The Moonlit Knight", which could be very well one of my ultimate favourite tracks of Genesis, in Gabriel's era. Collins was also allowed to sing a few lines in the laid back "More Fool Me" where the simple arrangement made a comfortable break from the mighty and majestic cascade of sound on all the entire album. "The Battle Of Epping Forest" had some of the most complex lyrics that Gabriel ever wrote, and the album even scored their first hit single in form of "I Know What I Like (In Your Wardrobe)". The sound and style of the latter track would point forward to the next album. This is simply one of the best albums ever made and is perhaps my favourite album too. It represents also my first purchase from the band, in the distant 70's. This is a very special album, for me.

Conclusion: Both albums are two essential progressive rock masterpieces, not only in Genesis' catalogue but also for all progressive rock fans. These are simply two of the best albums ever made in the progressive rock music. If you simply take a look to the Progressive Rock Top Albums of Progarchives, you can clearly see that both albums are in the Top 10. And this is a constant thing that occurs all over the years, without exceptions. But, if you have already these two individual studio albums, you don't need this compilation because it hasn't anything new to offer. Unless you are a collector and you have the chance to discover it in any record store. In this case, this would be a great purchase and a good complement for you, to add a new item to your record collection. Anyway, if you don't have these two albums and you own this compilation, it substitutes perfectly well those original albums. So, I'm going to rate it with 4 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Selling England By The Pound by GENESIS album cover Studio Album, 1973
4.63 | 3903 ratings

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Selling England By The Pound
Genesis Symphonic Prog

Review by oka22

5 stars This has been the first progressive rock album I've ever listened to and it's still my own favourite. Although this is my favorite album, it shows that nothing is perfect, sadly. Firth of Fifth, Dancing with the Moonlit Knight and Cinema Show are really good, breathtaking songs, but there are two songs that break that masterpiece.

More Fool Me. It's simply, boring and unimaginative love song. I can never understand how it was included in the album.

Another song is The battle of the epping forest. It has several great points, but some points are clearly made too hasty and idle. Despite this, TBOFTEF is very good song, but nothing compared to Firth of Fifth or Dancing with the moonlit knight.

Despite these slightly weak songs, Selling England By The Pound is my favourite prog album and maybe the best prog album ever. I give five stars of five.

 From Genesis To Revelation by GENESIS album cover Studio Album, 1969
2.55 | 1083 ratings

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From Genesis To Revelation
Genesis Symphonic Prog

Review by jamesbaldwin

2 stars Genesis debut album (1969) has taken inspiration from the Bible, thanks to the producer J. King. It is an immature and very pretentious album in music and lyrics, but full of creativity. It takes inspiration from pop (Beatles, Kinks, Rolling Stones), orchestral songs (50s style), psychedelic rock (Pink Floyd), classic music (Procol Harum, Moody Blues), soul and blues (Cream) and, for the singing, from the voice hoarse and vibrato of Roger Chapman (Family).

"Where the Sour Turns to Sweet" is an orchestral song, 50s style; "In the Beginning" has a beat sound, quite psychedelic (inspired by Pink Floyd?). In this song Gabriel's voice emerges; "Fireside" starts with a piano intro that shows the emerging Banks talent; it's a cloying song. "The Serpent" has a good rhythm, good Rutherford bass (drums by Silver are in the backgriund) and engaged progression. May be the best song of the Lp. "Am I Very Wrong?" is another well done song, with chorus similar to Mersey beat (Kinks? Beatles?). "In the Wilderness", with the piano played by Banks closes the second side, and take the scene with the string arrangements. Too much pretentious.

Opens side B "The conqueror", beat song with an arrangement quite psychedelic but very monotonous. "In Hiding" with the voice of Gabriel in evidence, is another orchestral song, too much orchestred (if Genesis had George Martin writing the notes of the strings and producing the music...). "One Day" again starts with the string arrangement, then arrives the brass arrangement: it is a very pompous song. The last two songs have a good melody but the arrangement ruins the result. "Window" has maybe the most progressive arrangement, in the beginning, but soon become an orchestral song; "In Limbo" is a beat song, with a good piano, is one of the best tracks. "Silent Sun" is a beat song with a good melody, "A Place to Call My Own" is the last song, a romantic piano ballad.

In this record Genesis are not a progressive rock band, but a band that show a talent for the melody and the beat rhythm, with an orchestral arrangement. The talent of the musicians in playing their instrument has not yet blossomed (Anthony Phillips is wasted on this Lp, doing only rearguard work with the acoustic rhythm guitar) and the songs are limited to orchestrating a pretty melody, but they are almost always swollen, out of focus, and with the string arrangement too much in evidence. Compared to their contemporary progressive rock bands, the Genesis debut album is of much lower quality than the debut of Family, Van der Graaf Generator, King Crimson, Gentle Giant, while it is similar to that of Yes. These correspondence will be significant.

Vote of the album: 7 Two (and a half) stars.

 Genesis Collection Volume One by GENESIS album cover Boxset/Compilation, 1975
4.12 | 7 ratings

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Genesis Collection Volume One
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nš 224

'Genesis Collection Volume One' is a very special compilation of Genesis. It's an economic package that includes their second studio album 'Trespass', released in 1970 and their third studio album 'Nursery Cryme', released in 1971, on a double vinyl record. This was a very interesting compilation because it included two absolutely indispensable musical works of the band at a very cheap price, what would be a very worth purchase, in those days. 'Nursery Cryme' is a truly masterpiece that can rival with some of their albums, such as, 'Foxtrot', 'Selling England By The Pound' and 'The Lamb Lies Down On Broadway'. 'Trespass' is far from be a masterpiece but is without any doubt their first great studio album and is also an excellent addition to any progressive rock collection. So, both albums are essential purchases. However, for those, like me, who have already both albums, this compilation only can be interesting as an addition for vinyl progressive collector's fans. So, we can question the real needing of this kind of compilation albums.

The line up on 'Trespass' is Peter Gabriel, Anthony Phillips, Anthony Banks, Michael Rutherford and John Mayhew. The line up on 'Nursery Cryme' is Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford and Phil Collins.

As I've already reviewed these two albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my both reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I made before, but I'm only going to make a global appreciation of both albums.

'Trespass': We can really wonder what happened to Gabriel & Co between their debut and their second studio album 'Trespass'. From the naive light weighted debut they had turned to a complex and masterful progressive rock sound that would become cloned by literally hundreds of other bands in the following years. Sure, from a technical point of view they were still far from be a perfect band, but the magic atmosphere, the distinctive, the delightful and the classic Genesis' sound, it was already here in all its glory. Gabriel's sore and passionate vocals, Bank's symphonic and majestic mellotron and atmospheric Hammond organ, Rutherford's airy bass sound and Phillips' tasty guitar work, are all presents here. Phillips would actually leave the band after this album, but the new guitarist Hackett would more or less clone his sound and style of playing. There's not a weak point in any of the album's six tracks, really. From the passionate opener 'Looking For Someone' to the mystical 'White Mountain' and then to the beauty of 'Visions Of Angels' through the many wonderful themes and chord changes of 'Stagnation' to the lovely ballad 'Dusk' and finally, the last but not the least, it all ends with the powerful aggression of 'The Knife'. For me, 'Trespass' is one of the most underrated progressive rock albums ever. I always had a very special feeling for it since I listened to it for the first time.

'Nursery Cryme': When Collins and Hackett replaced John Mayhew and Anthony Phillips, the definitive Genesis line up became a reality. The band also became a tighter and much more technical accomplished unit, and they further perfected the sound and style of 'Trespass' on their third studio album 'Nursery Cryme'. The title of the album was derived from the opening track 'The Musical Box' where an old nursery rhyme got mixed with a grotesque and surreal tale about a boy who got decapitated by his nurse. The cover art of the album was also clearly inspired by that song. The track perfectly captured absolutely every element of classic the Genesis, with lots of passion, theatrical drama, and the variations between beautiful, quiet, melodic parts and much harder and energetic passages with some incredible dynamics. 'The Fountain Of Salmacis' and the heavier 'The Return Of The Giant Hogweed' showed Genesis' music from their most ancient and fairytale like side. The symphonic progressive rock doesn't get any better than this. 'Seven Stones' is a beautiful and melodic little tune, while the cheerful 'Harold The Barrel' demonstrating some of Gabriel's best and weird humour and twisted lyrics. So, 'Nursery Cryme' is a classic stuff from the beginning to the end, really.

Conclusion: Both are two great albums from the band. 'Trespass' is the first great album created by the band and is perhaps the most simple and beautiful progressive rock album in all Genesis' career. It represents the real turning point for them. Besides, it's in a way the only album with Phillips on board. 'Nursery Cryme' is their first masterpiece and represents a step forward in relation to their previous album. It combines a superb musicianship, dry wit, and creative compositions making of it an essential piece. Besides that, it's their first album with Hackett and Collins on board. But, if you have both studio albums already, you don't need this compilation, unless, you have a collector vinyl spirit. In this case it will be a great addition to your collection, if you can find a lost copy. However, if you don't have both albums and you own this compilation, it substitutes perfectly well the two original albums. So, I'm going to rate it with 4 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Nursery Cryme by GENESIS album cover Studio Album, 1971
4.42 | 2975 ratings

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Nursery Cryme
Genesis Symphonic Prog

Review by jamesbaldwin

3 stars I am surprised that this album has so much consideration here in PA (number 12 of Top Album ever!). I think it's the worst of the Genesis classic period (and even Trespass is much better).

The famous "The Musical Box" (vote 7.5 / 8) is a song that starts slowly, subdued, intimist and remains in that mood for almost 4 minutes, sometimes monotonous; then comes the instrumental rock part, where the musicians show off their virtuosity, and Collins (more than Hackett) demonstrates what it's worth, characterizing the sound of Genesis with its jazz beat. The song continues up to 10 minutes alternating beautiful instrumental progressions with stunted pieces sung. Overall, it does not take off, it never reaches the climax.

"For Absent Friends" (6.5) is an acoustic piece of less than two minutes, nice in the singing, but without development. "The Return of the Giant Hogweed" (vote 8) finally begins with a nice rock rhythm where Banks and Collins give their best. A melody is missing, everything is based on rhythm that continues very pompous; after 5 minutes the song take a break, the rhythm become slower and the sound intimist; but then start again a pompous final. End of Side A.

"Seven Stones" (vote 7,5/8) is a ballad of 5 minutes with a good progression that alternates romantic epic moments to rock moments, with a lot of changing of the rhythm. "Harold the Barrel" (vote 7+) is a pop song, with the mood of a variety show song. It shows the ironic/satiric vein of Peter Gabriel. The three minutes song "Harlequin" is the worst of the album, being cloying (vote 6+). The last song, "The Fountain of Salmacis" (vote 7,5) close the Lp. It is the third long song (8 minutes) after Musical Box and Giant Hogweed, and as the other two is pompous and magniloquent. The voice of Gabriel is strangely in the background, the keyboard of Banks, as usual, lead the music (again more rhythm than melody); in the instrumental parts we can listen to bass solo.

The album is not very inspired, at a melodic level it is definitely inferior to Trespass, it requires a very attentive listening. On the whole it does not remain in mind, it is too elaborate and forced in many parts. There are good songs but they are not remarkable (not even Musical Box). The technical expertise, expecially in the instrumental parts, partly compensates for the poor melodic vein. I think this record is very overrated, probably because it is the first one with the line-up most loved by Genesis fans.

Medium quality of the songs: 7,29 Vote album: 7,5. Three stars.

 Nursery Cryme / Foxtrot by GENESIS album cover Boxset/Compilation, 1979
4.15 | 14 ratings

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Nursery Cryme / Foxtrot
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nš 216

'Nursery Cryme/Foxtrot' is a special compilation of Genesis. This is an economic package including their third studio album 'Nursery Cryme', released in 1971 and their fourth studio album 'Foxtrot', released in 1972, on a double vinyl disc. It included two indispensable works from the band that would be a worth purchase, in those days. These are considered two of the best studio works by them. Both are two masterpieces that can be joined to 'Selling England By The Pound' and 'The Lamb Lies Down On Broadway', in Gabriel's era. But, for those who have already both albums, like me, this compilation only can be interesting as an addition for those who are vinyl progressive collector's fans.

The line up on both albums is the same. So, we have Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford and Phil Collins.

As I've already reviewed these two albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my both reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I made before, but I'm only going to make a global appreciation of both albums.

'Nursery Cryme': 'Nursery Cryme', has three masterpieces 'The Musical Box', 'The Return Of The Giant Hogweed' and 'The Fountain Of Salmacis', three excellent tracks 'Harold The Barrel', 'Harlequin' and 'Seven Stones' and a good track 'For Absent Friends'. 'The Musical Box' is an epic that became as one of the most central pieces of Genesis, becoming in one of the band's symbols. It was frequently played on their live sets. It includes an accredited writing contribution by their former member Anthony Phillips. 'For Absent Friends' is a short acoustic ballad with beautiful lyrics, a nice guitar duet and good double vocals. It's the first of the two songs from the band to be sung by Collins, in Gabriel's era. 'The Return Of The Giant Hogweed' is the second epic. It's a bombastic track with theatrical lyrics and with all the things that made of Genesis a so innovative group in the 70's. 'Seven Stones' is a beautiful song full of mellotron and is perhaps the best track after their three epic tracks. It shows Gabriel's great and unique voice and Bank's masterful keyboard work. 'Harold The Barrel' has interesting lyrics, is funny, is very rhythmic and provides a joyful moment. 'Harlequin' harmonizes the voices of Gabriel and Collins, providing a very beautiful short folksy piece with nice vocal harmonies. 'The Fountain Of Salmacis' is the great gem of the album. It has great energy, which collapses into an avalanche of emotions. It features everything that was great and unique, in 70's, in that Genesis' era.

'Foxtrot': 'Foxtrot' was the first band's album that reached the top in Genesis' career. It became the album that solidified their career and reputation as songwriters and performers. It has six tracks. 'Watcher Of The Skies' is a great opener for the album that gives a sense of majesty and power to the beginning of the album. 'Time Table' is a beautiful and graceful song, which brings calm, after the great intensity of 'Watcher Of The Skies'. It's about the medieval times, with a catchy tune, a nice piano intro and fairly intense chorus. 'Get'Em Out By Friday' is a very good track in the vein of a mini rock opera with great musicality. It shows Gabriel's amazing vocal versatility and the fantastic skills of Banks on keyboards. 'Can-Utility And The Coastliners' has beautiful vocals by Gabriel, and a great finale by Banks and Hackett, which makes the song very dramatic and melodic. 'Horizons' starts with the central idea of a track made in the baroque style, and is a typical Hackett's classical guitar track. This piece is influenced by the 'Prelude Of The First Cello Suite' by J. S. Bach. 'Supper's Ready' is probably the most known and beloved song by their fans. It's also their most progressive track. This is a track full of amazing musicianship and lyrics, and is one of the most representatives of the progressive rock music. It stands as a testament of how unique and creative Genesis was during the early 70's.

Conclusion: Both are two great albums of the band. 'Nursery Cryme' is very important and represents undoubtedly the beginning of the new line up of Genesis and represents also the starting point, of an absolutely amazing career. Still, I really think that 'Nursery Crime' is a transitional album, being better than 'Trespass', but being slightly less good than their three following albums. 'Foxtrot' was basically the reason why Gabriel started dressing up on stage, in strange masks and costumes. By the other hand, 'Foxtrot' is the album that contains one of the songs that people still talk about with a certain reverence and which inspired many other bands to write lengthy suites, even today. If you have the two studio albums already, you don't need this compilation because it has nothing new to offer, unless, you have a collector's vinyl spirit. In this case, it will be a great addition to your collection. But, if you don't have these two albums and you own this compilation, it substitutes perfectly well those original albums. So, I'm going to rate it with 4 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Archive 2 1976 - 1992 by GENESIS album cover Boxset/Compilation, 2000
2.99 | 146 ratings

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Archive 2 1976 - 1992
Genesis Symphonic Prog

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Genesis Archive 2: 1976'1992" is a three-disc box set by UK pop/rock act Genesis. The box set was released through Virgin Records (UK)/Atlantic Records (US) in November 2000. As the title suggests it's the second archive in a series, and this release covers the years 1976-1992 with Phil Collins as the band's lead vocalist. The first box set from 1998 titled "Genesis Archive 1967'1975", covered the years with Peter Gabrial as Genesis lead vocalist. "Genesis Archive 2: 1976'1992" is not a best-of type box set/compilation, but rather a rare track/B-sides/live track type box set. It includes most single B-sides from the period, two tracks off the "3x3 (1982)" EP ("Me and Virgil" was left off), two tracks from the "Spot the Pigeon (1977)" EP ("Match of the Day" was left off), some 12" remixes of tracks from "Invisible Touch (1986)" and "We Can't Dance (1991)", a work-in-progress version of "Mama", and quite a few live tracks from various albums from the period, recorded over the years. Some of the live tracks had appeared as single B-sides, while others were previously unreleased.

For fans of Phil Collins-era Genesis, "Genesis Archive 2: 1976'1992" is a bit of a treasure chest. The live tracks feature well sounding professional productions and there are a couple of pretty interesting track choices among them like "Deep in the Motherlode", "Burning Rope", and "The Lady Lies". All three tracks were originally featured on "...and Then There Were Three (1978)", but these live versions are exclusive to this release. As far as I know none of those tracks have been featured on other live releases by Genesis. Other than those three tracks, the two tracks from the "Spot the Pigeon (1977)" EP, and live versions of "Ripples" and "Entangled", which are originally featured on "A Trick of the Tail (1976)", there aren't that many pre-80s tracks featured on the box-set. So the focus is mostly on material or recordings from the 80s, although the late 70s certainly aren't forgotten either.

The 12" remix versions of the tracks from "Invisible Touch (1986)" and "We Can't Dance (1991)" and the work-in- progress version of "Mama" are probably the least interesting tracks on the box-set. They are all great tracks and the remix versions are typically longer and adds more instrumental sections, but it's nothing breathtaking and to my ears the original versions are superior, which makes these 12" remix versions a bit redundant. Including the work-in-progress version of "Mama", that's almost 40 minutes of the 3 hours and 26 minutes total box-set playing time. So it's not something you can see past completely, but on the other hand, it's still quality material. Personally I would much rather have Genesis include "Me and Virgil" and "Match of the Day", which were apparently left off, because the members couldn't find common ground and agree to put them on the box-set.

As mentioned earlier "Genesis Archive 2: 1976'1992" is still a bit of a gem though, as many of the live tracks and single B-sides are brilliant tracks. Some are a bit odd/different and it's obvious why they were left off the album releases (not that they are bad quality tracks or anything like that), while others make you wonder about the album tracklist choices made by the band. The opening track "On the Shoreline", which is a B-side to the "I Can't Dance" single from December 1991, is an example of the latter, as it's an absolutely brillant and catchy track, which could easily have been included on "We Can't Dance (1991)", and could probably even have heightened the quality of that release. Another example is "Evidence of Autumn", which is the B-side track to the "Misunderstanding" single from August 1980. Another quite brilliant track.

"Genesis Archive 2: 1976'1992" is through and through a high quality release, despite a few less interesting choices for the tracklist, but the majority of the material are high class compositions, which may not have fit on the album they were written for, but sure deserve more than just collecting dust in the vault or being hidden on the B-side of a single. The live tracks are also of great quality, and for fans of Phil Collins-era Genesis I'd go as far as to say that this is mandatory listening. A 4 star (80%) rating is deserved.

 The Best... by GENESIS album cover Boxset/Compilation, 1976
4.10 | 25 ratings

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The Best...
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nš 212

"The Best..." is a very special compilation of Genesis. It's an economic package that includes their third studio album "Nursery Cryme", released in 1971, and their fourth studio album "Foxtrot", released in 1972, on a double vinyl record. This was a very interesting compilation because it included two absolutely indispensable musical works of the band at a very cheap price, what would be a very worth purchase, in those days. "Nursery Cryme" and "Foxtrot" are two of the best studio albums of Genesis and represent two indispensable works, especially for lovers of Gabriel's musical era. However, for those like me, who have already both albums, it might be a nice addition for all vinyl prog collectors.

The art work of the compilation is very interesting and strange at the same time. In the inside there are some interesting articles about the band and the front cover is very colourful and contains the track list of the songs. Personally I don't like particularly of the front cover of it, because it seems to me too much psychedelic for my usual personal taste.

The line up on both albums is the same. So, we have Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford and Phil Collins.

As I've already reviewed these two albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my both reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I made before, but I'm only going to make a global appreciation of both albums.

"Nursery Cryme": When Collins and Hackett replaced John Mayhew and Anthony Phillips, the definitive Genesis line up became a reality. The band also became a tighter and much more technical accomplished unit, and they further perfected the sound and style of "Trespass" on their third studio album "Nursery Cryme". The title of the album was derived from the opening track "The Musical Box" where an old nursery rhyme got mixed with a grotesque and surreal tale about a boy who got decapitated by his nurse. The cover art of the album was also clearly inspired by that song. The track perfectly captured absolutely every element of classic Genesis, with lots of passion, theatrical drama, and the variation between beautiful, quiet, melodic parts and much harder and energetic passages with some incredible dynamics. "The Fountain Of Salmacis" and the heavier "The Return Of The Giant Hogweed" showed Genesis' music from their most ancient and fairytale like side. The symphonic progressive rock doesn't get any better than this. "Seven Stones" is a beautiful and melodic little tune, while the cheerful "Harold The Barrel" demonstrating some of Gabriel's best and weird humour and twisted lyrics. So, "Nursery Cryme" is a classic stuff from the beginning to the end.

"Foxtrot": "Foxtrot" was the album that confirms definitely Genesis in one of the leading forces of the British symphonic progressive rock movement. It included, for the most Genesis' fans, the ultimate favourite track in form of the 23 minute, "Supper's Ready". This music suite, consisted of several different parts and compositions that, unlike the title track from Yes' "Close To The Edge", clearly were separated by several ideas that later were glued together to make the whole track. But, despite of that, it all worked superb, and the binding main melody is undoubtedly one of the most beautiful melodies the band ever wrote and the composition stand as one of the progressive rock's ultimate masterpieces ever. And the rest of the album kept the same high level of quality. The opener "Watcher Of The Skies" was an airy and energetic song that for many years would become the opening number at almost all the concerts performed by Genesis. "Get 'Em Out By Friday" was the Genesis song that allowed Gabriel most to really act out with several different characters. And "Foxtrot" also included one of their most overlooked gems, "Can-Utility And The Coastliners". Despite its modest length, the song managed to capture absolutely, every side of the band in some very beautiful themes and melodies. So, "Foxtrot" is just as essential for any progressive rock fan as air and food are.

Conclusion: As "The Best?" is nothing more than a compilation of "Nursery Crime" and "Foxtrot", joined in a single double vinyl disc, we can say that for those who have both original albums they don't need this compilation, unless you have a collector vinyl spirit. We can question the needing of such kind of compilations, unless its release had become important, at the time, for those who missed the two original albums. But, as we can't decide the necessity of its release, we can only analyse the quality of the musical material on the compilation. And in this case, there is no doubt that we are in presence of some of the best material made by one of a greatest prog bands. Both albums are two great masterpieces and represent some of the best things the band has ever made. But, if you don't have these two albums and you own this compilation, it substitutes perfectly well those original albums. So, I'm going to rate it with 4 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Original Album by GENESIS album cover Boxset/Compilation, 1998
2.76 | 24 ratings

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The Original Album
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

2 stars Review Nš 204

Genesis was formed in 1967 when their founder members, Peter Gabriel, Mike Rutherford and Tony Banks, were students in a public school. Formed out of school bands, the Genesis original line up consisted of Peter Gabriel (vocals), Tony Banks (keyboards), Anthony Phillips (guitars), Mike Rutherford (bass guitars) and Chris Stewart (drums).

After have watched to a concert from the band at school, Jonathan King that was a songwriter and a record producer in those times, (who had a hit single at the time, 'Everyone's Gone To The Moon' which was a top ten hit in 1965), met the band, and Gabriel gave him a tape record of some songs the band had recorded already. So, King offered the band a recording contract. He named the band Genesis (after suggesting the name Gabriel's Angels), suggesting the beginning of a new sound and a new music. The result of this was their debut studio album, 'From Genesis To Revelation' released in March 1969, to Decca Records. During the sessions, drummer Chris Stewart was replaced by John Silver.

'From Genesis To Revelation' was an ambitious conceptual album, which supposedly told the Biblical story of the Human mankind in a series of carefully arranged songs. The art cover of the original album was released in a suitably Biblical black cover with gold lettering. Despite the encouraging reviews did in those times, the album was greeted with a great indifference by the public and press, and sold very poorly. So, only 650 copies were released in March of 1969.

The failure of the album almost broke up the group. Banks decided go to the University and studs Physics. Luckily, on advice from King, the band decided to pursue their career. But it took some time to convince Banks to get him back again to a band that seemed has no future. But fortunately, they were able to convince him and the band doesn't split. Can you imagine the progressive music world without Genesis, or without Banks? Certainly, it would be a poor world.

'The Original Album' is a compilation album reissued only in 1998. This is a version of the original album, but despite the track list be slightly different, it retains the original idea of 'From Genesis To Revelation'. It has nineteen tracks, the same original thirteen tracks originally releasedof on 'From Genesis To Revelation' plus six new bonus tracks. The bonus tracks are the four different versions of the songs which were released as singles, 'The Silent Sun', That's Me', 'A Winter's Tale', 'One Eyed Hound' and the demos of the two songs, 'Image Blown Out' and 'She's So Beautiful'.

I've already reviewed the original album before. So, I'm not going to do it again. So, if you are interested to know what I've wrote before, I invite you to read my review about the album. Anyway, I'm going to write something more about it. Of course I'm not going to analyze it track by track, as I did before, but only to do a global appreciation of it. But, relatively to the bonus tracks, in reality, they didn't bring anything substantial new or interesting to this new version.

Rarely has the debut album of a major group received this much of a slagging from both fans and critics alike. And on the surface, the flaws of the album are huge and very numerous, seemingly leaving criticism fully justified. Here's the general rundown. First, the band was in their formative stages, without either of their instrumental virtuosos. Hackett and Collins would join only in 1971. Hence, the playing on this album is a bit unimpressive, apart from nice Banks piano lines. Next, the band had not yet found its own distinct style, choosing to emulate The Beatles and The Bee Gees. And worst of all, the producer Jonathan King, in an attempt to make the band seem 'sophisticated', forced the band to write around the concept of the creation of the world through the death of Adam. Yes, I know the title implies the whole Bible, but trust me, it's fairly apparent that the story is all told from the point of view of God or Adam, and no other characters. Oh, and when they were done, he threw a lot of orchestration over the songs, except that King seemingly had no idea how to properly use string and brass arrangements in rock, unlike, we can say, of George Martin. So, despite the album still retain a lot of some good qualities, it seems to me that there is some slight amateur musicianship all over it.

Conclusion: I'm a big Genesis fan, but seriously and realistically, 'From Genesis To Revelation' is a very weak album. Despite, 'From Genesis To Revelation' have some good songs like 'Where The Sour Turns Sweet', 'Fireside Song', 'Am I Very Wrong?', 'In The Wilderness', 'One Day' and 'Silent Sun', the rest of the album is very vulgar or even very weak. The problem with this album is that it just sounds like an album of the 60's and the music has more in common with The Beatles and the early Bee Gees, than the future sound of Genesis as a progressive rock group. This debut album isn't bad at all for a band of the 60's but not for a band like Genesis. By the other hand, many of the songs are in general nice, but the strings and the production aren't. If the strings have been cut and the production had been better, it could be a better album. So, I don't know if I'm being too hard with my favourite band, but if you aren't accustomed with Genesis' discography, please don't start with this album. Even some Genesis' catalogs no mention this album and start with 'Trespass' as their debut work. Still, if you want to complete your Genesis collection, maybe you can buy it.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Lamb Lies Down On Broadway by GENESIS album cover Studio Album, 1974
4.30 | 2790 ratings

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The Lamb Lies Down On Broadway
Genesis Symphonic Prog

Review by TenYearsAfter

5 stars My review # 240.

"Slubberdegullions on squeaky feet"

The main features of the unsurpassed Classic Prog bands are the huge variety, the outstanding musicianship, the frequently shifting moods and the extreme creativity. On TLLDOB Genesis adds an element into their music that is not really a feature of Classic Prog, personal emotions, fuelled by its frontman Peter Gabriel. He grew up in an upper middle class family, in the wealty 'stiff-upper-lip' era in south England. But Peter was also a very sensitive person with a huge imagination. These contrasting elements evoked a lot of conflicting thoughts and feelings to Peter, about religion, relationships, sexuality, spirituality, imperialism and capitalism, but also the bad way people treat animals and the cruel history of Britannia and its colonies. He decided to put his wide range of emotions, feelings, experiences and opinions into the lyrics and music on TLLDOB. In 1974 this was a daring and adventurous approach, not in the vein of the previous albums Foxtrot and SEBTP. But nowadays TLLDOB is considered as one of the most fascinating and compelling progressive rock albums ever released, with the stunning graphics, stories and pictures as an extra dimension to the story of the young Puerto Rican guy Rael, walking his way in New York.

The 23 tracks are a varied and unique collection, from alternating 24-carat symphonic rock and dreamy ballads to pure rock or experimental, often impossible to pigeonhole, only as 'typical The Lamb compositions'. Just listen to Back In NYC: raw and screamy pre-punk vocals and a New Wave sounding synthesizer. And The Waiting Room(aka The Evil Jam): the band decided to switch off the lights and make weird sounds on their instruments, this is avant- garde Genesis. Or The Grand Parade of Lifeless Packaging: a mellow atmosphere gradually turns into lush to end in a chaotic and bombastic final part, another example of the unique songs on TLLDOB.

The focal point on TLLDOB is Peter Gabriel, he is the musical brainchild of this concept double album. Peter delivers a wide range of outstanding vocals, layered with emotion: powerful in the opener TLLDOB, compelling in In The Cage, raw and agressive in Back In NYC, intense in The Chamber of 32 Doors (like a child that cries for 'basic security'), tender in The Carpet Crawlers and cheerfull in It, the swinging final track, he feels released after his long and confronting journey.

His often puzzling lyrics are loaded with wordplays, vowel rhyhms, metaphors, Freudian language and especially references, from the Bible and Greek mythology to famous and historical persons. This gives the vocals and the music an extra dimension, and the fans extra work to understand what TLLDOB is all about, like "Slubberdegullions on squeaky feet" in Colony Of Slippermen, interesting, to say the least!

Peter Gabriel is the #1 on TLLDOB but second best is Tony Banks, he shines with his varied keyboard contributions, that starts with sparkling piano intro in the opening titletrack. Very exciting is his work on the ARP Pro Solist synthesizer (that he bought before SEBTP), just listen to his long and dazzling soli in the compelling In The Cage, the alternating The Colony Of Slippermen and the swinging Riding The Scree, a rare self-indulgent spot for Tony Banks! But he also delivers majestic work on the Mellotron M400, often in combination with Steve Hackett his howling, volume pedal driven electric guitar, like in Fly On A Windshield, Hairless Heart and Silent Sorrow In Empty Boats.

Steve Hackett complained about a kind of sidelined during TLLDOB, he considers his contributions as mighty close to minimal. Despite his disappointment I am blown away by Hackett's very distinctive and stunning guitar work, like the awesome (abovementioned) interplay with Banks his Mellotron, a moving and powerful guitar solo in the outro of The Lamia, and especially his fiery guitar solo in Anyway ( sublimating his frustrations about his broken marriage), one of his most inspired!

The rhythm-section is awesome featuring Mike Rutherford his growling and powerful Rickenbacker bass sound and Phil Collins his inventive and dynamic drumming.

Due to the mounting problems from Peter to finish the lyrics the band was running out of time. So Peter got some help with writing the lyrics and working out the final parts of his ideas about the music. Later he told the press that this lack of time resulted in more vague lyrics than he intended to write. Perhaps this is the reason why a few tracks on 'side 4' sound a bit less inspired, especially the mediocre song The Light Dies Down On Broadway.

But this doesn't keep me from rating TLLDOB as a masterpiece, it's an unique and adventurous journey to varied musical landscapes in progrock history. And not only the music thrills, also the lay-out, the graphics and pictures, all part of Peter Gabriel his compelling story about the young Puerto Rican guy Rael in New York.

P.s. 1: About the meaning of Peter Gabriel his Rael story and lyrics, I highy recommend The Annotated Lamb Lies Down on Broadway by Jason Finegan, Scott McMahan and other members of Italian music magazine Paperlate. It is an extensive read but very interesting, revealing a lot of the often puzzling lyrics. Nonetheless, it remains a pretty subjective case, this is also emphasized by the authors.

P.s. 2 : On November 15th I will attend a gig by The Musical Box, the mindblowing Genesis tribute band, they will perform 1970-1977 Genesis. I have seen them many times, their version of TLLDOB was the most impressive. This gave me an idea how exciting it must have been to watch Genesis on stage performing TLLDOB: with the triple screen projections, Peter Gabriel and his stage antics and, last but not least, the unique approach of progressive rock by Genesis on TLLDOB!

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

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