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GENESIS

Symphonic Prog • United Kingdom


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Genesis biography
Among the top classic prog rock bands of all times, GENESIS is most known in the prog scene for the superb line-up Peter GABRIEL, Phil COLLINS, Steve HACKETT, Mike RUTHERFORD and Tony BANKS, which played together from 1971's "Nursery Cryme" to 1974's "The Lamb Lies Down on Broadway". After this extraordinary period GABRIEL left the band, but the progressive music quality remained the same untill HACKETT left the band. From that point on, under the popish influence of Phil COLLINS, the band took another path towards the commercial market...

Their best work was produced while Peter GABRIEL was with the band, and for a year after he left. Here is a GUIDE to their work from that period.

EARLY PERIOD:
"Trespass" (1970) was the band's second album, which featured Anthony PHILLIPS on guitar and John MAYHEW on drums. There are six songs here, all of which show glimpses of the power the band was to develop more fully later.

MIDDLE PERIOD:
"Nursery Cryme" (1971) shows the band struggling with their new mix of talent, and has a couple of weak songs. "Foxtrot" (1972) shows a more confident and accomplished band. "Selling England By The Pound" (1973) finds the band in a slightly mellower mood, with more acoustic work here on piano and guitar than before. "The Lamb Lies Down On Broadway" (1974) is arguably the band's finest album. It is a 90-minute theater piece filled with a wide variety of music and moods.

LATE PERIOD:
But the first two albums made in this period still managed to preserve enough of the band's "progressive" qualities to make them interesting to old fans. "A Trick Of The Tail" (1975) is a very strong album that still sounds good today. "Wind and Wuthering" (1976) is the last album made by the "old" GENESIS.

APOCRYPHA:
Several albums appeared in the 90s that fit well into the discography of the "old" GENESIS. ... "Genesis Archive: 1967-1975" / "Genesis Revisited" / "Genesis For Two Grand Pianos"

CONCLUSION:
One of the best "progressive" rock bands that rose to prominence in England in the early 70s.

Genesis official website

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Turn It on Again: The HitsTurn It on Again: The Hits
Atlantic 2007
Audio CD$1.53
$1.51 (used)
FoxtrotFoxtrot
Remastered · Import
Wea Int'l 1990
Audio CD$5.09
$5.09 (used)
Selling England By The PoundSelling England By The Pound
Remastered · Import
Atlantic 1995
Audio CD$8.95
$3.73 (used)
Wind & WutheringWind & Wuthering
Remastered · Import
Wea Int'l 1990
Audio CD$4.89
$4.72 (used)
The Platinum CollectionThe Platinum Collection
Remastered
Atlantic 2005
Audio CD$21.34
$12.34 (used)
Trick of the Tail (CD/DVD)Trick of the Tail (CD/DVD)
Rhino 2007
Audio CD$10.27
$7.29 (used)
Lamb Lies Down on BroadwayLamb Lies Down on Broadway
Import
EMI Europe Generic 2009
Audio CD$9.77
$7.97 (used)
TrespassTrespass
INgrooves Fontana/Geffen 1993
Audio CD$2.53
$0.99 (used)
AbacabAbacab
Remastered
Atlantic 1994
Audio CD$5.27
$2.39 (used)
Right Now on Ebay (logo)
PETER GABRIEL LP FIRST ALBUM FIRST PRESS A-4/B-5 GENESIS GT CONDITION 1977 USD $20.27 Buy It Now 29m 7s
Turn It on Again: The Hits by Genesis (U.K. Band) (CD, Oct-1999, Atlantic... USD $4.00 Buy It Now 30m 30s
Mark Berman's The Genesis Project - Mark Berman (2007, CD New) USD $18.98 Buy It Now 33m 38s
Second Genesis - Wayne Shorter New & Sealed Compact Disc Free Shipping USD $25.81 Buy It Now 35m 55s
GENESIS GENESIS charisma 83 A-1UB-1U UK Lp VG+ USD $7.79 Buy It Now 40m 3s
GENESIS Original Vinyl Record LP ALBUM 1983 USD $8.00 Buy It Now 51m 3s
GENESIS Foxtrot LP 1972 UK Charisma B&C 1st Press A1U/B1U Prog PORKY PECKO USD $252.83 Buy It Now 51m 12s
PETER GABRIEL (GENESIS)-SO-GEFFEN 9 24088-2 NEAR MINT CD USD $3.98 Buy It Now 56m 19s
GENESIS-INVISIBLE TOUCH-ATLANTIC 7 81641-2 MADE BY VICTOR OF JAPAN MINT CD USD $34.98 Buy It Now 56m 50s
GENESIS CONGO CD SINGLE 1 TRACK PROMO + CARD P/S UK USD $12.49 Buy It Now 1h
Genesis 2014 [CD New] USD $15.55 Buy It Now 1h 3m
GENESIS AND THEN THERE WERE THREE LP 1978 CHARISMA USD $4.67 Buy It Now 1h 9m
GENESIS A TRICK OF THE TAIL GATEFOLD Vinyl Record LP ALBUM ATCO 1975 USD $10.00 Buy It Now 1h 25m
Fairport Convention - Si Tu Dois Partir / Genesis Hall Island WIP6064 UK 1969 7" USD $15.59 Buy It Now 1h 29m
Genesis - Silent Sun LP Germany 1981 VG+/EX reissue # Prog USD $31.22 Buy It Now 1h 32m
Genesis - No Son Of Mine (1991) CD Single Digipack USD $3.04 Buy It Now 1h 32m
Mark Berman - Mark Berman's The Genesis Project [CD New] USD $22.53 Buy It Now 1h 37m
Genesis - DUKE -ATLANTIC Original Gatefold Vinyl Record LP ALBUM 1980 USD $7.00 Buy It Now 1h 37m
Genesis - R-Kive [CD New] USD $15.44 Buy It Now 1h 40m
RAY WILSON - GENESIS VS. STILTSKIN 3 CD + DVD NEW+ USD $27.39 Buy It Now 1h 44m
Genesis ABACAB Original Vinyl Record LP ALBUM 1981 Atlantic USD $9.00 Buy It Now 1h 46m
Digitech Genesis 3 guitar processor-2002 magazine advert USD $7.79 Buy It Now 1h 48m
Eye Alaska - Genesis Underground (CD 2009) NEW & SEALED USD $7.41 Buy It Now 1h 48m
Genesis - self-titled - Audio Cassette Tape - PLAY TESTED USD $5.85 Buy It Now 1h 50m
Genesis Revisited 1 - Steve Hackett (Vinyl Used Very Good) USD $33.09 Buy It Now 1h 53m
Genesis Wind & Wuthering Original Vinyl Record LP ALBUM 1976 ATCO USD $7.00 Buy It Now 1h 54m
2PM-GENESIS OF 2PM REGULAR EDITION-JAPAN CD Ltd/Ed G65 USD $28.50 Buy It Now 1h 54m
BILLY SQUIER STEVE HACKETT 1981 BBC RADIO LP GENESIS LP USD $120.00 Buy It Now 1h 55m
GENESIS LIVE ~ vinyl LP ~ Atlantic (U.S) ~Ask about big postage discounts in Oz USD $16.79 [0 bids]
2h
GENESIS: DUKE VINYL LP ATLANTIC SD 16014 USD $4.99 Buy It Now 2h
VINTERSORG COSMIC GENESIS SEALED CD NEW USD $9.98 Buy It Now 2h
GENESIS - LIVE IN MILAN 19/5/1987 - 2 LP - VERY RARE USD $99.99 Buy It Now 2h 8m
PETER GABRIEL Big Time 45 7" NM ORIGINAL US ISSUE w/PS GENESIS USD $5.98 Buy It Now 2h 9m
GENESIS-LIVE 1973 CHARISMA RECORDS LP DUTCH IMP, 9279 530 EXC. VG+ PETER GABRIEL USD $9.99 Buy It Now 2h 11m
EVANGELION DEATH SOUND TRACK NEON GENESIS 1997 ANIME NRMINT USD $13.99 Buy It Now 2h 13m
GENESIS ABACAB 1984 UK CHARISMA CBR102 B//3 A//2 CUSTOM INNER SLEEVE USD $12.47 Buy It Now 2h 14m
Genesis - Trick of the Tail MFSL 062 - NM- USD $149.95 Buy It Now 2h 19m
genesis thats all square picture disc -import Exc. USD $14.95 Buy It Now 2h 21m
Genesis: Abacab / Another Record 7" 45 VG++ Canada Atlantic MS 5820 USD $2.99 Buy It Now 2h 24m
GENESIS - TRESPASS- NEW 180GM AUDIOPHILE VERSION USD $33.70 Buy It Now 2h 28m
GENESIS - A Trick Of The Tail, ORIGINAL 1976 UK LP / inner.... DECENT COPY USD $3.11 [0 bids]
2h 29m
Genesis - Wind & Wuthering - EX Vinyl LP USD $5.99 Buy It Now 2h 29m
GENESIS IN TOO DEEP 1986 PICTURE SLEEVE 7"45 NEAR MINT - NON LP FLIP USD $6.23 Buy It Now 2h 29m
genesis - shipwrecked promo cd USD $12.99 Buy It Now 2h 32m
The Gods Genesis LP Vinyl RSD NEW USD $21.99 Buy It Now 2h 33m
Genesis Three Sides Live LP 1982 Atlantic SD 2-200 Gatefold Vinyl Record USD $5.99 Buy It Now 2h 33m
Genesis Revisited 1 - 3 DISC SET - Steve Hackett (2014, Vinyl New) USD $29.24 Buy It Now 2h 34m
genesis - congo cd single USD $10.99 Buy It Now 2h 37m
GENESIS ROCK ROOTS UK DECCA ROOTS ONE NEAR MINT VINYL USD $9.97 Buy It Now 2h 40m
GENESIS LP-ABACAB/ATLANTIC RECORDS, 1981 SD-19313 (RARE COVER COLOR) VG++ GLOSSY USD $9.98 Buy It Now 2h 46m
* GENESIS - The Way We Walk, Vol. 1: The Shorts USD $0.99 Buy It Now 2h 52m
STEVE HACKETT GENESIS - WOLFLIGHT - SIGNED LIMITED EDITION DOUBLE VINYL + CD USD $54.61 Buy It Now 2h 53m
GENESIS, SELF TITLED - NETHERLANDS PRESSING LP USD $8.00 Buy It Now 2h 54m
* GENESIS - We Can't Dance USD $2.97 Buy It Now 2h 57m
Genesis A Trick of the Tail 8 Track Tape TESTED USD $20.00 Buy It Now 2h 58m
GENESIS Abacab LP Promo W/Timing Strip + Inner Sleeve USD $4.99 [0 bids]
3h
2PM GENESIS OF 2PM 2 CD (B) Limited ver. Lyric & Photo Book (p.80) Japan EMS F/S USD $84.00 Buy It Now 3h 3m
2PM GENESIS OF 2PM CD & DVD (A) Limited ver. Lyric Book Japan EMS F/S USD $80.00 Buy It Now 3h 4m
Radio Show: LIVE CUTS 7/17/89 DOOBIES, WHO, STONES, GENESIS, FABULOUS T BIRDS USD $21.99 Buy It Now 3h 5m
Genesis And Then There Were Three LP 1978 Atlantic Gatefold Vinyl Record USD $4.74 Buy It Now 3h 6m
Genesis - Three Sides Live USD $3.00 Buy It Now 3h 14m
Genesis - Live ... The Way We Walk (Volume One: The Shorts) (CD 1992) USD $3.11 Buy It Now 3h 15m
Phil Collins of Genesis Marilyn Martin - Separate Lives (White Nights) 12" LP VG USD $1.71 Buy It Now 3h 23m
Genesis - Abacab 7" Single Picture Sleeve USD $7.79 Buy It Now 3h 23m
Genesis - 3 x 3 Three Track Single 7" Single Picture Sleeve USD $9.35 Buy It Now 3h 30m
Genesis Spot the Pigeon Original Sealed 12" EP 1978 Match of the Day Inside Out USD $32.99 Buy It Now 3h 32m
Genesis Keep it Dark Abacab Long Version SEALED 12" UK Charisma CB 391/12 USD $14.24 Buy It Now 3h 32m
Genesis Of 2pm - 2pm (2014, CD New) 888430464827 USD $21.47 Buy It Now 3h 34m
Genesis/...Calling All Stations... (SACD/DVD/NTSC NEW) USD $20.00 Buy It Now 3h 35m
Genesis - Turn It On Again 7" Single USD $7.79 Buy It Now 3h 36m
2PM-GENESIS OF 2PM DELUXE BOX EDITION TYPE:A-JAPAN CD+DVD Ltd/Ed L45 zd USD $47.50 Buy It Now 3h 38m
Genesis - Man On The Corner 7" Single USD $10.91 Buy It Now 3h 49m
GENESIS - CONCERT POSTER AMSTERDAM HOLLAND 24TH FEBRUARY 1975 (A3 SIZE) USD $3.11 Buy It Now 3h 50m
GENESIS and then there were three GATEFOLD Charisma MAD HATTER USD $13.42 Buy It Now 3h 52m
GENESIS No Son Of Mine Ex+ Virgin 1991 UK P/S 7" USD $6.23 Buy It Now 3h 53m
GENESIS TURN IT ON AGAIN / BEHIND THE LINES PART 2 VINYL 7" SINGLE 1980 CB 356 USD $6.23 [0 bids]
3h 53m
GENESIS - Duke 12" Vinyl Gatefold LP USD $10.15 Buy It Now 3h 54m
SEALED - Organizacion Genesis CD NEW Oferta De Exitos BRAND NEW USD $9.99 Buy It Now 3h 55m
Genesis - Foxtrot - EU pressing 180 grams SEALED USD $29.95 Buy It Now 3h 56m
Genesis - Nursery Cryme - EU pressing 180 grams SEALED USD $29.95 Buy It Now 3h 57m
Genesis - We Can't Dance (1991) USD $2.90 [6 bids]
3h 58m
Genesis And Then There Were Three Vinyl Record LP USD $5.69 Buy It Now 3h 58m
Genesis - Selling England by the Pound - EU pressing 180 grams SEALED USD $29.95 Buy It Now 3h 58m
Genesis "Duke" USD $20.00 Buy It Now 4h
Genesis - 1976-1982 (5LP box set) - EU pressing 180 grams SEALED USD $199.95 Buy It Now 4h
Tony Banks (Genesis) - This Is Love 7" Single Picture Sleeve USD $15.59 Buy It Now 4h 3m
GENESIS "Many to many" - RARE 7" ITALY PICTURE SLEEVE USD $24.99 Buy It Now 4h 4m
? Mike Rutherford - Smallcreep's Day (Charisma) Genesis USD $14.99 Buy It Now 4h 9m
Genesis Follow You Follow Me vgc 7" single CB 309- Prog Rock USD $5.45 Buy It Now 4h 10m
Genesis Rock Roots Sealed LP 1976 Decca France w/ Silent Sun Unreleased LPTracks USD $14.24 Buy It Now 4h 11m
GENESIS three sides live 2 LP Mint- SD 2-2000 Vinyl 1982 Record USD $20.00 Buy It Now 4h 12m
We Can't Dance by Genesis (U.K. Band) (CD, Nov-1991, Atlantic (Label)) USD $5.00 Buy It Now 4h 14m
GENESIS In The Beginning L2OP1068 OBI LP Ay3896 USD $7.99 [1 bids]
4h 17m
6311 Genesis A Trick Of The Tail A1 B1 USD $7.79 Buy It Now 4h 18m
PETER GABRIEL SO MELODIYA WHITE LABEL RIGA GENESIS REAL MUSIC KATE BUSH USD $9.99 Buy It Now 4h 21m
We Can't Dance by Genesis (U.K. Band) (CD, Nov-1991, Atlantic) USD $5.99 Buy It Now 4h 37m
BARBARA DICKSON - THE RIGHT MOMENT - KTEL - 1986 - GENESIS, BREL , NIK KERSHAW USD $3.11 [0 bids]
4h 39m
Vinyl Record LP 12" 12 Inch Album Genesis Thee Sides Live Vinyl Rock Prog USD $15.61 Buy It Now 5h
Vinyl Record LP 12" 12 Inch Album Genesis Thee Sides Live Vinyl Rock Prog USD $15.61 Buy It Now 5h 4m
GENESIS NURSERY CRYME VINYL CHARISMA LP SIGNED AUTOGRAPHED BY PETER GABRIEL USD $39.02 Buy It Now 5h 6m
CD from genesis to revelation
GENESIS
~ USD $12.99
LP from genesis to revelation
GENESIS
~ USD $18.79
CD genesis
GENESIS
~ USD $14.13
LP trespass
GENESIS
~ USD $21.11
CD yakta mama
GENESIS
~ USD $5.55


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GENESIS shows & tickets


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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)

2.59 | 865 ratings
From Genesis to Revelation
1969
4.17 | 1771 ratings
Trespass
1970
4.42 | 2401 ratings
Nursery Cryme
1971
4.61 | 2761 ratings
Foxtrot
1972
4.63 | 3196 ratings
Selling England By The Pound
1973
4.29 | 2248 ratings
The Lamb Lies Down On Broadway
1974
4.27 | 1957 ratings
A Trick of the Tail
1976
4.09 | 1479 ratings
Wind And Wuthering
1976
3.42 | 1095 ratings
...And Then There Were Three...
1978
3.48 | 1093 ratings
Duke
1980
2.55 | 960 ratings
Abacab
1981
2.73 | 949 ratings
Genesis
1983
2.40 | 976 ratings
Invisible Touch
1986
2.64 | 878 ratings
We Can't Dance
1991
2.52 | 768 ratings
Calling All Stations
1997

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

3.96 | 737 ratings
Genesis Live
1973
4.29 | 758 ratings
Seconds Out
1977
3.41 | 387 ratings
Three Sides Live
1982
2.03 | 282 ratings
Live - The Way We Walk Volume One - The Shorts
1992
2.82 | 294 ratings
Live - The Way We Walk Volume Two - The Longs
1993
3.20 | 254 ratings
Live Over Europe 2007
2007

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

4.41 | 120 ratings
In Concert 1976
1977
3.12 | 62 ratings
Three Sides Live
1982
3.38 | 51 ratings
The Mama Tour
1985
2.50 | 45 ratings
Visible Touch (VHS)
1987
3.30 | 35 ratings
A History Of Genesis
1991
3.38 | 72 ratings
The Way We Walk (DVD)
2001
3.91 | 47 ratings
The Genesis Songbook
2001
2.91 | 25 ratings
Inside Genesis 1975-1980
2003
3.22 | 85 ratings
Invisible Touch - Live At Wembley (DVD)
2004
3.04 | 68 ratings
The Video Show
2004
3.94 | 74 ratings
Genesis Live Video
2004
2.83 | 31 ratings
Inside Genesis The Gabriel Years 1970-1975
2004
2.94 | 14 ratings
Rock Review - A Critical Retrospective
2005
2.39 | 35 ratings
The Gabriel Era
2006
3.78 | 44 ratings
In London
2007
3.70 | 11 ratings
Up Close And Personal (DVD and book set)
2007
4.14 | 142 ratings
When In Rome
2008
3.58 | 12 ratings
Land of confusion
2010
2.42 | 19 ratings
Sum Of The Parts
2014

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

5.00 | 1 ratings
Presenting Genesis
1974
5.00 | 1 ratings
Genesis Collection Volume One
1975
5.00 | 2 ratings
Genesis Collection Volume Two
1975
2.59 | 46 ratings
Reflection - Rock Theatre
1975
4.10 | 23 ratings
The Best...
1976
2.35 | 14 ratings
Genesis in Concert
1977
0.00 | 0 ratings
The Story Of Genesis
1978
4.08 | 6 ratings
Nursery Cryme / Foxtrot
1979
0.00 | 0 ratings
The Lamb Lies Down On Broadway
1981
0.00 | 0 ratings
Genesis
1981
4.00 | 2 ratings
Genesis
1981
3.50 | 2 ratings
Genesis
1989
2.40 | 25 ratings
Turn It On Again - Best Of 81-83
1991
4.28 | 212 ratings
Archive 1967-1975
1998
3.05 | 22 ratings
The Original Album
1998
3.00 | 2 ratings
The Greatest
1998
2.23 | 90 ratings
Turn It On Again - The Hits
1999
2.92 | 119 ratings
Archive 2 1976 - 1992
2000
3.17 | 81 ratings
The Platinum Collection
2004
1.97 | 17 ratings
14 From Our Past
2007
3.46 | 77 ratings
Genesis 1983-1998
2007
2.09 | 34 ratings
Turn It On Again The Hits -The Tour Edition
2007
3.87 | 109 ratings
Genesis 1976 - 1982
2007
4.58 | 161 ratings
Genesis 1970 -75
2008
3.74 | 78 ratings
Genesis Live 1973 - 2007
2009
2.40 | 5 ratings
The Magic Of Time
2013
1.53 | 17 ratings
R-Kive
2014

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

2.46 | 25 ratings
The Silent Sun / That's Me
1968
2.45 | 17 ratings
A Winter's Tale / One-Eyed Hound
1968
3.50 | 10 ratings
GENESIS
1969
4.48 | 46 ratings
The Knife
1971
3.86 | 7 ratings
Nursery Cryme
1972
3.19 | 48 ratings
Happy The Man
1972
4.14 | 59 ratings
Twilight Alehouse
1973
4.26 | 50 ratings
I Know What I Like (In Your Wardrobe)
1973
4.69 | 13 ratings
Watcher of the Skies
1973
3.00 | 4 ratings
I Know What I Like (In Your Wardrobe) / After The Ordeal
1973
2.25 | 4 ratings
I Know What I Like / More Fool Me
1973
3.00 | 2 ratings
The Lamb Lies Down On Broadway (Promo)
1974
4.12 | 43 ratings
Counting Out Time
1974
4.24 | 51 ratings
The Carpet Crawlers / The Waiting Room
1975
4.14 | 39 ratings
Counting Out Time / Riding The Scree
1975
4.29 | 7 ratings
The Lamb Lies Down On Broadway
1975
4.11 | 9 ratings
I Know What I Like (In Your Wardrobe)
1975
4.14 | 7 ratings
The Carpet Crawl
1975
4.33 | 12 ratings
A Trick of the Tail
1976
2.62 | 10 ratings
Ripples
1976
3.86 | 30 ratings
Entangled
1976
3.28 | 13 ratings
Your Own Special Way
1976
4.25 | 4 ratings
Entangled / Ripples
1976
3.75 | 4 ratings
A Trick Of The Tail / Squonk
1976
3.33 | 3 ratings
A Trick Of The Tail / Carpet Crawl
1976
2.00 | 1 ratings
I Know What I Like (In Your Wardrobe) / Carpet Crawl
1977
2.97 | 118 ratings
Spot the pigeon
1977
3.13 | 5 ratings
Go West Young Man (In the Motherlode)
1978
3.19 | 42 ratings
Follow You Follow Me
1978
4.02 | 34 ratings
Many Too Many
1978
3.37 | 37 ratings
Duchess/Open Door
1980
2.86 | 37 ratings
Misunderstanding
1980
3.76 | 36 ratings
Turn it on again
1980
2.65 | 29 ratings
No reply at all
1981
2.79 | 47 ratings
Abacab
1981
2.83 | 33 ratings
Keep it dark
1981
2.41 | 28 ratings
3 X 3
1982
3.88 | 14 ratings
The Lady Lies
1982
2.95 | 13 ratings
Paperlate picture 7''
1982
2.60 | 23 ratings
Man On The Corner
1982
2.00 | 1 ratings
Turn It On Again (Live)
1982
2.00 | 1 ratings
I Know What I Like (In Your Wardrobe) / Counting Out Time
1982
2.00 | 1 ratings
Follow You, Follow Me / A Trick Of The Tail
1983
4.50 | 7 ratings
Home By The Sea
1983
4.25 | 25 ratings
Firth Of Fifth
1983
3.08 | 44 ratings
Mama
1983
2.81 | 29 ratings
That's All
1983
2.17 | 28 ratings
Illegal Alien
1983
2.33 | 17 ratings
Taking it all too hard
1984
2.00 | 1 ratings
Tonight, Tonight, Tonight Exclusive Candid Interview
1986
2.41 | 40 ratings
Invisible Touch
1986
2.25 | 29 ratings
Throwing It All Away
1986
1.95 | 31 ratings
In Too Deep
1986
2.54 | 46 ratings
Land of Confusion
1986
3.39 | 28 ratings
Tonight, Tonight, Tonight 12''
1987
3.52 | 21 ratings
Tonight, Tonight Tonight Tonight 7''
1987
3.74 | 31 ratings
No Son Of Mine
1991
1.67 | 3 ratings
We Can't Dance (Special Edition Volkswagen)
1991
2.79 | 14 ratings
Tell Me Why 5'' Cd single
1992
2.66 | 25 ratings
Jesus He Knows Me 5'' CD single
1992
2.65 | 34 ratings
I Can't Dance
1992
2.54 | 28 ratings
Hold On My Heart
1992
2.35 | 15 ratings
Never a Time
1993
2.90 | 12 ratings
Tell me why
1993
1.83 | 38 ratings
Congo
1997
2.50 | 27 ratings
Shipwrecked
1997
2.51 | 30 ratings
Not About Us
1998
3.23 | 29 ratings
The Carpet Crawlers 1999 5' promo CD
1999

GENESIS Reviews


Showing last 10 reviews only
 Selling England By The Pound by GENESIS album cover Studio Album, 1973
4.63 | 3196 ratings

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Selling England By The Pound
Genesis Symphonic Prog

Review by AndyJ

5 stars Genesis's 'Selling England By The Pound' is, in my humble opinion, the finest piece of progressive rock ever crafted, and possibly one of the finest records from any genre of music. It has stood the test of time remarkably well and become the yardstick by which all other progressive works are to be measured. If ever there was a record to begin a journey into progressive rock with it is this one.

It was entirely by chance I discovered 'Selling England By The Pound', and I owe it all to a friend of mine at university who was obsessed with Gabriel era Genesis and would play Genesis at all hours of the day! Through him I discovered this classic, as well as the other early Genesis albums. It was this record which turned me from a heavy metal listener into a classic 70's prog-rock fan, and I'm not sure anything else would have succeeded in doing that. I was mesmerized and entranced by the music on here, and to this day I still hold it in the highest respect.

In this album we find Genesis at their absolute peak both creatively and musically. Everyone is in superb form throughout; it is truly majestic to behold and listen to these utterly timeless songs. Simply put this album has some absolutely gorgeous musical compositions and hugely memorable moments, both vocally and instrumentally, throughout the entire running. The mood shifts around from song to song, from the upbeat opener 'Dancing With The Moonlit Knight' through to the reflective 'Firth Of Fifth' and onto the melancholic 'The Cinema Show'. Over the fifty minute running you are taken through an emotional journey.

Everyone is given plenty of room to shine on this record. Peter Gabriel leaves enough space for everyone to play their part, something which was sorely missing on their follow-up. Here we find Peter Gabriel in phenomenal form, perhaps the finest vocals he has ever laid down. Steve Hackett delights us with his beautiful and soaring guitar lines. Tony Banks is perfect in here, restrained when needed and bombastic at the right moments. Mike Rutherford and Phil Collins are equally important to this music, driving the songs forward with powerful bass and drums. I've often thought Phil Collins doesn't get the respect he deserves in regards to his drumming capabilities. Sure he may have divided opinion when he stepped up to replace Gabriel at the microphone, but behind the drum-kit he is an absolute powerhouse and so creative.

I consider 'Selling England By The Pound' to have the two greatest Genesis songs ever written, 'Firth Of Fifth' and 'The Cinema Show' (with the third being the legendary 'Suppers Ready' from 'Foxtrot'). With all that said there is no other rating possible other than 5-stars. A perfect album for any lover of music, progressive or otherwise! This is an absolute essential album that deserves a place in any music collection.

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 Inside Genesis The Gabriel Years 1970-1975 by GENESIS album cover DVD/Video, 2004
2.83 | 31 ratings

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Inside Genesis The Gabriel Years 1970-1975
Genesis Symphonic Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars

The inside series of DVDs are an interesting snapshot of prog history for the progressive rock fan. It is worth noting that there are a series of "Inside" DVDs available, including Pink Floyd, Van der Graaf Generator, Yes, Supertramp, Emerson Lake and Palmer, and of course "Inside Genesis". Each DVD is in Dolby digital 5.1 and DTS so the sound is incomparable.

The Inside series is an independent critical review featuring rare archive footage much of which has been previously unavailable on DVD. Genesis clips of Suppers Ready, Return of the Giant Hogweed and The Musical Box are delightful and to see Gabriel in his theatrical guises is unforgettable.

"Inside Genesis" looks at the years 1970 to 1975 and of course we are treated to rare film clips of the classic Genesis lineup with the indomitable Peter Gabriel at the helm.

Musicologists of varying backgrounds critically assess the music to discover the essence of the band. It is a very brief look at the band as are all of these DVDs of the "Inside" series, clocking just over one hour in length. Therefore it is more of a taster for those new to Genesis or for those who just want to look back at the golden years of this quintessential prog rock band.

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 Invisible Touch by GENESIS album cover Studio Album, 1986
2.40 | 976 ratings

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Invisible Touch
Genesis Symphonic Prog

Review by PoolmanProgger

3 stars Invisible Touch was the pinnacle of Genesis' commercial success, largely due to five smash singles in the United States, an incredible feat for a formerly obscure progressive band from the UK. A large measure of this success is due to the soaring popularity of Phil Collins' solo career in the states, and critics of latter day Genesis will say that Invisible Touch was basically a Collins solo record. Those critics, however, are ignoring the fact that the album is a collaborative effort, with each member's songwriting skills shining brightly. Each of the five singles are brilliant, as is Domino, the lone track on this album that harks back to their prog roots. Is Invisible Touch a prog album? Not really, but that doesn't mean that it is not worth listening to. Invisible Touch is a thoroughly enjoyable listen for those prog fans who don't take themselves or their music too seriously. For many of us younger prog fans, hearing these songs on the radio or in our dad's car were our first taste of "prog" music, and for that I am forever grateful. Do I think that Invisible Touch is one of Genesis' best albums? Not really. However, there is no denying that Invisible Touch is a good album, albeit non-essential for any prog rock collection. That's worth three out of five stars according to this site's rating system. Many progheads will debate endlessly as to whether Invisible Touch (or any of the post-Genesis albums) are legitimate prog albums, but they're missing the point. Prog or not, Invisible Touch is a light-hearted, enjoyable listen every time.

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 Sum Of The Parts by GENESIS album cover DVD/Video, 2014
2.42 | 19 ratings

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Sum Of The Parts
Genesis Symphonic Prog

Review by Matti
Collaborator Neo-Prog Team

3 stars Surprisingly I'm only the third reviewer for this anticipated GENESIS documentary. I saw it on Finnish TV 1˝ times (I stopped the second watching and went to sleep at the point when Phil Collins takes the central role). I had a look at the ratings in amazon.com, also there you see very critical reception but some five-star ratings as well. I sympathize my friend's (frankly overrated) five-star rating for the newspaper's TV page, because this film includes some rare old clips very precious for long-time fans, and it's a special case in itself to see Banks, Gabriel, Rutherford, Collins and Hackett together looking back at the band's history. You can sense many little but revealing things about the personal chemistry and all that.

The formation of the band in Charterhouse school... The departure of Anthony Phillips... The arrival of Collins and Hackett... The increase of stylistic uniqueness and stage theatrics with each subsequent album classic... Each archival picture, whether still or live, is pure gold. There were even some gig clips from the Trespass days, wow! But in retrospect, it must be admitted that the Gabriel era is indeed handled very quickly. Also the quartet era for which I have a deep fondness too.

The big flaws come from that on. Gosh how much time is given to Phil Collins' pop career and the smash hit side of Genesis. It wasn't even news for me to hear especially Tony Banks being much prouder of the commercial success than the prog past. BTW he seems to be the nastiest person of the five, the hardest one to co-operate with. I appreciate that Peter Gabriel's solo career is dealt with respect (though again the representation is pretty much hit oriented). But it's a terrible crime how ignored Steve Hackett's solo career is in this documentary. Nor he's given much room in conversations either. It's certainly not only because of being a quieter person, for I've heard that he didn't like the film. Understandably so. Of course also Anthony Phillips' career would have deserved some attention. Ray Wilson is not even mentioned, which makes another gap in the Genesis history.

Summa summarum. No matter how disappointing it turns out to be, I think this documentary is a (one- time) must for a Genesis fan for all the little jewels it contains, even if they're just a small minority compared to the dealing of the era that for us progheads don't mean that much.

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 Abacab by GENESIS album cover Studio Album, 1981
2.55 | 960 ratings

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Abacab
Genesis Symphonic Prog

Review by Prog Leviathan
Prog Reviewer

2 stars Not having an especially strong connection to Genesis' prog output, I can listen to Abacab and let its merits, flaws, and distinctively '80's vibe stand on its own without feeling cheated that one of my favorite bands just turned their backs on me. I don't think that this is a "love it or hate it" album because there isn't enough good stuff to love, and not enough bad stuff to hate; in fact, reading through reviews here seems like it's a "hate it or ignore it" album. I definitely fall into the second category.

The title track opens to a driving back beat, strong vocals, some raucous synth work. I kind of like it, actually, until we get to the song's midpoint, at which point it goes off the rails and just sort of fritters away 2.5 minutes with keyboard noodling. I can see how this song alone sets the stage for all of the hate that this album gets!

"No Reply At All" is, for what it is, actually pretty fun. It's a solid pop song - upbeat, catchy, with a great feel and strong bass grooves. The synth horns are dated and corny (and performing an ironic call-and-response with Phil), making this song fit very easily into Phil Collins' solo output. Actually, the same goes for "Man on the Corner", which almost sounds like a warm-up for Collin's hit, "In the Air Tonight". These two songs highlight what is probably the best thing about Abacab: Phil Collins being an excellent vocalist.

"Keep it Dark" and "Dodo/Lurker" are easily the album standouts, especially for those clinging to whatever few vestiges of artsy prog are left in Genesis at this point. "Dodo/Lurker" is actually very good; it's dramatic, dynamic, and interesting as it passes through different moods with engaging lyrics. A nice example of 80's prog.

Do yourself and skip track 6, which is definitely the worst song by Genesis that I've ever heard.

Abacab ends with two bland, gutless, and directionless tracks. Which is too bad, because it leaves the listener with a bad impression of the album as a whole, which isn't terrible. My average of this album worked out to 2.6, which I think is about right.

Songwriting: 3 - Instrumental Performances:2 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 2

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 Sum Of The Parts by GENESIS album cover DVD/Video, 2014
2.42 | 19 ratings

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Sum Of The Parts
Genesis Symphonic Prog

Review by Finnforest
Special Collaborator Honorary Collaborator

3 stars All about expectations

I've witnessed some delightful gnashing of teeth over this documentary film. Apparently some of our fellow reviewers believed they were going to get a definitive career overview that covered every single thing they love about this band in 90 minutes time. It doesn't work that way. Certainly they could have handled it better. They could have taken more time and they could have focused on less stuff, getting really deep into the periods that are of utmost interest to fans. Not often do these kinds of projects turn out as good as they could. So what we end up with is the completely predictable modern-attention-span documentary, where music "experts" walk us common folk through each album of the bands long career. Analysis is superficial, there's little we haven't seen before, and the band members themselves seem intent on showing as little enthusiasm as possible. One does wonder why they bothered.

And yet, I enjoyed watching it very much. I'll probably never watch it again but it was worth the price to watch once. The bang for the buck is in the new interviews. Call me a masochist but I really do enjoy watching the guys in this band sound all stuffy and self-important, yes, even Tony. I enjoyed watching the guys interact as a group for what is likely the final time. Of course I would have preferred to have a true Genesis expert asking them detailed questions about various tracks and getting into the nitty gritty, but that isn't what they wanted here. They wanted essentially a celebratory promo for their back catalog, hoping that those who watch it will want to dive back into some of the albums they haven't heard in years. Maybe buy some remasters. The bonus section features some extended interviews with each member but they really don't flesh things out a great deal more. I do recommend this to fans who can go into it with reasonable expectations. It's a fun 90 minutes with your favorite band as they ride off into the sunset. Just don't set your sights any higher.

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 Nursery Cryme by GENESIS album cover Studio Album, 1971
4.42 | 2401 ratings

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Nursery Cryme
Genesis Symphonic Prog

Review by Per Kohler

5 stars Imagine that you attend a major sport event not with the usual 35.000 onlookers but you alone on the grandstand and even the whole arena. It's unclear how the cheering section affected the outcome of the game. The speaker urges the audience to remain calm to hamper a tumult when the away team scores, and to avoid an undulation in order to save the porous stand floor. Does it sound like taken from a scenario in a Stephen King novel? No, this occurred in reality in a soccer game; last round, the rain was coming down in buckets, an unimportant match. A TV reporter tried to track down the spectator in question but he (?) managed to escape. What has all this to do with Nursery Cryme, you might rightly ask? Well, a whole lot actually. Genesis toured in God's year 1970 and experienced the same remarkable event, that is a gig with one single hearer. Any requests, was the one-headed audience adequately asked (why not 'A Place to Call My Own'?). The beer sales didn't break any new records that night. What about a bitter in the bar, mate? The drinks are on me, one could inform oneself about. "We want more" (me, myself and I) echoes when the band has left the stage and are given a curtain-call. Possibly the band members could've asked the persevering listener for his much sought-after autograph. You who always have wondered where and when Gabriel's stage diving started can be enlightened on that it wasn't here. As we don't know the build or life-size of the spectator, it was just as well saved for a later occasion. Ant Phillips, who had been highly influential in the bands edification, declared officially that he had had enough. He put the rucksack with 12-string sets on his back and run away. Without the risk of treading the amassed audience on the toes. The decent fellow in front of the stage was chosen to witness Anthony play live. Many a man had hankered for that position as it soon became a collectible rarity. Who knows, perhaps the lone ticket buyer is telling stories today for his grand children about his odd and historical event.

Phillips didn't leave for this single peculiar reason; there was about a handful. Unfortunate health problems, stage freight when there was a capacity crowd (at least exceeding two ordinary sized individuals). Incessant disputing between adolescent band members; four up-and-coming writers all moulded in a strict educational environment where future decision makers are called forth. No woodwork lesson taught about how to plane a joint tray. Stained in a nuance that pleases everybody. Four writers were one too much. The youngish gentleman among the brethren had a vision for the future Genesis where he was everywhere but here. Ant joined Genesis as teenager, and left at the same tender age. John Mayhew's (R.I.P.) days in Genesis were also numbered. He did perform a couple of guitar-less gigs with Banks-Gabriel-Rutherford before following Ant out through the backdoor. Phillips' defection caused naturally a breaking-up atmosphere where all components were inspected. Mayhew was by no means a low competent drummer (otherwise, why was he chosen in the first place?). Even Phillips himself approve of this reasoning. In other words, if Ant had played on Nursery he could possibly have been accompanied by a somewhat slow progressing Mayhew. But that's far from self-evident. Before anybody could say Jack Robinson, there was a Phil Collins in everybody's mouth. Phillip didn't replace Phillips, but he did nonetheless some guitar overdubs on Both Sides. It would still take some time before anybody could utter Steve Hackett. Even more musical mathematics; had Anthony P. voted for Collins or any of the many other deft percussionists at the audition? Banks/Gabriel, The Garden Wall, were both totally convinced that Phil was the right choice whereas Rutherford glanced more than once at one of the competitors. Buddy Phillips in The Anon could just as well have joined camp one like camp two in this delicate matter. Don't forget that the original guitarist was no 1 ranked composer at the time with likewise right of determination. A private detective could come up with such insinuations as ' - why didn't Collins overdub the few drum parts (of demo character) on The Geese & The Ghost? But that's very far-fetched, unrealistic and of course without substance. Once Rutherford got acquainted with a chosen newcomer he had nothing but praise for his first class rhythm colleague. Why would Phillips act differently? Still of interest; Genesis lover and biographer Armando Gallo claims in his book 'I Know What I Like' that Collins ALSO sang on Geese. That's not true; he ONLY sang. Gallo is so convinced that Collins played drums that he doesn't even bother to study the instrumentation list. Understandable. How many albums have Phil attended where a drummer is needed, where there is no other drummer present, and finally; where he still didn't play on it? This was a side track from Nursery.

Collins, in turn (we're not through yet with the brushy path that led to the classic line-up), had never allowed Hackett to enter the gates of the Genesis social gathering. The temporary replacement after Mr. Phillips departure found no mercy from other three members but was appreciated by the drummer at the same age as the short lived guitarist. Collins experienced two line-ups, or even three, before Nursery Cryme was recorded. Himself, just like Mayhew, alone with the core Banks/Gabriel/Rutherford onstage plus with just mentioned guitarist Mick Barnard. You may dub Barnard an unnoticed veteran in Genesis. Actually he lasted for many months but isn't more well-known than guitarist Bob Close from another prog giant. If you take Ronnie Caryl into consideration and why wouldn't you, then the ramification goes even further. Phil's two year junior guitar chum from Flaming Youth auditioned with Collins and was for a while hanging in a twilight zone. One single gig in Aylesbury, says his list of qualification. One gig with Genesis is one more than most of us have ever done. Ronnie Caryl rejoined Collins on the latter's solo career in the eighties.

Stephen Hackett entered the congregation with diploma in hand showing if not a rectorship so still a mission to take Genesis to the upper echelons of Britannia's prog elite. Sitting down on a chair with full-beard and dark black frames, playing with solicitor dry tone of prototype Fripp. This is what the world had waited for. Strict rock n' roll and free classicism. Almost a hundred (!) guitarists tested and failed before Hackett joined the ranks. Logically the aim was to find a co-writer on the same wave-length as the others. They don't live next door to your grandma's lady friend. Many played well but couldn't match Phillips composing skills. Steve Howe was already a Yes man; Fripp had his own unit; so where could this unattainable object be found? Mike Oldfield was just like Caryl only 17 at the time but already active at high level. Solo motet 'Exsultate jubilate' was written by composer Amadeus at the age of 17 (plus operas at 14), so age doesn't have to be decisive. A motet is a piece of choral music without Fender jazz bass but with angelic castrato voices. Andy Latimer wasn't yet booked by what was to become Camel. Any undetected whiz kid behind the marvelous walls of the Charterhouse School? If there were unlikely four why not a fifth in an adjoining batch? Maybe too good to be true. Something said that the void was to be filled by Steve Hackett. That was predestined. Everything else is a lie. Hackett was the last link in the chain, and just like pal Collins he choose the smart way to become a permanent member of the band. A well-documented fact in its fragments but no one has noted the unison between the pair. Both of them were of course qualified for the job but that doesn't guarantee success. Collins arrived early (deliberately too early) and could listen and learn from the other drummers at the audition. He pretended to be 'swimming in the pool'. Hackett turned down an audition and invited band members Banks/Gabriel (two out of four are missing) to his parent's house. Had the most talented of the 81 or 82 previously tested guitarists done the same thing there wouldn't have been any Hackett visit. In this manner not only one brother Hackett was able to impress but two. One on guitar, the other on flute. There was no need for an additional flautist in Genesis but John H. took part of the display of his elder brothers composing. Steve could play what he wanted on his own terms, at an audition you're instructed what to do and not to do. That was a bright idea. From now on Gabriel knew where to turn when he needed to borrow from a newly found flute colleague. - 'This is my brother John' Steve pointed out to the visiting couple. A family structure that was to be repeated on the double LP years later. Who said that The Lamb story was abstract and diffuse? Hackett / Collins couldn't have chosen a better moment to join the band. What was going on around 'em was if you name it a phenomenon you're either ignorant or too shy. Gentle Giant, Yes, Pink, ELP, Jethro, Generator. Plus the established acts from previous decade without visible decline in popularity. Add to this half a dozen of groups who compared with mentioned here were rated as second division but everywhere else would've belonged to the top ranked. Plus just as many talented acts that for one reason or the other have fallen into oblivion today. This is not a progressive wave, it's a progressive torrent. If the creator above us didn't have a finger in it that means he's completely unmusical and probably doesn't care if 'Visions of Angels' was played on Radio Luxemburg or not.

With Hackett's entry were the guitar lines resurrected in its true intention. If Banks performed guitar parts on electric piano on stage (you can study this on any informative Wikipedia site), then the question remains; who did the keyboard parts? It's almost impossible to manage multi-layered keyboards and an additional work task simultaneously. Like the exquisite interplay between organ / piano on studio version 'Looking For Someone'; plus Ant's lead. The electric doesn't dominate Trespass in any sense but then remains the many 12-string parts? So the new guitarist didn't only bring the guitar, he brought the keyboards as well. Rutherford's role playing during the four piece concerts isn't as obvious as Banks'. The instrumentation list on Trespass gives hint about his abilities but doesn't unveil if he matches Greg Lake when it comes to it. Logically Mike did at least what can be noticed during the recurring quintet era. The unaccompanied bass-pedal solo on Live had its origin in the exacting four-piece period. The intro and first part of 'The Musical Box' doesn't need anything but 12 string and electric guitar though. The year is -71 but the choice of century is more unclear. Jon Anderson once talked over the subject about bringing music into the seventies; what he logically meant was 1870s. If it creeps to close to you just put the clock another century backwards. No disturbing industrial revolution, no lorry traffic with exhaust pipes belching out burnt gas. No time clocks that directs your existence. Only the eternal still peace on the cover of Cryme. The mood of 'The Musical Box' will enhance your chances to attain your goal. A friend of mine once asked me why Genesis didn't go the whole way to become a fully classical unit? There is no reason to become something they already are. A futuristic, highly eccentric sounding unit from times long past. It just happened to occur in our so called chronology. Great art doesn't count seconds and minutes. To some extent my idea bringer was fully correct. He regarded Moody Blues as pop / classical but Genesis classical / pop, so the distance is closer. Partake of the straight and undiluted beauty of Mozart's 'Concerto for Flute and Harp KV 299 (second movement)' and just muse over what could've been. The 12-string sound on title 1 is as evocative as one can desire. Much cleaner and clearer than further into the seventies. What the 12-string is trying to evoke in the 20th century is what the concert harp did during earlier time. At least in the tonal language of Genesis. The arpeggio chord on the harp has no less multitudinous effect on the 12-string. No other musical entity has used the 12 as current band, simply because it doesn't serve the same underlying purpose. It's just another instrument with another sound; in the case of Genesis it's as indispensable as the trowel for the construction of the church tower. The reverberation reaches the steeple directly under the navy blue sky.

Both Phillips and Barnard's fingerprints are visible on the opening track. Phillips' mind and matter regarding the basic track and the second to some extent in the sharpening. A third, Hackett, developed it even further. The penetrating solo is somehow repetitive between 4: 32 - 4: 38. It leaves a minor question mark behind. Let's state that this particular section is one reason why Nursery is lower ranked, or rather more uneven, than Foxtrot. It's unimaginative no matter from which angle you regard it. Yes and Howe managed to repeat a similar thing on 'To Be Over' ca. 1: 34 - 1: 50 three years later (we have no indication on that Mick Barnard ever played in cousin band). Both tracks are top class despite these dubious seconds. A limited slice of human error may be tolerated, and even charming. The return of the meek and melodious 4:48 immediately after the solo knows no quality limitations though. If you listen to 'Musical Box' for the very first time and for some reason wasn't hooked yet you'll definitely be by now. The gale has lulled and stillness surrounds you. - "Old King Cool was a very old soul yes a very old soul was he"? A contemplative passage worthy of any musical degree. The fortissimo, head first loud and strong, is hiding behind the corner ready to attack when the tender turns tough. The very first track to feature Hackett is actually one of his most hard hitting. It takes off where 'The Knife' ended on Trespass, but in a more unabashed phrenetic manner. 'Twentieth Century Schizoid Man' is a corner-stone for old and new in the recently assembled team. Collins the co-vocalist appears before the drummer and his voice leaves an indelible trace on the 10 min song. Just like Hackett Collins is given a warm welcome in form of generous space / mix on Cryme. Everybody is enjoying a stabilized line-up after a long and messy time of uncertainty. No other Gabriel album gives Phillip similar outcome in the vocal compartment. The drum stool is occupied by Buddy Rich, Michael Giles and John Bonham and that sounds like everything is within reach. Ringo Star is also present for the extensive magical misterioso tour through Italy. Collins has both will and ability to impersonate multifarious drum characters. Rutherford is, like on 'Moonlit Knight', handling a rhythm / bass pedals on your telly screen. An element that seems just as fitting for the bassist. Rhythm isn't always the same as anonymous second guitar. It takes more skill than so. He does have some experience from The Anon times.

The total Victorian drama of 'The Musical Box' would never be accomplished without a theatrically skilled frontman. Costume and properties, charisma and vocal resources. The spell-binding story telling. Straight out of the Royal Academy of Dramatic Art. Gabriel's coiffure (pre-Rael period) is a chapter in itself. Shaved fringe and part of the head. It wouldn't fit anybody outside this particular group ( Ozzy, Rod the Mod, Tom 'Tiger' Jones !?!?), and probably not even if they had chosen another vocalist. Possibly a brother Shulman for their idealistic way of issuing their music but still not achieving Gabriel's natural aura. No, Aristotle points his index upwards and proclaims mentioned quality to current Genesis line-up. Gabriel turned the audience into an idolatrous host and what they saw as the bands gift became a matter of what the singer did or didn't do. The foursome weren't really a backing band, but had they evolved a decade earlier some crazed record company executive had done his utmost to turn them into a Gabriel & the Four Disciples. Then prompted on an un-plugged cloister tour. Plus 90% of the collection. Banks' keyboard set on 'Musical Box' (and album) is at least partly due to what was available. The electric piano was influential on 'Stagnation' (Trespass), and as the more dominant and much higher ranked acoustic piano unfortunately couldn't be brought on stage logically the electric found a place alongside organ/mellotron. The electric became even more important when the guitar disappeared. 'The Fuzz Box' suddenly filtered 'The Musical Box' from the el. piano out through the speakers. A specially invited audience from the times of 'King Henry's Madrigal' can't see the logic with the fuzz but will relish in the entry of the old man. Before their return to the superior Tudor dominion. Compared with Emerson, Wakeman or other wizards, Banks' number of instruments is somehow limited. No harpsichords / cembalos, synthesizer / clavinet or church organ / harmonium. Bearing the primitive standard of the initial synths in mind it's not much to bewail. The same story with the guitar strings. The lack of nylon passages from Hackett gives the album a much harder edge than most of the other recordings he's been involved in. Queen prided themselves upon 'No synthesizers used' on seventies albums. A Night at the Opera was released less than 10 years before Hot Space. It differs more than 10 years musically / sound wise. Nursery Cryme is ranked higher than Abacab; far from only on account of the lack of the high-tech sound waves, but partly therefore. While we're in Queen territory pay some extra attention to the massive vocal delivery in 'Bohemian Rhapsody'. Mike Stone from the recording team on Nursery has a strong influence in the construction of the multilayer of voice overdubs. Stone passed during the early noughties.

Some people complain about the production of Nursery. Some complain a lot; both when the album once was released and still today. ? "Most of the songs were only recorded on 8-track", says one penetrating analysis. - " The godawful production?" expectorates another. Wasn't the audio engineer brought back for further collaboration later on? Rock journalists, to some extent, are nothing but failed rock musicians. They have to assert themselves and take revenge on someone or something. For sure it's allowed to have opinions; one recording is never exactly like the other. The studio facilities, producer(s), mixing etc. This is 1970 plus a year or more (okay 1870..). Deduct some time and move backwards before -70 and see what happens. Is it a four channel? Just go a little bit further and find yourself in a mono world. The vocals from one direction and the tied up music from the other. Now we can start talking production, or rather the lack of such. To complain about the outcome of Nursery isn't only remarkable it's also ridiculous. The murky production, if it is murky, is rightly placed behind a bank of mist. ? "The production isn't great; even though the remaster cleans it up a bit". Just like the painting 'The Resurrection' of Piero della Francesca. Just head for the museum and ask if it's possible to clean up with disinfectant to make it sparkle. ? "The track structure, musical aptitude and songwriting would all be perfected in years to come" utters one philosopher on your internet. Good day axe-handle! 'The Fountain of Salmacis' needs a 60 degrees dry-cleaning before it becomes the strongest prog composition ever. Don't forget to add washing- and bleaching powder! But okay, for the good of the cause, if you have a functional record player why not invest in a half-speed remastered and reissued 180 gr. virgin vinyl with anti-static sleeve? Your old copy is probably around 125 gr. If you're aware of the source material you'll certainly find one or two improvements. Like the treble / midrange, chord sustain. It's disputed whether the weight in itself has any influence on the sound but let's state that the sturdy piece remains flat and won't get warped. The use of virgin vinyl seems like a faultless move but it may be sensible to include some recycled vinyl too in the manufacturing process. If it's of good quality it improves sound in the same way as the lesser good recycled vinyl has a negative effect.

'For Absent Friends' has the same position on Nursery as 'White Car' on Drama. Not a filler or an interlude; it's a section of the album defined as music. Albeit in the shorter format. A well-known fact that the lead vocalist is Collins and not Gabriel, but unlike Selling England and 'More Fool Me' there's no information on the album. As a consequence many listeners were and still are today unaware of the fact. The difference between the voices of Gabriel / Collins is not as tangible as Gilmour / Wright or Howe / Anderson. Caravan's excellent Back To Front could be a hard nut to crack with its many vocalists (still it's indicated in the track list). 'For Absent Friends' is an integral part of the album's flow, compared with 'More Fool Me' which feels more like a deliberate attempt to include a contrast. The line-up is the same for both songs; lonesome guitar / vocals, but there's considerable difference in mood and performance. While 'M. F. M'. feels relaxed and casual then 'F. A. F'. belongs to the stricter school. Collins vocal timbre is, of the two occasions he got during the Gabriel era, of differentiated nature. I hold the first Cryme try higher than Pound. It's perfectly possible to rearrange or if you prefer transcribe the less than two minutes song into an uplifted church organ hymn. The melody is endowed with all qualities which the widowed pair need to contribute to the ongoing collection. Lyrically it's a stroke of luck in its scene of ordinary elixir of life. As chief lyricist isn't present here you have to search for a similar 'Lead a Normal Life' scenario from another time. In between there was a 'Blood On the Rooftops' which in spite of its title's felonious tinges proved to be as plain as the one in question. Gabriel would never have written such an unpretentious ditty in those days. That's quite understandable; in his role as frontman he's supposed to entertain and the lyrics are an inseparable part of the show. Just imagine that a fire-eater at a circus where you paid entrance suddenly started to blow out match fire. This artist would soon be jobless.

Those were the days when Gabriel / band complemented each other with sometimes flamboyant and sometimes minor down-to-earth pieces. Out of 10 cases five or six are on the lead vocalist's writing desk and the remainder to be worked out by the quartet. Waters didn't appreciate when the others interfered in what he saw as his private sphere. Gabriel did appreciate exactly the same principle as the Floyd bass man. Share it fairly but don't take a slice of my pie. Rick Wright's voice is desolate on The Wall. There's no picturesque double-decker that ambles down the street on The Lamb. But would Shakespeare himself have let Vicar Geoff Mann contribute to the conclusive verses of comedy 'Twelfth Night'? Rutherford is the instigator of the 'More Fool Me' and also penultimate track 'In the Rapids' on Broadway. So why is this remarkable? If you weren't informed about Hackett / Collins why would you deny Rutherford's involvement here too? Until I learnt the correct I took for granted that it belonged to him. There's at least one internet source that names the bass player / drummer alone, but probably founded on the same mix up of the relation as I did myself. There's no excuse to make light of the subject on account of their disregarded and minimized position on respective -71 and -73 albums. Like someone said; it's impossible to say how much Hackett influenced the others or how much he was influenced by them. 'F. A. F'. is by no means a Hackett prototype; there's not really anything like it from him during his time in the band. Rutherford, the writing partner of Phillips, regarded Hackett more like a competent / original guitar player than composer. On the other hand; did anybody have the ability to take on the standard of the Trespass guitarist's writing?

'The Return of the Giant Hogweed' isn't high church it's power plant. Jimmy Page's ghost is present in Hackett's electric outlets here and on Nursery in general. Before he fully adapted to required Genesis sound. Steve admits that his playing was once more forcible in the school of the Zeppelin string bender. The Who is prevalent as a source of inspiration for certain band members. A more abstruse fact for the undersigned here to grasp. It might be a generation gap. Didn't The Who members break their instruments to pieces after a gig? There's a tune called 'Hackett to Pieces' but in a more symbolic depicting manner so stay calm. The occasions when Tony Banks used to jump up and down on his Mellotron Mark II in a fit of rage are easy to count up. Just as often as Glenn Gould played 'Roll over Beethoven' accompanied by a Chuck Berry in pure style. Hackett's tapping playing (in the manner of a keyboard) was later used by Edward Van Halen. Another continent both literally and figuratively? Oh no, Eddie was a member of Genesis in 1972. He never played on Foxtrot but the very same band name was utilized before his unit learned about the tea drinking Britons on the other side of the Atlantic. They became Van Halen in the mid seventies. The meaning of the term 'Edwardian rock' is easier to figure out when you know the full story. Van Der Graaf Generator had a Van full of instruments / equipment that was stolen in early -69. This has little to do with Van Halen. Yngwie is another player who used the tapping technique. This guy has an elder sister who happened to have albums like Selling England By the Pound in her record collection when he grew up. For one reason or another, there were titles like ' Icarus Dream Fanfare' and 'Sarabande' from this direction. IV was by the way released the same month as Cryme. Track one could compete with Track four in clever structure and build; let's appoint 'The Musical Box' to the 'Stairway To Heaven' for the faculty intellectual. The abrupt changes to and from el. / acoustic-, the soft spoken and the bombastic -, link the two leading bands in respective genre. A cargo of sealed music export to foreign coast isn't contemptible for the balance of trade, as The Beatles proved during an earlier decade. Let's pretend that Nursery had sold as well as IV then Maggie Thatcher the milk snatcher hadn't been compelled to cut down on the milk rations of Cynthia and Henry in their school meals. In terms of commercial boom the boarding school boys were still overshadowed by the hammer of the gods. Despite the diametrical different circumstances; the merger arrived when Collins' drum pedal work was to adorn solo album Pictures at Eleven. But that's another story.

Track three on Nursery and second lyric from Gabriel, and not less prominent than the initial. Rush gave us an alternative piece of forestry on 'The Trees' where the maples and oaks turn on each other. The hogweed had even bigger plans than so; it challenged humanity. It's believed that plants in common with living creatures are able to communicate with each other. Why shouldn't they? (Blue) whale talk ranges over hundreds of miles or even across an ocean in their submerged conversations. So beware of your own and your neighbor's sun flower plantation. They might be about to conspire against their bullies who insolently placed them in the backyard shadow and let the cherry tree blossom in sunlight. If not the flower union do something they have to take measures themselves. The lyric of 'Hogweed' is just as sharp and pungent as the shared keyboard / guitar intro. The hogweed started its ravages in the Royal garden at Kew where it was brought from Russia (I was here at Kew myself in Oct. - 66 sitting in pram and fully prepared for an onslaught from the vegetable kingdom). My second visit in -07 went smoother knowing very well that the human guards had defeated the fomenters of rebellion. They are as civilized as chrysanthemum. 'The Return of the Giant Hogweed' isn't just another fictional story; it was taken here just like described in the lyric. It does have a streak of lust for power as it spreads at the expense of other more timid plant families.

The instrumental section between 4:13 - 4:54 is maximized collective execution of the current, fresh line-up. It's as close to half-brother Gentle Giant as it'll ever be. Everybody is working shoulder to shoulder with excitement and pioneer spirit. Willing and impressed by each others abilities. It's a musical grid with a wiring-diagram that will be replaced by other keen moments but this is not to be repeated. One of the strongest moments of polyphony in the story of the band (another is 'Looking For Someone'). Not least is the flute doing a splendid job. Don't forget that this is a period of "embryonic compositions" according to some knowledge. Everything Mozart did before the age of 36 was likewise immature. The solo piano on 'Hogweed' puts a stop to a fabulous part and continuous on its own. Colorful in the bud but repetitive (the second remark on the record), repeated 28 times in a row. Nursery doesn't own the consistency of Foxtrot and it would be unrealistic to ask for it. The creation of N. C. evolved during an extended time span with a number of earlier mentioned line-ups. Therefore it's almost inevitable that there are some minor ups and downs. One instrumental section succeeds the other. As Nursery is the shortest issue 'only' 39 min. (still above average for vinyl), it's possible that 'Hogweed' deliberately was stretched out a bit to fill out the album. An alternative is to enter the final vocal bit at 5: 35 and then, let's say, let the mello break free. The band showing, followed by the piano / guitar plus the mellotron outro become one too much. It doesn't become more progressive the more one extend, prolong or add sections but the more planned, thought-out and well-balanced in proportion to each other. First course, main course, afters. Not dessert after afters. Just pretend that producer John Anthony came up with the bright idea to remove portions of the concluding part to 'Harold the Barrel'. Then everybody who regards 'Harold' as filler material would all of a sudden find it highly progressive. Without really understand what they're talking about. This is a storm in a teacup or rather in a thimble if one regards the album as a whole. 'Hogweed' was a rightful mainstay in the live repertoire for a long time, whereas much of the sublime Trespass material went out of the door as the seventies progressed. Both Trespass / Nursery are more equable than Selling England / The Lamb, so it might just as well depend on their associations with a certain time era than pure quality. Had the latter couple been recorded simultaneously with the croquet blows on the cover of Cryme neither of them had been ranked higher in any camp. Rather deemed as in "a stage of development".

Side B opens in the more conventional time format five minutes with 'Seven Stones'. A strong pastoral feeling cut in the same mould as 'White Mountain' and 'Dusk'. A production taken directly from Dame Nature without an ounce of pesticide on the billowing corn field. Banks is mainly in charge both regarding song structure and text. The lyric is stronger than 'Watcher of the Skies' and 'Firth of Fifth'; actually there are no substandard at all on present recording. Maybe the meaning of the digit seven is a British thing. I remember that the father in a host family in Eastbourne was possessed by the same number. There were seven in everything belonging to his history he claimed. I never got the opportunity to study his record collection. The knowledge about Seven Stones Reef is perhaps limited for the non-Britisher. Let's presume that it's a part of the story, just like the biblical connection. In common with previous song 'Hogweed' there's actuality interspersed with poetry. If you happen to approach England in your private yacht from south-western direction look out for the treacherous Seven Stones Reef before you disembark on Land's End (not the prog outfit but part of the country). Otherwise you may become a sailor in peril on the sea. Many are they who have succumbed to this deadly obstacle through the centuries. More progressive undertones; a Wakeman fan is by nature historically interested in King Arthur. Just like Atlantis or Xanadu (Canadians once more), there was once a Lyonesse above the sea level in the area of the reef. The single survivor Trevelyan who escaped the innumerable tons of water was the raconteur to believe or not to believe. Maybe he was just spinning a yarn. Merlin the Magician is perhaps more reliable than Trevelyan in an alternative ending. It was he who flooded the land in an attempt to drown King Arthur's fugitive soldiers. It's unclear if King Canute came to their rescue or not. Halted the water and regulated the new level. Someone said he's Jesus Christ and we will care. Why did the Lamb story triumph over The Little Prince do you think? Simply because there was already enough, was it considered, of "Circles and rings, Dragons and kings".

The mellotron is adjusted to another sound than on 'Hogweed". It's a matter of taste what one prefers but it's hard to imagine a more well-suited and incorporated field of application for the mellotron than on 'Seven Stones'. Could be the finest use ever of this particular instrument. Naturally put in relation with the class of the composition. 'In the Court of the Crimson King' wasn't a misplaced try either. Anybody can technically seen play a mellotron, it's the keyboard equivalence to the strumstick 3-string guitar. But the more challenging to come up with something original. It's hard to be as simple as Bach, as someone said. The instrumental mid section feels both folky and classical in its thickly wooded greenery. Open airy approach as in folk, complex and irregular as in classical. Of particular interest is the flute and its seeming indolent sound. Just like the mello the flute doesn't enjoy being over-treated. It's more at home in the barn with ample hayloft than in the 48-channel studio. Nursery didn't produce any singles of note, not even a posthumous vocal-friendly remix of 'White Mountain' backed by 'Harold'. We have 'White Satin' and 'Whiter Shade of Pale', this is not an ounce less worthy. Charisma obviously wasn't on the alert here. 'Seven Stones' became the B-side of 'Happy the Man'. It's not even the most self-evident choice. The single didn't really belong to Nursery but came in between this and next album Foxtrot. The A-side contains the most simplistic lyric the band has ever produced (with 'Who Dunnit?') and has a flavor of throwaway item. Logically it wasn't included on any regular album. When Foxtrot appeared later that year, companion John Anthony was merely a memory.

'Harold the Barrel' isn't less valid than anything else the band has achieved. It could easily have found place on side D of The Lamb (with adapted lyric content) or B-side Selling England. Not only found room but also enhanced. It owns a snappy and nimble character that is unique for Gabriel's writing during his all together too short tenure in Genesis. 'Willow Farm' is another dazzling example. A non-instrumentalist thinks in general in terms of melody / song-basics and that's the reason why these songs exist. In the same manner as the foursome contribute with alternative lyric themes Gabriel isn't less effective when it comes to the musical side. As someone uttered; 'Harold the Barrel'? (and 'Musical Box') are unique elements in British music history. Still there's nobody who has pointed out how it was recorded and the importance of it. The live in the studio feel is just as obvious as on other parts but the recording differs. The piano is in one speaker and the guitar in the other. In your two speakers at home you have consequently one to the left and one to the right. Only the final piano chords are performed in stereo. It creates an effect that is too simple to comprehend. The idea with anti-stereo is to give an alternative sound pix and to accentuate the mentioned final of the song. Suddenly the 'horrible' mono recording and primitive production has gone the other way and given strength to the song. Why do something less good when you have the possibility to just let loose? Why is it less good to split up the sound picture in separate compartments? Luckily the production on the record is as pristine as it is. It wouldn't work to treat every song in this manner but as an occasional feature it's nothing but strengthening. Collins has by now more than halfway into the album become a household name on drumkit / vox. His vocal on 'Harold' isn't as obvious as on first or second title as it's compressed with Gabriel's. Collins is singing on Nursery in a lot of disguises, and this is one of them. Some people didn't even notice Gabriel's exit due to the resemblance with Phil's voice, so how can they possibly be aware of the drummer's vocal entry here?

Lyrically it's no. 3 and final for songster Gabriel. That means less than 50 % and that's a paltry allocation for the frontman. Not really appealing to return to after the story of adventure The Lamb. In Hackett's description; - 'to return to the pulpet desk after being out working'. It's a tragic-comic story about the father-of-three Harold. If you study all three lyric contributions from Gabriel do you find a main thread through these titles? Harold met his quietus, and so did the children by the musical box thrown at them. Banks used the word sameness when it came to the writing of Gabriel. That's a relative description and not absolute. It's not only the words / stories themselves but also insight, expression, ardour and passion. It's easier for a vocalist to engage in his own train of thoughts than in somebody else's dreams. So, instead of being diminished to a four-piece group why not let the prime writer answer for all the lyrics? Banks' knowledge about his close partner is advanced enough to realize that a compromise will sooner or later lead to a split. Gabriel is far too qualified to play with in this area. Just like Banks is in his own. Bryan Ferry solved the dilemma by combining solo / Roxy. It worked perfectly well in this case. Another colleague of Banks, if only temporary, Derek W Dick, had the privilege in Marillion that Gabriel missed in his group. Namely to be at the head of all lyrics himself. Still when album Seasons End was released at the tail-end of the eighties there was no sign of any Fish. Possibly he went out for a refreshing ramble along the mighty Firth of Forth.

N. C. was an unexpected hit in Italy reaching no. 4. Was it unexpected? Not if you consider the very different artistic climate on these latitudes. Arlecchino appeared in Italy before Harlequin in England. Like a script for a Harlequin's tear. The characteristic checked costume, all belonging adornments. The lithe body movements just cut out for inclusion on the symph album. If you mention Drury Lane, any Genesis fan versed in the seventies scene will prick up his / her ears. The culmination of the Selling England tour in finest possible surroundings. In the year of 1800 at the same Theatre Royal made the successful Harlequin his entry. The audience was just waiting for Genesis return. In the 1860s / 70s were the pair Harlequin / clown in vogue. The song 'Harlequin' by Rutherford shows that he stood the test even without a defected Phillips. The song offers a pleasing vocal mixture from the writer himself plus the obvious Gabriel / Collins. You won't notice Mike's voice like on solo album Acting Very Strange though, neither here or on any other Genesis recording. He's a less prominent singer than Steve Howe or Richard Wright, so there might be a reason. The composition though is on the same phenomenal standard as the rest of the album. Just like on Rutherford's own 'Ripples' there's no instrumental intro but instant vocals. Collins is surprisingly high in the mix, if one considers how much else he does on the record. Even more so if one considers how low Gabriel is in the mix of the total lyric distribution. The backlash came forcefully on Foxtrot where there's one lead vocalist and one drummer. On 'Entangled' five years later Collins rules the roost alone and did the three-part voices himself. Still one lead vocalist and one drummer but in this case the same person. 'Harlequin' didn't gain much exposure live neither did 'Harold the Barrel'. It could've been differently.

Why didn't the -71 album chart in the U.K. or many other parts of Europe? When a product like Nursery Cryme gains as little attention as it did there's reason to halt and take stock of the situation. The Italians were receptive of Cryme but the colder parts of Europe weren't. The gruesome competition from the many other top acts? Limited marketing? No, the situation was similar down south and here it was as mentioned a huge hit. The artistic vision of Genesis was simply too atonal on the northern sphere at the time. It's like using Piero della Francesca's 'The Resurrection' in an advertising campaign for car tires instead of a scantily clad Malaysian university girl. The central perspective from Francesca is delightful but so are the soft body parts of the other mentioned. Great art shall grove slowly on you and not hit you in the abdomen. There's a strong spiritual connection between the 1465 painting and the one in front of you on your adorable gatefold sleeve. The Italians knew this instinctively. The Charisma label mates Van Der Graaf Generator experienced the same development as Genesis. Megastars in Italy but almost invisible elsewhere. Within less than a month in -70, both bands went from five-piece to quartet format. Nic Potter and Ant Phillips jumped ship but in the Generator case the replacement came in form of bass-pedal playing by keyboardist Hugh Banton. Phillips found a successor in Hackett, whereas Potter had to wait till the second half of the seventies before a new face entered. He looked exactly like Nic Potter, simply because it was Nic Potter who returned. Nordic band Kaipa also experienced an upheaval in the bass compartment during the same era. Bassist Mats Lindberg succeeded bassist Mats Lindberg. In this case they didn't resemble each other. They were not one, they were two.

Last, but definitely not least, comes another section that emanates from previous Trespass line-up. In theory, Ant could've been given writing credit even here. Just imagine that the same thing had occurred on Trick or Three albums. Writing contributions from a defected member in form of Gabriel or Hackett. Would you ever see this happen on a Genesis album? Just as likely as if there had been a guest violinist / cellist. Or a cover version of a Leiber / Stoller. The strict order of this band procedure doesn't allow such excesses. A curious person could rightly ask for Phillips' royalty check, after all there's economy involved (what about 'The Knife' on Live?) Anyhow, for the outside listener the main thing is your own listening experience besides Ant's wallet. If you complain here what do you possibly have left? Even among all high quality tracks here it still stands out. There's a feeling of isolation, it doesn't really belong anywhere; like descended from another dimension. The timelessness is more obvious than ever before. Everything on 'Salmacis' is direct and unmistakable. If there's any piece of music written in any century by any composer, of let's say the same running time, then why would 'Salmacis' get behindhand? All the so called classical pieces were composed by one single writer no matter how talented he was. The united immense power by five players who manage to co-ordinate their strength with maximized inspiration, creativity and talent ought to have a chance to reach an inch further. Is it possible for five or six authors to write a common novel? Under perfect circumstances yes but most likely no. 'Fountain of Salmacis' is perfect circumstance yes. There are no separate sections just an immense flow, or rather the countless sections on 'Salmacis' turn into one immense flow. It's only possible for a team of idea makers to achieve this once, and it occurs right here. It's the finest moment ever in the genre, and therefore one of the strongest in history. If you had been contemporary with Schubert (who past at an even younger age than Mozart and ranked just slightly below), some sprightly music journalist would have called him 'one of the best of during this decade'. Hackett's guitar playing is superhuman throughout. Just as much heart as brain, it's impossible to conceive or plan a similar feat. Just like pianist Glenn Gould, again, expressed that every take of a piece must be performed like it never has before. All senses must therefore be on the alert.

The diversity of sounds from the guitar strikes you all the time. They are not created from the soundboard but from the player. The earlier mentioned harp-effect on 12-string is now transferred to electric as Steve says himself ? 'a very subtle playing'. The end solo is the culmination of the journey. Daryl Stuermer plays the same solo on Three Sides Live in a very technically skilled version. But it's quite some distance from the original script. 'Salmacis' is the track where both newcomers more than on any track distinguish themselves, where you feel the alteration from previous line-up. It's unfair though to tell Anthony P. that the classic formation appeared after he had left. With due respect for John M. but his replacement Phillip C. is in his element. It wouldn't be of interest if not the other half of the rhythm section had followed his pattern. Rutherford's bass playing isn't only a result of rapidly improved technique but also his writing ability of bass lines. The bass is often considered to be arranged rather than written because it's not a melody instrument. Like a Paul McCartney Mike went from rhythm guitar to the 'low status' bass and not only learned to handle it but also produced some immemorial playing. It's fully possible to appoint the Beatle to a composing player as well.

Collins is competing with Bruford, Palmer, Barlow and other phenomenal percussionists and there's little doubt if he's up to it. His most interesting playing on the album says some reviews but the question is where on any other Genesis album? If you're interested in his jazzier stick work you have to search outside the boundaries of the band, like on Unorthodox Behaviour. Tony Banks changes from Hammond to mellotron because the conductor gives the green light. Or is it the sheet music? 'Salmacis' is made up of sparse instrumentation and this is one of the few exceptions. Luckily it wasn't recorded at a later time and inflated by greasy over-production. Engineer David Hentschel steers the volume from the bottom of the well up to the purest squirts of water. Swedish band Anglagard took notice and learned from the tutelage. To the hilt. Banks writing and playing is nothing but divine. It's real symphony rock and no supermarket fake. E-minor Opus 16 KV 299 (Seventh Movement). Gabriel is rendering a chanson d'amour that isn't an outcome from the singers own quill pen. It happened on Trespass as well. The waters are disturbed. While his own lyrics deal with domestic matters then 'Fountain' is remote territory. There will come a time when things are the opposite. Genesis spent the summer of -71 in Crowborough rehearsing Nursery Cryme. This goodly country town in Sussex has a Café Baskerville. With the magnifying glass in hand you will find it on The Broadway.

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 Watcher of the Skies by GENESIS album cover Singles/EPs/Fan Club/Promo, 1973
4.69 | 13 ratings

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Watcher of the Skies
Genesis Symphonic Prog

Review by Matti
Collaborator Neo-Prog Team

5 stars (When I'm behind the desk and have some time to kill, I try to find a release I can write an ex tempore review on, preferably something WITHOUT dozens/hundereds of reviews already. This time I interestingly came upon just about the most classic prog ever that "hasn't any reviews". Except that the reviews page of Foxtrot is perhaps among the longest ones here... So who do I think I'm fooling?)

'Watcher of the Skies', the mighty opener for Foxtrot and surely one of the most anthemic and best known prog songs. Naturally the single edit can't have the famous, long mellotron intro, but the song itself is so powerful and effectively catchy, especially in the prog scale, that it deserved to be released as a single too. Did you know the song was inspired by Arthur C. Clarke's science fiction novel Childhood's End? Have a look at the cover of Genesis Live and you'll see Gabe in the role of 'Overlord', the super-intelligent Extra Terrestrial that happens to look like a devil... I should re-read the book some day to evaluate the song and its lyrics from that point of view.

B-side's 'Willow Farm' is the most hilarious section of the beloved prog epic 'Supper's Ready' that fills almost the entire 2nd side of Foxtrot. Of course that groundbreaking epic should be listened as a whole, but 'Willow Farm' functions pretty well also as a separate song. The best piece of humorous prog I know!

I have a temptation to rate this single as high as possible (I haven't rated Foxtrot but no doubt I'd give five stars), but up to the cover art everything is taken from the album... What the hell, this release screams five stars!

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 Selling England By The Pound by GENESIS album cover Studio Album, 1973
4.63 | 3196 ratings

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Selling England By The Pound
Genesis Symphonic Prog

Review by Westonbirt

5 stars As I bravely set out to review Genesis' catalogue, I had to decide where to start. Probably best to go from the top and also the most uncontroversial. As such, here is "Selling England By The Pound", arguably best Genesis album and best title ever written.

Word of God says that this album was written at a time when there was a fear among the still small, dedicated base of the group over whether or not they would sell out to the dirty Americans and their new-world ways. As such, here is the album equivalent of a communitarian revival.

This is of course a caricature. This album has indeed a very English folk charm, but it is at this point a distillation of Gabriel's songwriting wonder, combined with the musicianship of Tony, Steve, Mike and Phil. For this album doesn't have the resonance of say, Dark Side, whose sparse lyrics were bordering on tautology at times.

No, this is isn't a broadly appealing piece - as noted by many reviews of the time. What it is is a brilliantly woven series of tableaux. Beginning with the opening track which transitions from a charming folk ballad to an explosive electric number so seamlessly it's almost offensive. It then peaks, sustains and gently glides back to earth - a complexity of texture that will seem familiar over the next 54 minutes.

Following with the almost successful single I Know What I Like, a delicious digestible piece that was quite rare at the time for Gabriel's Angels. Firth of Fifth needs no introductions - it is a wonderful Banksian work brought to impossible heights by Hackett. More Fool Me is meh, but then again it was written by Phil and Mike on the porch, so I wont be too hard. Battle of Epping Forest is a bit harder to swallow. While the lyrics are not bad, it's not greatly executed, very wordy without having the musical chops to sustain itself. But Tony thinks so too, so I don't feel alone.

Returning on the mode of the first piece, After The Ordeal. While shorter, it is also pleasant. The true second standout moment of the album is The Cinema Show. A truly magnificent work, from its gentle start to its finish on the leitmotiv of Dancing With The Moonlit Knight. Essentially instrumental, it serves a great ending ot the album (Aisle Of Plenty is more of an epilogue).

Phil's drumming brings the whole enterprise to a nice chug, while Hackett in bursts and Banks pretty much whenever manage to show tremendous skill. One reproach you could make it is quite a pretentious number. But I guess, to me, the pretentiousness of The Lamb crushes everything else. All and all, it is a really great album, and definitely one to hang over the chimney. A+

If you'd enjoy it more if it was on a slower boil, try Foxtrot. If you'd like it more if it had more material and was less idiosyncratic, try A Trick Of The Tail.

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 Home By The Sea by GENESIS album cover Singles/EPs/Fan Club/Promo, 1983
4.50 | 7 ratings

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Home By The Sea
Genesis Symphonic Prog

Review by aglasshouse

5 stars Genesis' 'Home By the Sea' is probably the most outstanding track on their 1983 self titled (aka Shapes if you prefer). Most of the tracks that fill the album ranged from decent to good, but this track was the best. Many reviewers of the album (if they give it a fair shake that is) state that this is also the most "progressive" of the numbers. The band must have liked it too, seeing as they gave it a whole part two instrumental which lasted two minutes longer than the first part. I myself have already stated both in my review of it and obviously this one too that I love this song.

The song follows a basic yet strange plot. A thief attempting to steal from the home, stated in the title, before getting trapped and taken prisoner in the home by the sea forever more. There's many coinciding themes of darkness, creeping, as well as the overall attitude of a common thief sneaking through a house. Barreling riffs and clever songwriting make this an amazing song, who's second part brings in a more silly, synth-y approach which doesn't hold much water in the wake of the first part. Undoubtedly, however, this track is worth it, and deserves more praise than it gets.

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