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GENESIS

Symphonic Prog • United Kingdom


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


Beloved Symphonic prog rock through to stadium filling rock titans

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

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

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

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

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


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

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

2.55 | 1137 ratings
From Genesis To Revelation
1969
4.15 | 2283 ratings
Trespass
1970
4.42 | 3149 ratings
Nursery Cryme
1971
4.60 | 3596 ratings
Foxtrot
1972
4.64 | 4140 ratings
Selling England By The Pound
1973
4.30 | 2951 ratings
The Lamb Lies Down On Broadway
1974
4.28 | 2575 ratings
A Trick Of The Tail
1976
4.10 | 1932 ratings
Wind & Wuthering
1976
3.43 | 1436 ratings
...And Then There Were Three...
1978
3.50 | 1441 ratings
Duke
1980
2.61 | 1249 ratings
Abacab
1981
2.79 | 1243 ratings
Genesis
1983
2.47 | 1268 ratings
Invisible Touch
1986
2.66 | 1156 ratings
We Can't Dance
1991
2.49 | 1006 ratings
Calling All Stations
1997

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

3.99 | 928 ratings
Genesis Live
1973
4.33 | 959 ratings
Seconds Out
1977
3.46 | 512 ratings
Three Sides Live
1982
2.12 | 364 ratings
Live - The Way We Walk Volume One - The Shorts
1992
2.90 | 373 ratings
Live - The Way We Walk Volume Two - The Longs
1993
3.25 | 330 ratings
Live Over Europe 2007
2007

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

4.47 | 162 ratings
In Concert 1976
1977
3.11 | 87 ratings
Three Sides Live
1982
3.33 | 68 ratings
The Mama Tour
1985
2.46 | 58 ratings
Visible Touch (VHS)
1987
3.37 | 46 ratings
A History Of Genesis
1991
3.38 | 82 ratings
The Way We Walk (DVD)
2001
3.95 | 56 ratings
The Genesis Songbook
2001
2.94 | 32 ratings
Inside Genesis 1975-1980
2003
3.23 | 107 ratings
Invisible Touch - Live At Wembley (DVD)
2004
3.07 | 80 ratings
The Video Show
2004
3.97 | 92 ratings
Genesis Live Video
2004
2.88 | 38 ratings
Inside Genesis The Gabriel Years 1970-1975
2004
3.06 | 17 ratings
Rock Review - A Critical Retrospective
2005
2.54 | 42 ratings
The Gabriel Era
2006
3.76 | 59 ratings
In London
2007
3.70 | 14 ratings
Up Close And Personal (DVD and book set)
2007
4.16 | 176 ratings
When In Rome
2008
3.69 | 13 ratings
Land of confusion
2010
2.43 | 39 ratings
Sum Of The Parts
2014

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

3.25 | 5 ratings
Presenting Genesis
1974
3.18 | 3 ratings
70's Pop Sound
1974
4.21 | 10 ratings
Genesis Collection Volume One
1975
4.28 | 10 ratings
Genesis Collection Volume Two
1975
2.68 | 57 ratings
Reflection - Rock Theatre
1975
4.10 | 26 ratings
The Best...
1976
2.55 | 17 ratings
Genesis in Concert
1977
3.55 | 4 ratings
The Story Of Genesis
1978
4.20 | 18 ratings
Nursery Cryme / Foxtrot
1979
3.13 | 4 ratings
The Lamb Lies Down On Broadway
1981
3.10 | 2 ratings
Genesis
1981
2.38 | 5 ratings
Genesis
1981
5.00 | 2 ratings
Genesis
1989
1.33 | 5 ratings
The Vertigo Years
1990
2.49 | 32 ratings
Turn It On Again - Best Of 81-83
1991
4.27 | 264 ratings
Archive 1967-1975
1998
2.79 | 25 ratings
The Original Album
1998
3.00 | 5 ratings
The Greatest
1998
2.26 | 112 ratings
Turn It On Again - The Hits
1999
3.00 | 150 ratings
Archive 2 1976 - 1992
2000
3.19 | 97 ratings
The Platinum Collection
2004
2.08 | 21 ratings
14 From Our Past
2007
3.49 | 102 ratings
Genesis 1983-1998
2007
2.32 | 47 ratings
Turn It On Again The Hits -The Tour Edition
2007
3.92 | 136 ratings
Genesis 1976 - 1982
2007
4.54 | 213 ratings
Genesis 1970 -75
2008
3.80 | 103 ratings
Genesis Live 1973 - 2007
2009
4.23 | 13 ratings
The Movie Box
2009
2.50 | 6 ratings
The Magic Of Time
2013
2.18 | 42 ratings
R-Kive
2014

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

2.55 | 34 ratings
The Silent Sun / That's Me
1968
2.54 | 26 ratings
A Winter's Tale / One-Eyed Hound
1968
2.62 | 18 ratings
GENESIS
1969
4.11 | 60 ratings
The Knife
1971
4.15 | 22 ratings
Nursery Cryme
1972
3.21 | 62 ratings
Happy The Man
1972
4.06 | 74 ratings
Twilight Alehouse
1973
4.27 | 67 ratings
I Know What I Like (In Your Wardrobe)
1973
4.69 | 36 ratings
Watcher of the Skies
1973
4.10 | 20 ratings
I Know What I Like (In Your Wardrobe) / After The Ordeal
1973
3.74 | 19 ratings
I Know What I Like / More Fool Me
1973
4.33 | 18 ratings
The Lamb Lies Down On Broadway (Promo)
1974
4.20 | 54 ratings
Counting Out Time
1974
4.36 | 65 ratings
The Carpet Crawlers / The Waiting Room
1975
4.24 | 51 ratings
Counting Out Time / Riding The Scree
1975
4.61 | 23 ratings
The Lamb Lies Down On Broadway
1975
3.70 | 27 ratings
I Know What I Like (In Your Wardrobe)
1975
3.94 | 29 ratings
The Carpet Crawl
1975
4.41 | 32 ratings
A Trick of the Tail
1976
3.21 | 28 ratings
Ripples
1976
3.96 | 45 ratings
Entangled
1976
3.30 | 31 ratings
Your Own Special Way
1976
4.52 | 21 ratings
Entangled / Ripples
1976
4.57 | 23 ratings
A Trick Of The Tail / Squonk
1976
4.38 | 16 ratings
A Trick Of The Tail / Carpet Crawl
1976
3.87 | 15 ratings
I Know What I Like (In Your Wardrobe) / Carpet Crawl
1977
2.98 | 151 ratings
Spot the pigeon
1977
3.12 | 14 ratings
Go West Young Man (In the Motherlode)
1978
3.20 | 53 ratings
Follow You Follow Me
1978
3.96 | 45 ratings
Many Too Many
1978
3.38 | 44 ratings
Duchess/Open Door
1980
2.88 | 43 ratings
Misunderstanding
1980
3.71 | 46 ratings
Turn it on again
1980
2.70 | 35 ratings
No reply at all
1981
2.89 | 57 ratings
Abacab
1981
2.63 | 40 ratings
Keep it dark
1981
2.34 | 40 ratings
3 X 3
1982
3.92 | 17 ratings
The Lady Lies
1982
2.80 | 16 ratings
Paperlate picture 7''
1982
2.90 | 32 ratings
Man On The Corner
1982
2.85 | 8 ratings
Turn It On Again (Live)
1982
4.22 | 9 ratings
I Know What I Like (In Your Wardrobe) / Counting Out Time
1982
3.75 | 8 ratings
Follow You, Follow Me / A Trick Of The Tail
1983
4.30 | 18 ratings
Home By The Sea
1983
4.36 | 34 ratings
Firth Of Fifth
1983
3.02 | 53 ratings
Mama
1983
3.00 | 38 ratings
That's All
1983
2.20 | 37 ratings
Illegal Alien
1983
2.62 | 23 ratings
Taking it all too hard
1984
2.14 | 7 ratings
Tonight, Tonight, Tonight Exclusive Candid Interview
1986
2.42 | 47 ratings
Invisible Touch
1986
2.38 | 36 ratings
Throwing It All Away
1986
2.04 | 37 ratings
In Too Deep
1986
2.60 | 55 ratings
Land of Confusion
1986
3.37 | 35 ratings
Tonight, Tonight, Tonight 12''
1987
3.54 | 24 ratings
Tonight, Tonight Tonight Tonight 7''
1987
3.69 | 39 ratings
No Son Of Mine
1991
2.25 | 12 ratings
We Can't Dance (Special Edition Volkswagen)
1991
2.39 | 18 ratings
Tell Me Why 5'' Cd single
1992
2.60 | 31 ratings
Jesus He Knows Me 5'' CD single
1992
2.58 | 38 ratings
I Can't Dance
1992
2.62 | 34 ratings
Hold On My Heart
1992
2.31 | 20 ratings
Never a Time
1993
2.79 | 19 ratings
Tell me why
1993
3.17 | 6 ratings
...Calling All Stations... Album Sampler...
1997
1.87 | 47 ratings
Congo
1997
2.55 | 34 ratings
Shipwrecked
1997
2.46 | 38 ratings
Not About Us
1998
3.25 | 38 ratings
The Carpet Crawlers 1999 5' promo CD
1999

GENESIS Reviews


Showing last 10 reviews only
 Foxtrot by GENESIS album cover Studio Album, 1972
4.60 | 3596 ratings

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Foxtrot
Genesis Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars Inserting itself stylistically as well as chronologically between "Nursery Cryme" and "Selling England By the Pound", "Foxtrot" is in many ways the idealized transitional album that combines the pick of what came before with the pearls to come. The production is dramatically improved, Peter Gabriel's voice hits the sweet spot in dominance and subservience as needed, and the band is as unified as the Gabriel era could have allowed. Almost.

Side 1 of the original vinyl is 24 karat fulfillment. The majesty of their own mellodramatic "2001 Space Odyssey"-like intro to the equally dazzling "Watcher of the Skies" approaches or eclipses the epic zenith of "Musical Box" depending on your predilections. It certainly excavates and entombs any argument that prog rock packs less oomph than the good old boy rock of its day. After all this pomp, the medieval fantasy of "Time Table" is most welcome, and lights a path that the group could have followed successfully . But like a gifted athlete who happened to choose sport A but could have gone with B-E, GENESIS could have, and largely did, tackle whatever style they set their minds to. The mini suite ""Get em Out by Friday", projects a sci fi dystopian future-is-now premise that would be engrossing even if the music was not as dramatic and diverse as it is. "Can Utility and the Coastliners" begins similarly to "Time Table" but a moving mellotron led and 12 string guitar buttressed interlude ushers in a more intricate movement. Oh yes, "Foxtrot" is uniformly glorious...almost.

To many the relative success of this outing lies on their view of "Supper's Ready", with the majority in agreement that it's a chef d'oeuvre on a grand scale and certainly at the summit of side long epics that even mainstream artists saw fit to pile atop by this time. My ballpark estimate is 90% of these admirably ambitious extravagances suffer major flaws that detract from full appreciation, and, of these, the most egregious is their failure to bind the disparate subsections into a whole, underscoring the tendency to synthesis when it comes to these opuses. This worked much better on the likes of "Tubular Bells", "Thick as Brick" and "Echoes" which manage to bridge the ideas more cleverly. Another shortcoming is the tendency to ramble on in order to exhaust the requisite quota of vinyl grooves, which probably explains why, in the heyday of this art form, there weren't many behemoths in the 12-15 minute range. Why stop there? Unfortunately, "Supper's Ready" suffers from both bugbears, Somewhere around minute 18 it seems like Tony's organ has well and truly wrested control and is only using his hands because it doesn't have a pair of its own. I daresay another dubious achievement is that of inspiring the even more agitated "Battle of Epping Forest". Finally, and I promise the prosecution will rest, this isn't some great Homerian or Wagnerian odyssey, and it's not a parody either. All that said, just as it's not an integrated whole, it's also not a decrepit wreckage either. I enjoy many or the chosen acts, just not how they chose to yield to one another.

I can't help feeling that Foxtrot would have been the stronger, and the more unified, if, at the 11th hour, the muscular equivalent of laryngitis has struck "Supper's Ready" and several of its understudies had been called upon to fill its monstrous dance shoes as only unselfish understudies can. Now where is my "copy" of "Twilight Alehouse"?

 Genesis by GENESIS album cover Studio Album, 1983
2.79 | 1243 ratings

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Genesis
Genesis Symphonic Prog

Review by Jochanan

3 stars Do you know this phenomena, or how to call it, that when listening to a particular song you remember what you were doing or where you were or just the atmosphere of the occasion you listened to that particular song for the first time? I just love music for the capacity to bring me back to my childhood and teenage years. For me, it is like going through old family pictures.

If there is a reason to listen to Genesis, it is because of Peter Gabriel, but if you asked me what Genesis is, I would say that THIS is Genesis. When I was little I knew that my father used to listen to Genesis or Phil Collins or Eros Ramazotti, but I didn't like much his voice. Only when I was teenager, I gave Genesis a try with Wembley concert from 1986 and just after that I learned about Peter Gabriel era. And every time I listen to the first half of this album I have a feeling that that's exactly what my father used to listen to when I was a toddler - Mama and Home By the Sea.

IMO, in the 70's, Prog and Genesis as well based their music on the skills or musicianship and the proper sound holding together throughout the whole album. It used to be constructed as cathedrals. In the 80, the depth mostly disappeared and was replaced with the stress on the sound. Each song was different, different atmospere, different drumming or synthesizers. For me, it was about bringing the right and unprecedented sound as a base for a song. I think that the best example is 90125 by Yes and the ABWH album - 90125 is very colourful, each song is different, different idea, different sound, whereas ABWH is like a cathedral, prog created in 80's, with the 80's sound, but no stress whatsoever on the sound, the style, the coolness. I don't want to say which one was better way to go on in the 80', for me it is a personal choice and here I just like those little experiments; and unlike with Abacab, they hold nicely together in one piece.

Mama, Home By the Sea, Silver Rainbow, It's Gonna Get Better and That's All, they are just good imaginative songs and that's it.

 Duke by GENESIS album cover Studio Album, 1980
3.50 | 1441 ratings

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Duke
Genesis Symphonic Prog

Review by Zoltanxvamos

5 stars I think that people highly discredit this album for the very minimal amount of soft rock material found on this album, the only real pop song on this album is 'Misunderstanding'. I find that track is be good but nothing amazing, however it fits on this album. Behind the Lines is a powerful opener that starts off the Dukes Suite, it has great lyrics, great drum patterns and powerful chord progressions. Continuing through the Dukes Suite we get hit with an emotional powerhouse, Duchess. Duchess opens with great drum machines that actually fits really well on this album, the chords come into play and start the roll into the meat of the song. Powerful lyrics, good harmonies, huge keys and a continuation of the concept. Guide Vocal is a piano interlude that continues the Suite, it has lyrical depth and gorgeous chords, and yet people consider this a pop number, why? Not a clue, seriously not a clue. Man of Our Times is a Rutherford track and it definitely fits on this wonderful album, this emotion on this song is top notch. The chords are great, the instrumentation is good, and overall it's a very well written song. Misunderstanding is a bit of a pop number, but on this 60 minute album, this 3 minute song is really not worth much for calling this album pop, in the length of the album, 3 minutes are pop, it's nonsense to call this album pop for 3 minutes. Misunderstand is a fairly catchy song with good chords and simple yet effective playing, I like this track nonetheless, its good to like other genres. Heathaze is the next track for the Suite, a beautifully written Banks track with great chords, emotional lyrics and a warm atmosphere that really defines the album. The instrumentation on this song is subtle but it is beautifully written so I can forgive it. Turn It On Again is the other song people just write off as a pop song even though it is a soft rock song in an odd time, 13/4 to be exact. I guess people can call this a pop song, but again its 3 minutes on a 60 minute album, ok... so 10% of this album is arguably pop? Still doesn't make it pop. Alone Tonight is another Rutherford song that is again, beautifully written. It's a more soft rock piece but it's still a great song with amazing lyrics. Cul-De-Sac is another Banks piece that fits with songs like Heathaze, this song kind of sounds like Man of Our Times and Heathaze in one, with some more Banks magic done here. Please Don't Ask, probably one of the most emotional songs on this emotional masterpiece by this amazing band. The lyrics hit hard with a deep subject, not being able to see your own kids. The chords fit the lyrics, making this song a combination of Lyrical and Musical emotion, that's what makes this album great. Dukes Travels is this mostly instrumental track that reprises Guide Vocal. This song is basically a keyboard solo, need I say more? Dukes End reprises the first half of Behind The Lines, and ends this album brilliantly.

So what are my overall thoughts on this album? Probably this bands most emotional album. This album has a raw and real concept, the album overall has very well written songs and just beautiful lyrics throughout. Sorry, but the reality is, this is the last masterpiece by the band. Wind and Wuthering might be a great album, but it wasn't the last great album, this was.

 ...And Then There Were Three... by GENESIS album cover Studio Album, 1978
3.43 | 1436 ratings

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

Review by Jochanan

2 stars I absolutely agree that this album is transitional, kind of Diet Wind and Wuthering.

Let me explain this transition with a comparison to soup: In early 70's, Genesis developed a new and original recipe for soup. You could taste more influences, different ingredients, different genres, different time epochs together. Absolutely amazing brand. Then Peter Gabriel left and the band proved to be still able to provide high quality music, maybe not so original as before, but still above standard. But with this album, I dare say that they produced consommé, a rehash, of something that was being cooked for couple of years before. The atmosphere and musicianship is there, yes (I especially enjoy Collins's drumming), but I have a feeling like I already heard it on 2 previous albums. What's more, I find it irritating to hear Bank's keyboards at the beginning of songs like The Lady Lies, Deep in Motherlode or Rutherford's guitar in Scenes from a Night's Dream. It just makes me think that the band wants to build a song on some cheesy melody just in the sake of writing a song. I find writing most of the songs have just become a stale routine.

I was always so sad that 70's had to finish and prog with it, but Genesis showed me different viewpoint on the topic and that is that nothing lasts for ever. This album is a prove that most prog bands have depleted themselves and had to find new source. I remember when I first heard Many too Many and Follow You Follow me. I didn't like the first one and I thought about the second one: "what a piece of sh..." Well, that was because of the context of the Gabriel era. In the context of this album I think that these two songs are fresher and more interesting than longer songs as attempts to stick with the past. Unfortunately there is no way back and still, I consider Duke great album and I find at least 2 great songs on each 80's album (maybe except for Abacab).

PS: Steve Hackett is very missed - on the previous album, Tony Banks tended to absorb all the space for himslef, but he is not Emerson, there might have been arguments between these 2, but here, after Hackett's departure, Banks' creativity seems shocked and as if he got scared from the suddenly gained space. I believe he needed this tension and competition.

Let me finish with an experiment question: If this album had been released by a completely different and unknown band, would it be appreciated more or less than the way it is now?

 Trespass by GENESIS album cover Studio Album, 1970
4.15 | 2283 ratings

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Trespass
Genesis Symphonic Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

4 stars In the late 1960s, CAT STEVENS was a pop sensation in his native UK, a purveyor of catchy 2 minute numbers that were not even as deep as wide. Then he was stricken with a grave illness and spent months in a sanitarium, during which time he wrote more than 3 dozen songs that would mark his transformation into a serious singer songwriter. The first recorded evidence was the brilliant "Mona Bone Jakon", which, while later overshadowed by the mega success of its two successors, projects some of his most intensely personal and endearingly self conscious visions. Wait, this is a review of GENESIS "Trespass"?. Ok scratch the above. On second thought, let's leave it here because of three connections: they were both released in 1970, that Cat album included another cat named PETER GABRIEL as guest flutist, and of paramount significance, "Trespass" is GENESIS' "Mona Bone jakon".

The 1969 polar opposite to the lunar landing was the abomination known as "From Genesis to Revelation", which proved that distinctly average material could be rendered utterly abysmal by adding simpering strings. In the fallout from this debut, GENESIS shed their naff producer and got stuck in a thatched cottage for a long weekend with a possessed Grundig that had "In the Court of the Crimson King" on auto repeat or whatever it was called back then. That explains why "Trespass" spends over 42 minutes absolutely not sounding like that classic.

What "Trespass" does do is establish the Peter Gabriel fronted GENESIS arrangements and lyricism even while two ultimately key members were yet to join the ensemble. Gabriel's voice is less domineering here, but Banks' organ, Phillips' 12 string, and the vaguely folk and epic centered themes all announce that GENESIS was done with pop music forever...er...for a while. The reason "Trespass" is generally not acknowledged as in the peak period of the group is that it lacks the bombast that would mark that era. Only the closer, "The Knife", speaks to that power , and its closest relative might be "The Cage" from the Lamb album 4 years later. The rest is more understated but just as personal, and songs like "White Mountain" and "Visions of Angels" bare a pithy personality that was soon abandoned.

At the risk of a breach, I find "Trespass" to be more enjoyable overall than the next two GENESIS albums, though it is ultimately eclipsed by "Selling England...". It's the perfect launchpad into an exploration of several prominent careers and their influences.

 Selling England By The Pound by GENESIS album cover Studio Album, 1973
4.64 | 4140 ratings

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Selling England By The Pound
Genesis Symphonic Prog

Review by Zoltanxvamos

5 stars This is the Genesis masterpiece, and I will go on the record say this... I would be a bit happier if this was the number one on the top 100. Genesis is my favourite band of all time and of course I'm a bit biased... everyone is...but this has every right element to be the best prog album of all time. But to reviewing this songs in this more than perfect album.

Dancing With The Moonlit Night | This has always been a strong opener, it has a brilliant vocal melody and well... all of the above.

I Know What I Like (In Your Wardrobe) | The attempt at a hit song on this masterpiece of an album. Of course Phil did say that even back then they were always attempting at writing songs that would make it on Billboards. This song is still very very prog and I feel like this is one of the catchiest songs in prog.

Firth of Fifth | The Piano Intro, the guitar solo, the poetic lyrics, everything about this song is of Genesis heaven. The atmosphere and unbelieveable structure of this song is just well... unbelievable.

More Fool Me | Another attempt at a song rock hit but this was much more of a hit song than 'I Know What I Like'. It is the weakest song on the album but I still love it.

The Battle Of Epping Forest | This is the considerable epic on the album and it fits on the album perfectly, the speed and upbeat tone with a bunch of interesting song structure change. Everything about this song is just... amazing... I can't describe how much I love this song.

After The Ordeal | This is the beautifully played instrumental that leads into probably the best song on the entire album.

Cinema Show | The shuffling drum beats, the odd times, the unbelieveable atmosphere, the beautiful intro, the lyrics and the concept of the song... this is probably in my top 3 favourite Genesis songs of all time.

Aisle Of Plenty | The Outro, really the last part of Cinema Show. I was very happy with this ending, it was slow and melodic, and lastly, it reprised Dancing With The Moonlit Knight. It was the best ending to a prog album.

So what are my overall thoughts? Perfection.

 Duke by GENESIS album cover Studio Album, 1980
3.50 | 1441 ratings

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Duke
Genesis Symphonic Prog

Review by iluvmarillion

5 stars A fresh start can create a whole new set of fortunes for a band. Phil Collins marriage has run its course and he arrives in the studio with the ambitious 30 minute Duke suite which he splits into two main sections with the interconnecting piece 'Turn It On Again' in the middle and a reprise at the end. Banks and Rutherford add a couple of songs of their own in keeping with the theme, while Collins himself writes a couple of separate songs about marriage and divorce which is in keeping with the theme of the album.

The pastoral ideas and macabre fairy stories of the Peter Gabriel/ Steve Hackett era have been replaced by the more identifiable human elements rooted in yearning for love, self-identity, the choices in life we make, rejection and loneliness (the loneliness coming full circle in the journey of Duke).

Behind The Lines introduces the Duke theme which will be reprised at the end of the album. Up tempo it moves at a bright pace until it slows in pace to what appears the sound of a drum machine which moves in synch to Banks electric piano. Then comes the chorus of Duchess which is a pretty little music hall tune as Tony Banks continues his riff on electric piano. Guide Vocal, the first Tony Banks composition, may be only one and a half minutes long, but it perfectly encapsulates the narrative of Duke with its slow piano, minimal chords and restful moog in the background. With Man Of Our Times Rutherford ups the tempo with a tune which sounds a bit like The Beatles with a full on chorus with keyboard and mellotron. Misunderstanding is a song about love and marriage from Phil Collins with pounding piano and chorus singing. Heathaze, I think the most beautiful song coming from the pen of Tony Banks, starts with electric piano and moves at a gentle pace through the lyric poetry of the song.

Side 2 starts off with Turn It On Again with its unusual time signature of 13/8 which Rutherford accidentally discovered strumming his guitar. Alone Again Tonight is a typical Mike Rutherford pop piece featuring a plethora of guitars including 12 string. Cul-De-Sac completes the trio of Tony Banks songs with its more up tempo beat and signature synthesizers.

Please Don't Ask is my favourite Phil Collins number which I fell in love with when I first played the album. A song about separation I can picture Phil on the piano stool playing it because it sounds just like him (though not credited on the album sleeve). The epic journey of Duke concludes with Duke's Travels/ Duke's End, a largely instrumental piece which begins with synthesizers, then goes through a drum roll before progressing through some unusual time signatures and sounding like a mixture of J S Bach and Irish jigging with soaring synthesizers.

Like Pink Floyd's The Divisional Bell, another late entry into their discography, Duke is neither a transitional album nor a pointer of what was to follow for the band. Like The Divisional Bell, Genesis had to survive the turmoil of losing a key band member, then making what I regard was a poor first up effort after Hackett's departure, but then making amends with this album.

The themes in Duke are eternal leaving a lasting legacy for loyal Genesis fans to remember the band on a high, that is I guess if some of these same fans can put aside their prejudices towards Phil Collins and not compare present with past when Steve Hackett and Peter Gabriel were helping to construct their classic 70's albums.

 Invisible Touch by GENESIS album cover Studio Album, 1986
2.47 | 1268 ratings

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Invisible Touch
Genesis Symphonic Prog

Review by iluvmarillion

1 stars I really can't stand this album and it's difficult to come up with the 100 words which qualifies as a review. My feelings towards this album can be summarized by the titles of three Genesis songs, "Who Dunnit?" and "Another Record" off the Abacab album and "Land Of CONFUSION" off this one. This album in my opinion represents the nadir of Genesis's creative output only rivaling some of the worst song writing on The Abacab album. To be fair Domino, which the band performed live throughout the 80's, isn't a bad song while The Brazilian is a half decent instrumental. Unfortunately you have to wade through 25 minutes of sludge before you get to the last couple of decent songs.

Surprisingly the trio came back for one more album before they decided to break up and the result, We Can't Dance, isn't a bad effort. The opening 6 minute track off that album, "No Son Of Mine", is superior to the 45 minutes of music you have to sit through listening to Invisible Touch.

 Selling England By The Pound by GENESIS album cover Studio Album, 1973
4.64 | 4140 ratings

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Selling England By The Pound
Genesis Symphonic Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars There seems to be few bands that capture the world of progressive rock so profoundly as the English band GENESIS who not only enjoyed commercial success with a series of pop albums in the 80s but still remains one of the most vital bigwigs of the 70s prog scene with some of the most dedicated fans one could ever hope for. While i personally am not as enamored with GENESIS as much as many other proggers out there as i find their canon a bit hit and miss in the quality control department, i readily admit that when they hit a high note that it is indeed as high as one could ever hope for and such is the case with the band's fifth album SELLING ENGLAND BY THE POUND which was the third album with the classic lineup of Peter Gabriel (vocals, flute, oboe), Mike Rutherford (bass, guitar), Tony Banks (keyboards), Steve Hackett (guitars) and Phil Collins (drums).

It's hard to believe that SELLING ENGLAND BY THE POUND came about as a result of just a three month stretch of time that followed the 'Foxtrot' tour with record label demands for more product. More often than not bands cave under the pressure and produce some sort of substandard product but in the case of GENESIS, the band seemed to work best under pressure with a threatening external force demanding the near impossible but despite it all GENESIS not only succeeded in crafting eight new tracks for a fifth album but also delivered one of the greatest prog masterpieces of all time and imho the pinnacle of this band's long and fruitful career. Despite erroneous misconceptions that GENESIS didn't experience true commercial success until the 80s, the band actually did experience a nice following during the proggiest days in its native England with both 'Nursery Cryme' and 'Foxtrot' hitting the top 40 album charts but SELLING ENGLAND BY THE POUND was truly their breakthrough album in the homeland and hit #3 (compare that to #70 in the US which was the first charting album.)

SELLING ENGLAND BY THE POUND continues the pastoral prog rock / folk sounds presented on the previous two albums and takes it all to higher grounds. The band was unfairly compared to contemporary prog bands like ELP, Jethro Tull and Pink Floyd and as a result the GENESIS was determined to distance itself from the biggest bands of the era. Likewise, Phil Collins was heavily influenced by the time signature rich performances of the jazz-fusion outfit Mahavishnu Orchestra and was instrumental in bringing more complex elements to the band's sound which resulted in a multitude of prog elements finding their way into the compositional fortitude of the album. In addition to the off-kilter richness of time signature changes and Keith Emerson keyboard stabs, several tracks took on the true pomp and awe of prog rock excess with lengthy running times, the most notable being 'The Battle Of Epping Forest,' a tale of two rival gangs from the East side of London and 'The Cinema Show' which was divided into 2 sections and was inspired by the T.S. Eliot poem 'The Waste Land.'

The album succeeds on many levels but keeping things interesting is always a challenge however SELLING ENGLAND BY THE POUND offers a nice varying multitude of sounds. 'Firth Of Fifth' for example offers some stellar classical piano runs and was initially written by Banks for 'Foxtrot' but was rejected and after some embellishments became a more complex beast in many ways exemplifies the perfect sound mix of GENESIS with heavy organs completed with Gabriel's dramatic passionate vocal style along with the pastoral acoustic guitar passages that together would define GENESIS' sound for the remaining years with Gabriel as the frontman. Likewise 'After The Ordeal' was an instrumental Hackett piece that provided the perfect intermission between the two lengthy prog behemoths of the album. Not only are the tracks on SELLING ENGLAND BY THE POUND perfectly constructed but everything flows together int he perfect running order which takes the classic tracks into epic album terrain. The album ends with a perfect 'outro' of 'The Cinema Show' with 'Aisle Of Plenty' which gently ends the show in perfect English gentleman chivalry.

I've always considered GENESIS to be somewhat of a lazy band to be honest as they only seemed to innovate when they were pushed to do so. Take the debut for example which was not even decent pop music when it came out. It wasn't until prog was en vogue that the band became driven to create their first true masterful work 'Trespass,' however with the departure of Anthony Phillips and John Mayhew it took a good couple of albums and tours for GENESIS to reinvent themselves with the addition of Steve Hackett and Phil Collins. True the band crafted some classic tracks on 'Nursery Cryme' and 'Foxtrot' but overall those albums just don't sound cohesively brilliant to my ears as the band sounded a little out of sync with what they were trying to create. Well, on SELLING ENGLAND BY THE POUND imho they finally achieved that classic symphonic prog sound they had been veering towards since 'Trespass' only this time they nailed it on all fronts, on all tracks in every possible way. There is good reason SELLING ENGLAND BY THE POUND is considered one of the all time classic albums of prog as it not only captures the essence of the prog universe with catchy classically infused melodies but also implemented feistier complexities and on the lyrical side of the equation evoked the zeitgeist of the era as England was losing its eccentricities to the dominate American culture that took over the globe. What can i say? This album is truly GENESIS at the top of its game.

 Genesis by GENESIS album cover Studio Album, 1983
2.79 | 1243 ratings

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Genesis
Genesis Symphonic Prog

Review by iluvmarillion

4 stars If you make your starting point for the history of the band Genesis, "And Then There Were Three", discounting Duke which is a bit of an anomaly in the Genesis catalogue, there is a line of progression to the album, Genesis.

ATTWT is a loose collection of mediocre songs with too many synths and minimal contribution from Phil Collins.

Abacab sets a course with a brilliant title track and a great Phil Collins piece, Man On The Corner, but disappoints with the misfiring Dodo/ Lurker and some of the worst compositions the band ever wrote.

Genesis, the album, is a culmination of the talents of the Collins- Rutherford- Banks as a songwriting trio, featuring nine out of nine great tracks. It doesn't get any better for them as a three piece and sadly goes all downhill after this. Highlight of this album is the 11 minute epic Home By The Sea which has a long instrumental passage and some incredible drumming by Phil Collins. If you want to know the difference between Phil Collins as a solo act and 80's Genesis , it's that Collins is breezy and brassy while the best of Genesis is dark and more musically expressive. The title track Mama is typically Genesis 80's dark but with a tinge of fun at the same time. Illegal Alien has a fantastic beat. Taking It All Too Hard is one of the best songs Genesis wrote in the 1980's while Silver Rainbow has a progressive edge to it with some great Tony Banks keys.

It really doesn't get any better than this for Genesis and it's unfortunate that the band decided to drag on artistically until Phil Collins decided to pull the plug. There is not a weak track on the album. Four out of five stars for me.

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

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