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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


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

2.54 | 1340 ratings
From Genesis to Revelation
1969
4.14 | 2643 ratings
Trespass
1970
4.42 | 3593 ratings
Nursery Cryme
1971
4.61 | 4067 ratings
Foxtrot
1972
4.65 | 4677 ratings
Selling England by the Pound
1973
4.31 | 3366 ratings
The Lamb Lies Down on Broadway
1974
4.28 | 2959 ratings
A Trick of the Tail
1976
4.11 | 2242 ratings
Wind & Wuthering
1976
3.42 | 1676 ratings
...And Then There Were Three...
1978
3.52 | 1698 ratings
Duke
1980
2.61 | 1470 ratings
Abacab
1981
2.79 | 1464 ratings
Genesis
1983
2.50 | 1495 ratings
Invisible Touch
1986
2.66 | 1356 ratings
We Can't Dance
1991
2.46 | 1157 ratings
Calling All Stations
1997

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

4.00 | 1054 ratings
Genesis Live
1973
4.35 | 1086 ratings
Seconds Out
1977
3.49 | 593 ratings
Three Sides Live
1982
2.16 | 409 ratings
Live - The Way We Walk Volume One - The Shorts
1992
2.94 | 418 ratings
Live - The Way We Walk Volume Two - The Longs
1993
3.28 | 374 ratings
Live over Europe 2007
2007
4.27 | 11 ratings
Watcher of the Skies - 1972
2023

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

4.47 | 178 ratings
In Concert 1976
1977
3.14 | 95 ratings
Three Sides Live
1982
3.37 | 73 ratings
The Mama Tour
1985
2.51 | 60 ratings
Visible Touch (VHS)
1987
3.38 | 51 ratings
A History Of Genesis
1991
3.40 | 87 ratings
The Way We Walk (DVD)
2001
3.92 | 60 ratings
The Genesis Songbook
2001
2.96 | 37 ratings
Inside Genesis 1975-1980
2003
3.25 | 116 ratings
Invisible Touch - Live At Wembley (DVD)
2004
3.09 | 88 ratings
The Video Show
2004
3.98 | 102 ratings
Genesis Live Video
2004
2.92 | 43 ratings
Inside Genesis The Gabriel Years 1970-1975
2004
3.13 | 21 ratings
Rock Review - A Critical Retrospective
2005
2.58 | 45 ratings
The Gabriel Era
2006
3.78 | 67 ratings
In London
2007
3.53 | 17 ratings
Up Close And Personal (DVD and book set)
2007
4.15 | 187 ratings
When In Rome
2008
3.31 | 16 ratings
Land of Confusion
2010
2.50 | 41 ratings
Sum Of The Parts
2014

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

3.52 | 12 ratings
Presenting Genesis
1974
3.35 | 7 ratings
70's Pop Sound
1974
4.29 | 16 ratings
Genesis Collection Volume One
1975
4.37 | 16 ratings
Genesis Collection Volume Two
1975
2.68 | 59 ratings
Reflection - Rock Theatre
1975
4.09 | 30 ratings
The Best...
1976
2.62 | 21 ratings
Genesis in Concert
1977
3.62 | 9 ratings
The Story Of Genesis
1978
4.24 | 24 ratings
Nursery Cryme / Foxtrot
1979
3.30 | 8 ratings
The Lamb Lies Down On Broadway
1981
3.28 | 6 ratings
Genesis
1981
2.50 | 9 ratings
Genesis
1981
2.31 | 7 ratings
Genesis
1989
1.44 | 8 ratings
The Vertigo Years
1990
2.47 | 39 ratings
Turn It On Again - Best Of 81-83
1991
4.28 | 304 ratings
Archive 1967-1975
1998
2.83 | 30 ratings
The Original Album
1998
2.03 | 10 ratings
The Greatest
1998
2.26 | 124 ratings
Turn It On Again - The Hits
1999
3.01 | 166 ratings
Archive #2 1976-1992
2000
3.21 | 111 ratings
The Platinum Collection
2004
2.37 | 22 ratings
14 From Our Past
2007
3.52 | 108 ratings
Genesis 1983-1998
2007
2.24 | 51 ratings
Turn It On Again The Hits -The Tour Edition
2007
3.93 | 148 ratings
Genesis 1976 - 1982
2007
4.56 | 224 ratings
Genesis 1970 -75
2008
3.81 | 111 ratings
Genesis Live 1973 - 2007
2009
4.40 | 20 ratings
The Movie Box
2009
2.43 | 7 ratings
The Magic Of Time
2013
2.37 | 52 ratings
R-Kive
2014
2.98 | 23 ratings
The Last Domino?
2021
4.16 | 15 ratings
BBC Broadcasts
2023

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

2.57 | 38 ratings
The Silent Sun / That's Me
1968
2.63 | 33 ratings
A Winter's Tale / One-Eyed Hound
1968
2.73 | 22 ratings
GENESIS
1969
4.12 | 64 ratings
The Knife
1971
4.22 | 30 ratings
Nursery Cryme
1972
3.21 | 66 ratings
Happy The Man
1972
4.06 | 77 ratings
Twilight Alehouse
1973
4.25 | 71 ratings
I Know What I Like (In Your Wardrobe)
1973
4.56 | 42 ratings
Watcher of the Skies
1973
4.00 | 20 ratings
I Know What I Like (In Your Wardrobe) / After The Ordeal
1973
3.71 | 21 ratings
I Know What I Like / More Fool Me
1973
4.29 | 17 ratings
The Lamb Lies Down On Broadway (Promo)
1974
4.14 | 58 ratings
Counting Out Time
1974
4.36 | 69 ratings
The Carpet Crawlers / The Waiting Room
1975
4.22 | 55 ratings
Counting Out Time / Riding The Scree
1975
4.54 | 28 ratings
The Lamb Lies Down On Broadway
1975
3.65 | 30 ratings
I Know What I Like (In Your Wardrobe)
1975
3.94 | 33 ratings
The Carpet Crawl
1975
4.31 | 35 ratings
A Trick of the Tail
1976
3.38 | 33 ratings
Ripples
1976
3.98 | 49 ratings
Entangled
1976
3.27 | 36 ratings
Your Own Special Way
1976
4.60 | 25 ratings
Entangled / Ripples
1976
4.41 | 27 ratings
A Trick Of The Tail / Squonk
1976
4.10 | 21 ratings
A Trick Of The Tail / Carpet Crawl
1976
3.94 | 17 ratings
I Know What I Like (In Your Wardrobe) / Carpet Crawl
1977
2.98 | 169 ratings
Spot the Pigeon
1977
3.22 | 18 ratings
Go West Young Man (In the Motherlode)
1978
3.23 | 63 ratings
Follow You Follow Me
1978
3.92 | 49 ratings
Many Too Many
1978
3.40 | 50 ratings
Duchess/Open Door
1980
2.92 | 50 ratings
Misunderstanding
1980
3.71 | 53 ratings
Turn it on again
1980
2.83 | 41 ratings
No reply at all
1981
2.88 | 63 ratings
Abacab
1981
2.69 | 46 ratings
Keep it dark
1981
2.38 | 51 ratings
3 X 3
1982
3.92 | 18 ratings
The Lady Lies
1982
3.00 | 18 ratings
Paperlate picture 7''
1982
2.90 | 37 ratings
Man On The Corner
1982
2.96 | 9 ratings
Turn It On Again (Live)
1982
4.10 | 10 ratings
I Know What I Like (In Your Wardrobe) / Counting Out Time
1982
3.73 | 11 ratings
Follow You, Follow Me / A Trick Of The Tail
1983
4.17 | 21 ratings
Home By The Sea
1983
4.33 | 35 ratings
Firth Of Fifth
1983
3.07 | 62 ratings
Mama
1983
2.91 | 43 ratings
That's All
1983
2.33 | 45 ratings
Illegal Alien
1983
2.56 | 26 ratings
Taking it all too hard
1984
2.75 | 8 ratings
Tonight, Tonight, Tonight Exclusive Candid Interview
1986
2.37 | 54 ratings
Invisible Touch
1986
2.38 | 41 ratings
Throwing It All Away
1986
2.07 | 44 ratings
In Too Deep
1986
2.61 | 61 ratings
Land of Confusion
1986
3.33 | 39 ratings
Tonight, Tonight, Tonight 12''
1987
3.34 | 29 ratings
Tonight, Tonight Tonight Tonight 7''
1987
3.56 | 45 ratings
No Son Of Mine
1991
1.79 | 14 ratings
We Can't Dance (Special Edition Volkswagen)
1991
2.48 | 21 ratings
Tell Me Why 5'' Cd single
1992
2.56 | 36 ratings
Jesus He Knows Me 5'' CD single
1992
2.35 | 46 ratings
I Can't Dance
1992
2.59 | 37 ratings
Hold On My Heart
1992
2.30 | 22 ratings
Never a Time
1993
2.75 | 21 ratings
Tell me why
1993
3.18 | 11 ratings
...Calling All Stations... Album Sampler...
1997
1.89 | 54 ratings
Congo
1997
2.57 | 39 ratings
Shipwrecked
1997
2.47 | 41 ratings
Not About Us
1998
2.93 | 39 ratings
The Carpet Crawlers 1999 promo CD
1999

GENESIS Reviews


Showing last 10 reviews only
 From Genesis to Revelation by GENESIS album cover Studio Album, 1969
2.54 | 1340 ratings

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From Genesis to Revelation
Genesis Symphonic Prog

Review by Brush Of Chaos

2 stars Before Jonathan King became one of the world's biggest scumbags in music, he was a man with great ambition. Already a successful singer songwriter, his next step was to become a producer, and in 1967 he would discover one of the most important bands in Prog history. That band was called New Anon, consisting of five plucky young men who had no idea they would be making waves in music as a whole. For Jonathan King, this was the beginning of his career as a producer, the genesis you could say. And thus, New Anon were no longer anonymous, and became forever known as Genesis. And their to call their first album From Genesis To Revelation rough would be an understatement. FGTR is so rough, it's like a freshly cut down tree that hasn't been made into lumber.

So to give context, when Jonathan King first stumbled upon Genesis, he liked what he had heard. But King wanted control over the band, from small ideas like going fully acoustic, to insisting Genesis write simple pop-rock songs like the Bee Gees before they became the faces of discorama. After the recording of this album, Jonathan King would go behind the backs of the band, and with a team of audio engineers, add in some horns and strings into the music. As you might be guessing, working with Jonathan King would prove to be a frustrating experience that would revolve around the parents of the band renegotiating a predatory contract. This is a recipe for disaster, but perhaps maybe there's something we can salvage from this album knowing the direction Genesis would take.

I'll be honest, this album doesn't get off to a bad start. Where The Sour Turns To Sweet shows a few signs of what will be. I love the opening of this song that feels like a group of friends inviting you to hear their song. Unfortunately, the song fell apart for me when I heard the horns come in out of nowhere. This is going to be a problem with the album, the added strings and horns do not help to elevate these songs, they actually make them worse.

Then things get psychedelic. In The Beginning is the proggiest song on the album, and also has the hint of what Genesis could be. It has that feel of something off of Piper At The Gates Of Dawn, and Gabriel's vocals on top of the instrumentals shines greatly. You know what else makes this song great? I can't hear any added horns or string sections. If only Jonathan King didn't have his head so far up his own ass and realized what he had.

We then jump right into Fireside Song, a pretty little acoustic ballad that allows us to hear a soft Peter Gabriel. Well, I would say it's pretty, but the whole thing is marred by that same god awful added string section robbing the song of any softness and tries to make the song bigger than it needs to be. I don't need added violins Jonathan King, it's absolutely distracting and not in the good way.

The Serpent Song opens with an instrumental interlude before it begins proper, and we once again, hear Genesis as it should sound. There's definitely more of that psychedelic space rock sound to it as we heard on In The Beginning, and the band absolutely shows off what they could be. And I just dig Anthony Phillips' guitar playing on this album, it's a great song, and probably the best thing the album has going for it. Am I saying that because it's the longest song on the album? Not really, it's more about the depth of the instrumental.

Things calm down with another acoustic ballad in Am I Very Wrong, which again, lets Peter Gabriel's vocals shine. But once again, the added horn section takes away from that and creates a distraction. I know, I'm harping on it, but the added horns absolutely destroy the mood of the song. Now I'm starting to understand why No Reply At All backfired with fans, It's an annoying distraction hiding the band's true sound. Horns should never be near Genesis, I get it.

Let's try this again. In The Wilderness is the next song, and it starts off okay, until that damn string section kicks in. Well, if we take the string section out, what are we left with? Frankly, this sounds like Bubblegum Pop, right down to the chorus. This is probably one of those songs written specifically to please Jonathan King, but again, he wasn't pleased enough until he added the extra strings without realizing how much it's drowning out the rest of the band. Even when the song fades out, the strings are still too god damn loud they serve to hide the fact there's a good band underneath it all,

The Conqueror is more like it. No distracting string section, no annoying ass horn section. Just the band as it should be heard. It's fine. Thank god it's not full of horns or strings, because I can actually hear the damn band. Once again, I can hear a little bit of that early Bee Gees, and early Pink Floyd sound. The pieces are there, they just need a better producer than Jonathan King.

In Hiding is another ballad that shows off Peter Gabriel's singing... oh no, you know what that means right? Yep, a string section is going to take away from Peter Gabriel's voice and Anthony Phillips' lovely acoustic guitar. And that's exactly what happens. Only difference is I can hear the guitar against the strings, but still, the strings are too damn loud and absolutely take away from the song's beauty. Oh god, make the horns and string sections stop.

It doesn't stop though. One Day is not an acoustic ballad, but a bit more lovey-dovey song meant to please Jonathan King, but this one not only has the added strings, but it also has the added horns, and once again, everything is so loud it drowns the band out. Which is a shame because Rutherford's bass sounds great on this song, when I can hear it that is. Otherwise my ears are blasted by the same loud string and horn section I can barely hear anything other than Peter Gabriel and Jonathan Silver's drums. Now I understand why Anthony Phillips stormed out after hearing the changes, it sounds like ass.

Onto Window, and this acoustic ballad once again has that damn horn section, in the beginning at least. In the first minute, we get a hornless section where we hear what this ballad is meant to sound like, but then the strings and horns kick in. I'll be honest, if the strings were brought down on this song and used more for texture, and the horns completely eradicated, I could see this song somewhat working. Unfortunately, we cannot have that, the horns and strings need to be loud as hell.

Next, we find ourselves on the track In Limbo. Once again, we have a loud horn section drowning the band out, until eventually the horn section is finally lowered in volume. I can hear some semblance of psychedelic rock when I try to imagine the horn section not being there. In fact, I think the horn section being texture robs us of a solid song. It's not the strongest song on the album, but also not the worst. At least by this point Jonathan King found a way to make the horn section a little less distracting, but unfortunately, it's still there.

And here we go, Genesis writes the earliest attempt of Follow You Follow Me, The Silent Sun. Peter Gabriel has an amazing voice, but he's having to compete against a needless string section that makes the song a lot less romantic. Instead of being an endearing tune, it turns into one of those instances where you're at dinner with your significant other and you want to impress them so you get an entire symphony in to back you up as you sing to them. It's unnecessarily big, kind of embarrassing, and not a good way to show love to someone.

The album ends with A Place To Call My Own, a soft 2 minute song to close out what has been a mess of bad production choices. How does Jonathan King [%*!#] this up? Why don't we add a loud horn and string section to take away from Tony Banks' somber keyboard, that will kill this song's mood for sure!

And that's the best way I can describe FGTR, it's a hot mess of bad production choices well out of the band's control. Everything was working against this album, right down to the release. It's been speculated that the album was mistaken as religious music and got shoved in there by mistake, and while I believe that it's possible, it's more likely people didn't know the album existed. It's been said that the album only managed to push about 600 copies, but I wouldn't be surprised if it didn't even move that many. Well, there is a bright side to all this, and it ends in a goofy fashion for one party. After the band's parents managed to successfully renegotiate their contracts with Jonathan King, Genesis would get back together to join the famous Charisma label and make a proper opening statement in Trespass, while Jonathan King would be stuck with only From Genesis To Revelation. He has re-released the album multiple times, including an instance where he added an extra drum track, and I can recall at one point he attempted to re-release it as a greatest hits CD. If only there was a version of this album that existed without the horns and strings... if only...

 Invisible Touch by GENESIS album cover Studio Album, 1986
2.50 | 1495 ratings

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Invisible Touch
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nš 776

"Invisible Touch" is the thirteenth studio album of Genesis and that was released in 1986. It became and is remained by far, as the most commercially successful album of their entire musical career, and it eventually sold over fifteen million copies worldwide. It received in general, favourable reviews from critics, and catch Genesis at their commercial peak. However, some of them commented that "Invisible Touch" was more a Phil Collins' solo album than a Genesis' album. Perhaps due to that, it was also the most pop album of them, mainly based on electronic percussion and synthesizers.

"Invisible Touch" has eight tracks. All songs were written by Tony Banks, Mike Rutherford and Phil Collins. The first track "Invisible Touch" is the title track. It was also released as a single and it became the most successful single in the band's lengthy history and was also their first and only single to be # 1 in the United States. This is a typical and pure pop song that was made to be a greatest hit. As a pop song, we are in presence of an excellent song. However, it has nothing to do with the progressive music. It seems to be a song written to be part of a Phil Collins' solo work. The second track "Tonight, Tonight, Tonight" was the fourth single to be released from the album. It was the first of the two extended musical pieces on the album. This is a very good song with some progressive lines and once more, when he wants, Tony Banks can show his great musical skills. It's a very nice atmospheric song with many interesting musical passages. This is, in my opinion, one of the highlights of the album. The third track "Land Of Confusion" was one more single taken from the album, one of the four tracks of the album released as a single. It became a Genesis' classic song with a catchy rhythm and a beautiful melody, very nice and pleasant to hear. Of course this isn't exactly a progressive song but it's good enough to be remembered. Undoubtedly, we are in presence of an excellent pop rock song, with nothing to do with silly songs such as, "Who Dunnit?" or "Illegal Alien". The fourth track "In Too Deep" was another song to be released as a single on the album. This is clearly a Phil Collins' song with the entire DNA present on the songs released on his solo albums. This is an excellent pop song, one of the most beautiful, mellow and sweet songs ever made by him. I must confess that in some moments I like very much to hear some Phil Collins' songs. Still, this isn't, without any doubt, the right place for him to write a song like this. The fifth track "Anything She Does" is lyrically a song about pornography. It's about a man who is in love with a porn star and that can't have a relationship with her in the real life. Musically, it isn't, in my humble opinion, a great song, and it represents also, for me, one of the weakest points on the album. It seems to be a song put out of the place, which doesn't sound anything to a Genesis' song. It sounds too much to reggae and reminds me too much a song made by The Police. The sixth track "Domino" is divided into two parts, part one, "In The Glow Of The Night" and part two, "The Last Domino". The first part was released as the B side of their single "Tonight, Tonight, Tonight", and the second part was released as the B side of their single "Invisible Touch". It was the second of the two extended musical pieces on the album. It's, without any doubt, the best track on the album and it's a song in the same vein of "Duke's Travels" and "Duke's End" from "Duke", "Dodo/Lurker" from "Abacab" and "Home By The Sea" and "Second Home By The Sea" from "Genesis". The seventh track "Throwing It All Away" was issued as the second single released from the album. The song is a soft rock ballad and is musically structured around the guitar riff of Mike Rutherford. It's a very decent song and a successful song but with nothing progressive on it. It's a soft pop song without anything more special to say about it, except that we are in presence of another Phil Collins' song that should have been released on a solo Collins' album. The eighth and last track "The Brazilian" is a song that reminds immediately "Los Endos" from "A Trick Of The Tail". This is a true fantastic and memorable instrumental track with many progressive elements and that soon became a classic Genesis' instrumental track. This is a song that features some experimental sounds and effects and that sounds a bit like a progressive song. It's undoubtedly with "Tonight, Tonight, Tonight" and "Domino" the best and only progressive moments on the album. We even can say this is a wonderful and fantastic moment, and perfect enough, to close a nice and good album, really.

Conclusion: Sincerely, I don't consider "Invisible Touch" a bad Genesis' album. Probably it isn't even the weakest album of them. It's true that "Invisible Touch" is the less progressive and most popish album of all Genesis' albums. However, it has quality enough to be considered a good album and it can also be considered more balanced than some other albums from them. It's also, in a certain way, better than "Abacab" and "Genesis" is. It's much more balanced and it hasn't weak tracks like "Who Dunnit?" or "Illegal Alien". By the other hand, it isn't much less progressive than those albums are, and in terms of a non progressive album, is probably better than they are. It's true that is far from the class of most of their albums, but it has more fun than some things made by them. This is the typical 80's album. It rules.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Archive #2 1976-1992 by GENESIS album cover Boxset/Compilation, 2000
3.01 | 166 ratings

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Archive #2 1976-1992
Genesis Symphonic Prog

Review by sgtpepper

3 stars I got attached to this second Archives series quite heavily after I bought it and heard the material from 1976-1981 with numerous prog-rock and melancholy material. The material with Steve Hackett should fulfill the highest Genesis criteria to any progressive listener. I love the Genesis romantic period which ended some time in 1981/2 after "You might recall" These pieces are less progressive but carry poignant emotions, great Collins' vocal and tasty keyboard arrangements. Most 80's pop tracks played live and B-sides are alright, the early 90's stuff is a hit or miss. Remixes are letdown and few listeners will listen to them more than once.
 Duke by GENESIS album cover Studio Album, 1980
3.52 | 1698 ratings

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Duke
Genesis Symphonic Prog

Review by sgtpepper

4 stars After two romantic Genesis albums, the 80's started with the most melancholic and broken-hearted Genesis album - Duke. Duke retains very strong progressive rock elements for the last time ever but unabashed radio-friendly pop takes more place on the surface. The Duke's suite adheres to the highest Genesis standards (with the exception of "Duchess" which is a good experiment but a bit repetitive). "Duke's travels" is an astonishing journey by Banks and Collins that could have blown away almost any other prog-rock band in the 1980. Banks comes with two well though-out mini epics "Heathaze" and "Cul-de-sac" with great synth/grand piano background instrumentation. Semi-prog "Man of our times" is clearly heavy on bass tones and penned by Rutherford, well heavy drummed by Collins. The rest of the material corresponds to good pop/rock songs, mostly with feelings of sadness and ever improving Collins singing abilities with great harmonies and emotional depth. My only complaint is "Misunderstanding" which should have been left to a solo Collins album and is a bit of disgrace for Genesis. I listened to this album heavily along with ATTWT and Wind and Wuthering when I emotionally felt the same mood. Recommended to fans of accessible prog-rock and intelligent pop.
 14 From Our Past by GENESIS album cover Boxset/Compilation, 2007
2.37 | 22 ratings

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14 From Our Past
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nš 765

"14 From Our Past" is a compilation of Genesis that was released in 2007. As its name indicates, it features fourteen songs from the band which aim to be representative of the whole history of Genesis. So, practically all studio albums of the group are represented with one song except their debut and third studio albums "From Genesis To Revelation" and "Nursery Cryme". It has also a song "Happy The Man" that was never put on any official studio album at the time. However, it was recorded and released at the same time of "Nursery Cryme" and so it became the song representative of it. It's also interesting to note that all the songs on "14 From Our Past" were put strictly in the chronological order.

Thus, "14 From Our Past", like its name indicates, is a compilation album with fourteen tracks. The tracks chosen to be part of this compilation album are the following: "The Knife" from "Trespass", "Happy The Man" which is a non-album's track, "Watcher Of The Skies" from "Foxtrot", "I Know What I Like (In Your Wardrobe)" from "Selling England By The Pound", "The Lamb Lies Down On Broadway" from "The Lamb Lies Down On Broadway", "Squonk" from "A Trick Of The Tail", "Your Own Special Way" from "Wind And Wuthering", "Follow You, Follow Me" from "...And Then There Were Three...", "Turn It On Again" from "Duke", "Abacab" from "Abacab", "That's All" from "Genesis", "Land Of Confusion" from "Invisible Touch", "Hold On My Heart" from "We Can't Dance" and "Congo" from "Calling All Stations".

"The Knife" is a composition unusually aggressive for the band and pronounced, in a certain way, the path the band would follow up on their next albums. It's the most famous song on "Trespass" and is the heaviest track of Genesis. "Happy The Man" is a song that was never released on any studio album of the band. It was released only as a single, in a few countries, as the A side of it and with "Seven Stones" as the B side. It was later put on several compilation albums, some with slightly different versions. The song was originally recorded in 1972. It was released almost simultaneously with the "Foxtrot" album. It's a good song, but one that wouldn't have fit very well on that album. "Watcher Of The Skies" is one of the most popular and beloved songs by their fans, and one of the most played live by the band. It's a great song that gives a sense of majesty and power. "I Know What I Like (In Your Wardrobe)" is a funny song with some characteristics of a pop song. Still, it's a great song. It was the first charting single of the band. "The Lamb Lies Down On Broadway" is one of the most accessible songs on the entire early Genesis' catalogue. It revolves around piano, synthesizer and Mellotron tunes, with the traditional rock instruments accompanying. It has some great lyrics too. "Squonk" is a very simple song with great choral work. It has a great memorable opening and a remarkable fantastic drumming work of Collins. "Your Own Special Way" is a straight forward pop song with excellent melody. It has very good 12 string guitars, and some superb keyboard arrangements by Banks, plus some autoharp by Hackett. "Follow You, Follow Me" is a song released for a single with the intention to be a hit that achieved the top sales. It's a good pop song that should never have been recorded by Genesis, but recorded by Collins on one of his solo albums. "Turn It On Again" is a good pop rock song, one of their greatest successes and one of their most played live songs. "Invisible Touch" is a typical pure pop song made to be a greatest hit. As a pop song, it's a great song. Still, it has nothing to do with prog. "Abacab" is a very good song that I like very much. I really think that we are in presence of one of the best songs on "Abacab" album. It's a song with a simple structure that progresses in a modern way. "That's All" is a simple song with a catchy tune that remains nice to hear from the beginning to its ending. It's a Collins' song with all the ingredients to be a successful pop song. "Land Of Confusion" became a Genesis' classic song with a catchy rhythm and a beautiful melody, very nice and pleasant to hear. Of course this isn't exactly a progressive song but it's good enough to be remembered. "Hold On My Heart" is a song that never should be part of a Genesis' album. It's a good song, but it really belongs to a Collins' solo work. "Congo" marked the debut of Ray Wilson as the vocalist of Genesis. It's a song with a pop tune with an African style drum beat. It isn't bad, but it sounds too much to a pop song.

Conclusion: "14 From Our Past" is an interesting and strange compilation. We can't say that we are in presence of a bad compilation because almost all their studio albums are represented. The only exceptions are "From Genesis To Revelation" and "Nursery Cryme". About "From Genesis To Revelation" is comprehensive and expected because, in a certain way, it's an outsider album in their discography. But, "Nursery Cryme" is unexpected and less comprehensive. In relation to the choice of the tracks, there was the concern of selecting short tracks. The overall quality of the compilation is good. Half of it is progressive. But of course it has some weak tracks like "Follow You Follow Me", "Hold On My Heart" and "Congo". So, "14 From Our Past" is a good compilation which runs almost their entire career. Still, it serves only those who are beginners with the band or those who aren't familiar with the entire band's musical career.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Foxtrot by GENESIS album cover Studio Album, 1972
4.61 | 4067 ratings

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Foxtrot
Genesis Symphonic Prog

Review by ProgSphere

5 stars Review #3: Genesis - Foxtrot

When most people think of Phil Collins they think of "In the Air Tonight," I think of "Apocalypse in 9/8." Genesis has an extensive collection of great albums which makes it difficult to choose a favorite from their catalog. For me, "Foxtrot" represents the band's peak of progression and diversity. While it shares similarities with their preceding album, "Nursery Cryme," its distinguishing features lies in the production quality and the epic track concluding the album (which I'll touch a bit more on later). Each musician can shine with their own moment, showcasing some of their finest work.

The album features Peter Gabriel on vocals, Steve Hackett on guitar, Phil Collins on drums, Tony Banks on keyboards, and Mike Rutherford on bass. The band would record Foxtrot in London's Island Studios in August and September 1972. Initially planning to work with producer John Anthony, disagreements over costs led to a search for a new producer. After failed attempts with numerous producers, they went with co-producer David Hitchcock who produced albums for band's such as Mellow Candle and Caravan at the time. Foxtrot would ultimately receive high praise, with Charisma Records' owner predicting it would define their career. Banks particularly praised the album, believing it contained no weak tracks.

The album opens with "Watcher of the Skies" which borrows its title from John Keats' 1817 poem "On First Looking into Chapman's Homer." This track stands out for its complex musicality, unconventional time signatures, and intriguing lyrics, making it one of the tracks I find myself returning to the most from the band. Notably, it features a stunning mellotron introduction. Interestingly, this mellotron was purchased from King Crimson before the recording of the album. "Time Table" showcases a more delicate side of the band, highlighted by Banks' skillful piano playing. On the other hand, "Get 'em Out by Friday" and "Can-Utility and the Coastliners" delve deeper into a progressive and theatrical direction, showcasing intricate songwriting that exemplifies the best of progressive rock. "Horizons" provides a gentle interlude, allowing Hackett to deliver a beautifully executed acoustic piece which he composed. The album culminates with the monumental "Supper's Ready," comprised of seven distinct sections with recurring motifs. Personally, I regard "Supper's Ready" not only as the band's crowning achievement but also as one of the genre's finest tracks. Banks himself acknowledged the latter parts as "probably our peak."

In essence, "Foxtrot" stands as a testament to Genesis's artistic prowess and musical innovation. It represents the pinnacle of their career, showcasing their ability to seamlessly blend complex instrumentation with thought- provoking lyrical content. Ultimately, this album remains a shining example of the band's surviving legacy in the realm of progressive music. If you are reading this review, I would hope that you've already heard the album, if not, do yourself a favor and listen to it as soon as possible.

Favorite Track: Supper's Ready (22:53)

 A Trick of the Tail by GENESIS album cover Studio Album, 1976
4.28 | 2959 ratings

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A Trick of the Tail
Genesis Symphonic Prog

Review by ken_scrbrgh

5 stars Circa March of 1977, on their 'Wind and Wuthering' tour, Genesis made a stop at New Orleans' old Municipal Auditorium. With Chester Thompson on the drums to facilitate Phil Collins' relatively new position as lead vocalist, the band (fortunately also with Steve Hackett) delivered an entirely convincing performance. In this connection, I refer one to the album 'Seconds Out.'

After the show, one of our group responded, 'Peter who . . . ?'

In addition to the recently released 'Wind and Wuthering,' Phil and 'company' were touring 'A Trick of the Tail.' Released in early 1976, this album decidedly answered the question, could Banks, Collins, Hackett, and Rutherford carry on without 'Peter who . . .?' Although not explicitly a 'concept' album, 'A Trick of the Tail' bears affinity to a Twentieth Century phenomenon known as 'magic realism.'

In the world of literature, Gabriel Garcia Marquez' 'One Hundred Years of Solitude' and Gunter Grass', 'The Flounder' are prime examples of this tradition in literary expression in which 'the ordinary becomes extraordinary' and the 'extraordinary becomes ordinary.'

A modicum of investigation on the Internet has led me to the novel, 'The Inheritors' by William Golding, the final chapter of which is the source of inspiration for Tony Banks' song, 'A Trick of the Tail.' In 'The Inheritors,' Golding delves into the lives of a group of Neanderthals from the perspective of these individuals, who live in an 'eternal present' broken only by the passage of the seasons. Golding is concerned with the origins of religion, culture, sacrifice, and war. In this work's final chapter, the focus is on the perspective of the modern humans (homo sapiens sapiens) who coexist with the Neanderthals (homo sapiens neanderthalensis). Both groups treat each other with fear and suspicion.

In the song 'A Trick of the Tail,' Banks has kept the perspective of the curiosity of the one group for the other, but no longer maintains Golding's exploration of the Neanderthal by the modern human, rather presents the reaction of modern humans to the presence of one 'Bored of the life in the/city of gold . . . In search of another/to share his life.' Banks has transferred Golding's Neanderthal to the character of one who possesses 'horns' and a 'tail.'

And so, the album is an invitation to the listener to enter Banks, Collins, Hackett, and Rutherford's world of 'magic realism.' And, throughout, 'A Trick of the Tail' displays some of Genesis most potent instrumental prowess.

In any other work, 'Los Endos' could function as a fanfare, announcing all of the themes to follow. Here, the themes are stated in retrospect. In considering 'Los Endos,' I like to think of the Who's 'Overture' to 'Tommy.'

At this juncture, I'd like to mention that, during the mid-seventies as I became familiar with Genesis' music, I needed repeated listening to appreciate the virtuosity of Steve Hackett. As we enter 'A Trick of the Tail,' through 'Dance on a Volcano,' Hackett's guitar is considerably overt. In 'Entangled,' we encounter 'Freudian slumber empty of sound' replete with mesmerizing guitar and one of Tony Banks' truly towering final synthesizer solos.

Hackett's 'trademark' is his use of the volume peddle. The guitar work in 'Ripples' exemplifies his mastery of this device. To my '1976' ears, many of Hackett's performances initially registered as synthesizers. Simultaneously, Hackett delivers an exemplary 'rhythm guitar' performance in 'Squonk.' And employing the rubric 'less is more' during Bank's keyboard solo in 'Robbery, Assault, and Battery,' Hackett sustains a single note in an arc that transcends the proceedings.

On an individual level, I must state that 'A Trick of the Tail' holds a critical place in my appreciation of Genesis' music. With 'Selling England by the Pound,' 'A Trick of the Tail' ensured my readiness to approach 'Supper's Ready' and 'The Lamb Lies Down on Broadway.'

I suppose Banks, Collins, Hackett, and Rutherford send an 'acknowledgment' of esteem to 'Peter who' in the ending of 'Los Endos,' when Collins, referring to Rev 19:17 and 'Suppers Ready,' sings 'There's an Angel Standing in the Sun . . . .'

In reference to 'magic realism,' what more authoritative source could there be than the Book of Revelation?

 The Last Domino? by GENESIS album cover Boxset/Compilation, 2021
2.98 | 23 ratings

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The Last Domino?
Genesis Symphonic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nš 759

"The Last Domino?" is a compilation of Genesis that was released in 2021. "The Last Domino?" has tracks from nine of their fifteen studio albums. So it has four tracks from "Selling England By The Pound" released in 1973, two tracks from "The Lamb Lies Down On Broadway" released in 1974, one track from "Wind And Wuthering" released in 1976, three tracks from "Duke" released in 1980, one track from "Abacab" released in 1981, three tracks from "Genesis" released in 1983, six tracks from "Invisible Touch" released in 1986 and five tracks from "We Can't Dance" released in 1991.

So, "The Last Domino?" has twenty-seven tracks. From "Selling England By The Pound" we have "The Cinema Show", "Firth Of Fifth", "I Know What I Like (In Your Wardrobe)" and "Dancing with The Moonlit Knight". "The Cinema Show" is one of the best and lengthiest epic tracks of Genesis. "Firth Of Fifth" is one of their best tracks and one of their most representative progressive tracks too. "I Know What I Like (In Your Wardrobe)" is a fun track with characteristics of a pop song. "Dancing with The Moonlit Knight" begins with Gabriel's voice very calm and that progressively gets louder and more upbeat. This is a powerful track. From "The Lamb Lies Down On Broadway" we have "The Lamb Lies Down On Broadway" and "The Carpet Crawlers". "The Lamb Lies Down On Broadway" is an accessible track with great lyrics that gives a nice introduction to the story of that conceptual album. It became a landmark for Genesis. "The Carpet Crawlers" is a beautiful track, very solid and with a fantastic melody. It's smooth and relaxing with a great keyboard work. From "Wind And Wuthering" we have "Afterglow". It's one of the most majestic tracks of Banks. It's one of the most atmospheric, relaxing and magical moments of Genesis. From "...And Then There Were Three..." we have "Follow You Follow Me". It's a good pop song that should never have been part of Genesis. It suits better on a Collins' solo album. From "Duke" we have "Duke's End", "Turn It On Again" and "Duchess". "Duke's End" is the second part of "Duke's" suite with "Duke's Travels" as the first part. It's a great progressive track, almost instrumental, which reminds me the good old Genesis's sound. "Turn It On Again" is a pop/rock song, a great success of them. This is a good song. "Duchess" is basically a pop song with some progressive influences. It's a good track, an interesting attempt to merge prog with pop. From "Abacab" we have "Abacab". It's a song with a simple structure but those progresses in a modern way. This is an edited version. From "Genesis" we have "Mama", "Home By The Sea", "Second Home By The Sea" and "That's All". "Mama" is a great song with quality to be considered one of the highlights of that album. "Home By The Sea" and "Second Home By The Sea" is a suite of two songs. It's a great suite, in the same line of "Duke's Travels" and "Duke's End" of "Duke" and "Dodo/Lurker" of "Abacab". "That's All" is a simple song with a very simple melody. It has a catchy tune and it's nice to hear. From "Invisible Touch" we have "Land Of Confusion", "In Too Deep", "Domino Medley", "Throwing It All Away", "Tonight, Tonight, Tonight" and "Invisible Touch". "Land Of Confusion" is a song with a catchy rhythm and a beautiful melody, nice and pleasant to hear. "In Too Deep" is a good pop song, beautiful, mellow and sweet. "Domino Medley" is divided into two parts, "In The Glow Of The Night" and "The Last Domino". It's a great suite in the same vein of "Duke's Travels" and "Duke's End" from "Duke", "Dodo/Lurker" from "Abacab" and "Home By The Sea" and "Second Home By The Sea" from "Genesis". "Throwing It All Away" is a soft rock ballad around the guitar riff of Rutherford. It's a decent song with nothing progressive on it. "Tonight, Tonight, Tonight" is a good song with some progressive lines. It's nice and atmospheric with interesting passages. "Invisible Touch" is pop song. As a pop song it's good. Still, it has nothing to do with prog music. From "We Can't Dance" we have "Fading Lights", "Hold On My Heart", "Jesus He Knows Me", "No Son Of Mine" and "I Can't Dance". "Fading Lights" has a great atmosphere with a true remarkable work by all band's members. "Hold On My Heart" is a good song. But it belongs to a Collins' solo work. "Jesus He Knows Me" is clearly the type of songs made by Collins. It's good but never was a favourite of mine. "No Son Of Mine" is a great and remarkable song, with great feeling and clearly influenced by Collins. "I Can't Dance" is influenced by Collins' style written to be a commercial hit. It's a good song but with nothing new and exciting to offer.

Conclusion: "The Last Domino?" has an interesting name. To be the last one it would have to cover the band's entire career, which isn't true. As I mentioned above, "The Last Domino?" only covers nine of the fifteen studio albums of Genesis. It's very hard to understand the criterion of the choice of tracks. It's true that "The Last Domino?" has tracks from their most progressive phase as well tracks from their most pop/rock phase. However, I can't understand it. Three albums that belong to Gabriel's era weren't included, "Trespass", "Nursery Cryme" and "Foxtrot" and one album of Hackett's phase wasn't included too, "A Trick Of The Tail". Of course I'm discarding "From Genesis To Revelation" and "Calling All Stations". However, "The Last Domino?" remains as a good and interesting compilation album of Genesis.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Wind & Wuthering by GENESIS album cover Studio Album, 1976
4.11 | 2242 ratings

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Wind & Wuthering
Genesis Symphonic Prog

Review by TenYearsAfter

5 stars ONE OF THE BEST SYMPHONIC ROCK ALBUMS OF ALL TIME!

Late 1975 I became a Genesis fan, after listening to Genesis Live, soon I bought all the gems between 1970 and 1975. Looking back I consider Foxtrot as their most captivating album but I am also very much into The Lamb Lies Down On Broadway (apart from the lacklustre side 4). In 1976 'new' Genesis stunned the musical world with Phil Collins as the lead singer on their first non-Peter Gabriel album. I was pleased with A Trick Of The Tail, no more or less. For me Wind & Wuthering, the second non-Peter Gabriel album, is the best Genesis album with Phil Collins as the lead singer. Although it contains less rock and less adventurous musical ideas than my Genesis #1 album Foxtrot, it is such a 24- carat symphonic rock beauty, for me way more captivating than ATOTT, that sounds like the precursor of ATTWT, both obviously embracing a more song-oriented musical approach.

The elements that make W&W such a symphonic rock masterpiece are many, from the variety, tension and dynamics to the lush instrumentation and elaborate construction of the compositions.

Eleventh Earl Of Mar : Intro with moving electric guitar and majestic Mellotron layers, than a catchy beat with strong Collins vocals, accompanied by the distinctive Hammond organ. This is the 'new' Genesis, between sumptuous symphonic rock and lush melodic rock, embellished with wonderful work on guitar (Hackett solo is already shaping) and keyboards, fuelled by a dynamic rhythm-section, and topped with Phil Collins his strong vocals. Halfway a beautiful mellow interlude, then a bombastic eruption and finally again that catchy beat in the second part, it emphasizes the strong dynamics on this album.

One For The Vine : First a mellow atmosphere with dreamy vocals, Mellotron and piano, gradually more intense vocals by Phil, and inventive keyboard work. It's a prelude to a sensational break, with propulsive drums and sparkling piano runs, culminating into a compelling and bombastic symphonic rock sound, wow. The conclusion delivers strong interplay between Hackett and Banks, top notch 'new' Genesis!

Your Own Special Way : A ballad with emotional vocals, twanging guitars and subtle keyboard work.

Wot Gorilla : "And now for something completely different", an instrumental featuring fiery guitar, bass pedals, spectacular synthesizer flights, subtle conga beats, and an excellent rhythm-section. The interplay is awesome and the dynamics great, what a contrast with the former mellow track.

All In A Mouse's Night : Another composition that alternates between sumptuous symphonic rock and elaborate melodic rock. The funny lyrics are sung very well, and lots of shifting moods, in the end first Mellotron choirs and then sensitive guitar runs with volume pedal, Hackett trademark.

Blood On The Rooftops : One of my favorite songs, also because I love the warm classical guitar sound, what a beautiful intro, goose bumps. Tender vocals and inventive keyboard work join, in a melancholical climate. Then the music alternates between dreamy and bombastic outbursts, coloured with the unsurpassed Mellotron, twanging guitar and emotional vocals.

Unquiet Slumbers For The Sleepers : A hypnotizing instrumental with spacy synthesizer flights.

... In That Quiet Earth : Bombastic symphonic rock with fiery guitar leads by an unleashed Hackett, accompanied by deep bass runs and powerful drum beats. In the second part the spacy synthesizer flights from Unquiet Slumbers For The Sleepers return, turning into flashy synthesizer soli, fuelled by fat rock guitar riffs, Hackett and Banks shine, wow!

Afterglow : After all those bombastic and spectacular moments in track #7 and 8, this album concludes with a compelling ballad featuring wonderful vocals, lush Mellotron and twanging guitars. The build-up is great, and Phil Collins delivers another strong vocal contribution on this album, very inspired, topped with majestic Mellotron choirs.

It's a pity that on the legendary double live LP Seconds Out the emphasis is on ATOTT (4 songs, only 1 from W&W), I miss a serie of wonderful tracks from W&W. But Hackett told the band before Seconds Out that he was leaving so we have to rely on bootlegs, like from the BBC Radio1977. But early July 2024 Steve Hackett will deliver a serie of 3 gigs in the Dutch prog venue De Boerderij (sold out within 2 months), I am looking forward to see him. Like all those progheads who left Genesis since 1978 and embraced Steve Hackett as a solo artist. He will play the best compositions from 70-77 Genesis, and his solo work, I am sure these concerts will be superior to Seconds Out, a big hand for Steve!

 Archive 1967-1975 by GENESIS album cover Boxset/Compilation, 1998
4.28 | 304 ratings

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Archive 1967-1975
Genesis Symphonic Prog

Review by sgtpepper

4 stars Archive albums often have a difficult position of balancing music quality with historical relevance. Fortunately, on this one, it's the first that wins. We have a rich 4-CD collection which goes rather backwards, starting with a 1975 full Lamb Lies Down on Broadway and finishing with 1967's demos on disc 4.

Genesis' excellent era started with 1970's Trespass and to the most paranoid fans, lasted till Gabriel departed. at minimum. So we have many prerequisites for this to rate this archive 5 stars. However. 1.) Listening to the highly satisfying first two live CDs is not fully authentic due to Gabriel's added vocals and Hackett's added guitar. 0.5 star down. 2.) The fourth disc is historically important, no doubt about it. Nevertheless, it's music quality and importance is mediocre. Genesis, till 1970, were lightning miles away from being a major and potential rock band. Another 0.5 star down. We're down to the solid 4 stars.

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

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