GENESIS
Symphonic Prog • United Kingdom
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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...read more
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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 | 1335 ratings
From Genesis to Revelation 1969 |
4.14 | 2637 ratings
Trespass 1970 |
4.42 | 3584 ratings
Nursery Cryme 1971 |
4.61 | 4058 ratings
Foxtrot 1972 |
4.65 | 4666 ratings
Selling England by the Pound 1973 |
4.31 | 3357 ratings
The Lamb Lies Down on Broadway 1974 |
4.28 | 2954 ratings
A Trick of the Tail 1976 |
4.11 | 2236 ratings
Wind & Wuthering 1976 |
3.42 | 1673 ratings
...And Then There Were Three... 1978 |
3.52 | 1695 ratings
Duke 1980 |
2.61 | 1466 ratings
Abacab 1981 |
2.79 | 1459 ratings
Genesis 1983 |
2.50 | 1492 ratings
Invisible Touch 1986 |
2.66 | 1353 ratings
We Can't Dance 1991 |
2.46 | 1154 ratings
Calling All Stations 1997 |
GENESIS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
4.00 | 1053 ratings
Genesis Live 1973 |
4.35 | 1084 ratings
Seconds Out 1977 |
3.49 | 592 ratings
Three Sides Live 1982 |
2.16 | 408 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 | 372 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 | 94 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 | 303 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 | 107 ratings
Genesis 1983-1998 2007 |
2.24 | 51 ratings
Turn It On Again The Hits -The Tour Edition 2007 |
3.93 | 147 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 |
3.27 | 11 ratings
...Calling All Stations... Album Sampler... 1997 |
1.90 | 54 ratings
Congo 1997 |
2.58 | 39 ratings
Shipwrecked 1997 |
2.48 | 41 ratings
Not About Us 1998 |
2.93 | 39 ratings
The Carpet Crawlers 1999 promo CD 1999 |
GENESIS Reviews
Showing last 10 reviews only
Genesis Symphonic Prog
Review by
VianaProghead
Prog Reviewer
"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*)
Genesis Symphonic Prog
Review by sgtpepper
Genesis Symphonic Prog
Review by sgtpepper
Genesis Symphonic Prog
Review by
VianaProghead
Prog Reviewer
"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*)
Genesis Symphonic Prog
Review by ProgSphere
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)
Genesis Symphonic Prog
Review by ken_scrbrgh
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?
Genesis Symphonic Prog
Review by
VianaProghead
Prog Reviewer
"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*)
Genesis Symphonic Prog
Review by TenYearsAfter
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!
Genesis Symphonic Prog
Review by sgtpepper
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.
Genesis Symphonic Prog
Review by sgtpepper
95% of the material is very strong. To me, the longest tracks are the prime highlights - "In the cage", "The colony of slippermen" followed by instrumental numbers like "Follow the scree". On the second disc, we have 5% of fillers with repeated motives and 2 ambient numbers. For crossover fans, there are also quite accessible tracks like "Carpet crawlers". I rate it with 4.5 star