Genesis

Profile:
Formed in 1967, Genesis are among the top 30 highest-selling recording artists of all time.

Their early work is characterized by complex song structures, elaborate instrumentation and the theatrical antics of founder member and vocalist Peter Gabriel, who left the band in 1975. Unable to find a suitable replacement, it was drummer Phil Collins who assumed vocal duties. This change, as well as the departure of guitarist Steve Hackett, two years later, saw the remaining three members (Phil Collins, Tony Banks and Mike Rutherford) move into more accessible pop-based music. This change in style resulted in a huge growth in Genesis' popularity throughout the 1980s and early 1990s.

In 1996 Collins left to concentrate on his solo work and other projects, leaving erstwhile bandmates Mike Rutherford and Tony Banks to forge ahead with new recruit; Stiltskin vocalist Ray Wilson. This line-up lasted for one album only (1997's "Calling All Stations") and Genesis soon found itself on hiatus after the poor performance and critical reaction of the new album.

In 2006 - after years of speculation - Phil Collins, Tony Banks and Mike Rutherford reformed Genesis for the successful "Turn It On Again" tour. A reunion involving ex-members Peter Gabriel and Steve Hackett remains much talked-about and unrealised.

Inducted into the Rock & Roll Hall Of Fame 2010 (performer)

Members:
Peter Gabriel (1967-1975)
Mike Rutherford
Tony Banks
Anthony Phillips (1967-1970)
Chris Stewart (7) (1967-1968)
John Silver (2) (1968-1969)
John Mayhew (1969-1970)
Steve Hackett (1971-1977)
Phil Collins (1970-1995, 2006-present)
Ray Wilson (1996-1998)

Live Members:
Bill Bruford (1976)
Chester Thompson (1977-1995, 2006-present)
Daryl Stuermer (1978-1995, 2006-present)
Nir Z (1996-1998)
Sites:
Members:
Variations:

Albums

Genesis - From Genesis To Revelation album art Genesis From Genesis To Revelation (Album, Comp) Decca, Decca UK 1969 Sell This Version
Genesis - Trespass album art Genesis Trespass (Album) Charisma Turkey 1970 Sell This Version
Genesis - Nursery Cryme album art Genesis Nursery Cryme (Album) Charisma, Charisma Netherlands 1971 Sell This Version
Genesis - Foxtrot album art Genesis Foxtrot (Album) Charisma, Charisma US 1972 Sell This Version
Genesis - Selling England By The Pound album art Genesis Selling England By The Pound (Album) Charisma UK 1973 Sell This Version
Genesis - Live album art Genesis Live (Album) Charisma Italy 1973 Sell This Version
Genesis - The Lamb Lies Down On Broadway album art Genesis The Lamb Lies Down On Broadway (Album) Charisma Australasia 1974 Sell This Version
Genesis - Stereo Pop Special-98 album art Genesis Stereo Pop Special-98 BBC Transcription Services UK 1975 Sell This Version
Genesis - A Trick Of The Tail album art Genesis A Trick Of The Tail (Album) Charisma Europe 1975 Sell This Version
Genesis - Wind & Wuthering album art Genesis Wind & Wuthering (Album) Charisma France 1976 Sell This Version
Genesis - Seconds Out album art Genesis Seconds Out (Album) Charisma Netherlands 1977 Sell This Version
Genesis - ...And Then There Were Three... album art Genesis ...And Then There Were Three... (Album) Charisma Netherlands 1978 Sell This Version
CN 3146/S Genesis - In Concert-180 album art Genesis In Concert-180(LP, Transcription) BBC Transcription Services CN 3146/S UK 1978 Sell This Version
Series #11, Show #3 Genesis - Innerview: Genesis "Phil Collins - Tony Banks" album art Genesis Innerview: Genesis "Phil Collins - Tony Banks"(LP, Transcription) Innerview Series #11, Show #3 US 1978 Sell This Version
none Genesis - The Source: Live At The Lyceum Ballroom, London 7 May 1980 album art Genesis The Source: Live At The Lyceum Ballroom, London 7 May 1980(2xLP, Transcription) NBC Young Adult Network none US 1980 Sell This Version
Genesis - Duke album art Genesis Duke (Album) Charisma US 1980 Sell This Version
123 Genesis - BBC Rock Hour #123 album art Genesis BBC Rock Hour #123(Reel, 2tr Stereo, 7" Reel, Transcription) London Wavelength 123 US 1980 Sell This Version
Genesis - Abacab album art Genesis Abacab (Album) Charisma US 1981 Sell This Version
243 Genesis - BBC Rock Hour #243 album art Genesis BBC Rock Hour #243(LP, Transcription) London Wavelength 243 UK 1981 Sell This Version
RKRS-60 Genesis - The Robert Klein Radio Show (December 13, 1981) album art Robert Klein Featuring Genesis, Treat Williams Robert Klein Featuring Genesis, Treat Williams - The Robert Klein Radio Show (December 13, 1981)(LP, Transcription + LP, S/Sided, Transcription) Froben Production RKRS-60 US 1981 Sell This Version
Genesis - Super Groups In Concert: Genesis Live At The Nassau Coliseum 29 November 1981 album art Genesis Super Groups In Concert: Genesis Live At The Nassau Coliseum 29 November 1981 D.I.R. Broadcasting Corp. US 1982 Sell This Version
Genesis - Three Sides Live album art Genesis Three Sides Live (Album) Charisma US 1982 Sell This Version
OTR 82-39 Genesis - Off The Record Specials With Mary Turner (OTR # 82-39) album art Genesis Off The Record Specials With Mary Turner (OTR # 82-39)(2xLP, Transcription) Westwood One OTR 82-39 US 1982 Sell This Version
#304 Genesis - BBC Rock Hour album art Genesis BBC Rock Hour(LP, Transcription) London Wavelength #304 US 1982 Sell This Version
Genesis - Genesis album art Genesis Genesis (Album, Comp) Charisma, Virgin US 1983 Sell This Version

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ryosuke63

ryosuke63

April 23, 2019
I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before
that I didn't really understand any of their work, though on their last album of the 1970s,
the concept-laden And Then There Were Three (a reference to band member Peter
Gabriel, who left the group to start a lame solo career), I did enjoy the lovely "Follow
You, Follow Me." Otherwise all the albums before Duke seemed too artsy, too
intellectual. It was Duke (Atlantic; 1980), where Phil Collins' presence became more
apparent, and the music got more modern, the drum machine became more prevalent
and the lyrics started getting less mystical and more specific (maybe because of Peter
Gabriel's departure), and complex, ambiguous studies of loss became, instead, smashing
first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged
more around Collins' drumming than Mike Rutherford's bass lines or Tony Banks'
keyboard riffs. A classic example of this is "Misunderstanding," which not only was the
group's first big hit of the eighties but also seemed to set the tone for the rest of
their albums as the decade progressed. The other standout on Duke is "Turn It On
Again," which is about the negative effects of television. On the other hand, "Heathaze"
is a song I just don't understand, while "Please Don't Ask" is a touching love song
written to a separated wife who regains custody of the couple's child. Has the negative
aspect of divorce ever been rendered in more intimate terms by a rock 'n' roll group? I
don't think so. "Duke Travels" and "Dukes End" might mean something but since the
lyrics aren't printed it's hard to tell what Collins is singing about, though there is
complex, gorgeous piano work by Tony Banks on the latter track. The only bummer
about Duke is "Alone Tonight," which is way too reminiscent of "Tonight Tonight
Tonight" from the group's later masterpiece Invisible Touch and the only example,
really, of where Collins has plagiarized himself.
Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits
from a new producer, Hugh Padgham, who gives the band a more eighties sound and
though the songs seem fairly generic, there are still great bits throughout: the extended
jam in the middle of the title track and the horns by some group called Earth, Wind and
Fire on "No Reply at All" are just two examples. Again the songs reflect dark emotions
and are about people who feel lost or who are in conflict, but the production and sound
are gleaming and upbeat (even if the titles aren't: "No Reply at All," "Keep It Dark,"
"Who Dunnit?" "Like It or Not"). Mike Rutherford's bass is obscured somewhat in the
mix but otherwise the band sounds tight and is once again propelled by Collins' truly
amazing drumming. Even at its most despairing (like the song "Dodo," about
extinction), Abacab musically is poppy and lighthearted.
My favorite track is "Man on the Corner," which is the only song credited solely to
Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine
in the background. Though it could easily come off any of Phil's solo albums, because
the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes
the band's hopeful humanism. "Man on the Corner" profoundly equates a relationship
with a solitary figure (a bum, perhaps a poor homeless person?), "that lonely man on the
corner" who just stands around. "Who Dunnit?" profoundly expresses the theme of
confusion against a funky groove, and what makes this song so exciting is that it ends
with its narrator never finding anything out at all.
Hugh Padgham produced next an even less conceptual effort, simply called Genesis
(Atlantic; 1983), and though it's a fine album a lot of it now seems too derivative for my
tastes. 'That's All" sounds like "Misunderstanding," "Taking It All Too Hard" reminds
me of "Throwing It All Away." It also seems less jazzy than its predecessors and more
of an eighties pop album, more rock 'n' roll. Padgham does a brilliant job of producing,
but the material is weaker than usual and you can sense the strain. It opens with the
autobiographical "Mama," that's both strange and touching, though I couldn't tell if the
singer was talking about his actual mother or to a girl he likes to call "Mama." 'That's
All" is a lover's lament about being ignored and beaten down by an unreceptive partner;
despite the despairing tone it's got a bright sing-along melody that makes the song less
depressing than it probably needed to be. "That's All" is the best tune on the album, but
Phil's voice is strongest on "House by the Sea," whose lyrics are, however, too
stream-of-consciousness to make much sense. It might be about growing up and
accepting adulthood but it's unclear; at any rate, its second instrumental part puts the
song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills
while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil
repeats the song's third verse at the end it can give you chills.
"Illegal Alien" is the most explicitly political song the group has yet recorded and
their funniest. The subject is supposed to be sad – a wetback trying to get across the
border into the United States – but the details are highly comical: the bottle of tequila
the Mexican holds, the new pair of shoes he's wearing (probably stolen); and it all
seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes
it even funnier, and the rhyme of "fun" with "illegal alien" is inspired. "Just a Job to
Do" is the album's funkiest song, with a killer bass line by Banks, and though it seems
to be about a detective chasing a criminal, I think it could also be about a jealous lover
tracking someone down. "Silver Rainbow" is the album's most lyrical song. The words
are intense, complex and gorgeous. The album ends on a positive, upbeat note with "It's
Gonna Get Better." Even if the lyrics seem a tiny bit generic to some, Phil's voice is so
confident (heavily influenced by Peter Gabriel, who never made an album this polished
and heartfelt himself) that he makes us believe in glorious possibilities.
Invisible Touch (Atlantic; 1986) is the group's undisputed masterpiece. It's an epic
meditation on intangibility, at the same time it deepens and enriches the meaning of the
preceding three albums. It has a resonance that keeps coming back at the listener, and
the music is so beautiful that it's almost impossible to shake off because every song
makes some connection about the unknown or the spaces between people ("Invisible
Touch"), questioning authoritative control whether by domineering lovers or by
government ("Land of Confusion") or by meaningless repetition ("Tonight Tonight
Tonight'. All in all it ranks with the finest rock 'n' roll achievements of the decade and
the mastermind behind this album, along of course with the brilliant ensemble playing
of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and
crisp and modern a sound as this. You can practically hear every nuance of every
instrument.
In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new
peak of professionalism. Take the lyrics to "Land of Confusion," in which a singer
addresses the problem of abusive political authority. This is laid down with a groove
funkier and blacker than anything Prince or Michael Jackson – or any other black artist
of recent years, for that matter – has come up with. Yet as danceable as the album is, it
also has a stripped-down urgency that not even the overrated Bruce Springsteen can
equal. As an observer of love's failings Collins beats out the Boss again and again,
reaching new heights of emotional honesty on "In Too Deep"; yet it also showcases
Collins' clowny, prankish, unpredictable side. It's the most moving pop song of the
1980s about monogamy and commitment. "Anything She Does" (which echoes the J.
Geils Band's "Centerfold" but is more spirited and energetic) starts off side two and
after that the album reaches its peak with "Domino," a two-part song. Part one, "In the
Heat of the Night," is full of sharp, finely drawn images of despair and it's paired with
"The Last Domino," which fights it with an expression of hope. This song is extremely
uplifting. The lyrics are as positive and affirmative as anything I've heard in rock.
Phil Collins' solo efforts seem to be more commercial and therefore more satisfying in
a narrower way, especially No Jacket Required and songs like "In the Air Tonight" and
"Against All Odds" (though that song was overshadowed by the masterful movie from
which it came) and "Take Me Home" and "Sussudio" (great, great song; a personal
favorite) and his remake of "You Can't Hurry Love," which I'm not alone in thinking is
better than the Supremes' original. But I also think that Phil Collins works better within
the confines of the group than as a solo artist – and I stress the word artist. In fact it
applies to all three of the guys, because Genesis is still the best, most exciting band to
come out of England in the 1980s.
nameismike69

nameismike69

January 10, 2019
edited 3 months ago
My review below is nonsense... What I would constructively like to know is the reissue LP's from 2013 on from the original mixes or the Nick Davis 2007 remixes. Because I'm really not sure. I have not heard one of them. But I read all of them are from the 2007 series. Can anyone clarify this.
mikeh69

mikeh69

April 30, 2018
edited 11 months ago
It just hit me since 2007 that they keep reissuing these horrid Nick Davis remixes on LP and CD right up to the present year 2018. Why don't they do us a big a favor and do a vinyl and CD reissue series of the original mixes. Because to me these Nick Davis 2007 remixes are the worst remixing jobs of any artist I ever heard in my life. I never heard such fantastic work of a fantastic band being ruined and squashed like this. If they want to remix these album or remaster these again it's their 50th anniversary this year ( is it ? ) DO IT RIGHT. Get Steve Wilson. Or some engineer that knows what there doing. And keep Tony Banks away.
wiffels

wiffels

July 18, 2017
A lot of rubbish written/spoken re.Genesis over the years-it became fashionable to slag them off.Well having seen and followed them through the 70s I can only say they were a fantastic band through Gabriel era and the years after.I think the real problem came when Steve Hackett left-the band still had a good tour left in 1978 as the material was still strong and the band was fine live.The problem was in keeping the studio band down to just the 3-they simply couldn't write enough good material-they still came up with a few decent tracks but there was a lot of dross.Also the lack of variation in the older material played in those later Tours was disappointing, considering how much material they could draw on.Why they didn't let Thompson and Stuermer, or whoever,help with writing new material I don't know, as they needed some extra help to freshen it up.BUT 1971-78 great stuff(and MK 1982!),and a lot of people have missed some mega sounds by listening to the bull... put downs during the unfashionable years!Ironic,as well,that Steve Hackett has been left to keep the material alive through these years now-they could have done a tour or two,even a gig or two, in the early 2000s and its a shame they didn't take the chance when it was there!
setichas

setichas

January 1, 2017
From someone who was there in the beginning, seeing them play the small halls, and then on to the super stadiums, I never gave a toss about people hating Genesis, all I know is that they have given me some of the best memories in my life music wise, Lyceum theatre so many years ago, seeing suppers ready for the first time, mighty hogweed, classics, the melodic tunes taking you on a musical trip, their fantastic light shows, Gabriel, Collins, they both have their support, I loved them both, sure it was nice in the early days following them before fame, but hey I don't begrudge them their success, I just give thanks to have witnessed their brilliance.
Johncamus

Johncamus

August 31, 2016
Collins maintains that the re-direction to a more commercial sound came from Tony Banks, who was keen to have 'hits'! I think that Collins' years as front-man for Genesis and then in his own solo career obscured what a superb drummer he is. had he remained behind the kit I'm sure he would be thought of more widley as a 'legendary' drummer.
Rich.C

Rich.C

January 10, 2016
It was never considered "cool" to be a Genesis fan largely because of their middle class background and as a spotty teenager it wasn't the fashionable thing to be seen buying Genesis records. It was in fact a reaction to bands like Genesis which prompted the punk movement in the 1970s with bands such as the clash and the sex pistols which stood for everything Genesis didn't..they were now considered the enemy! Certainly Genesis have a legacy which is equal to other rock bands such as led zeppelin, deep purple, motorhead, pink floyd, marillion etc and I would argue are the only prog rock band to actually keep "progressing" throughout their years. The early Peter Gabriel years are alot different to the Phil Collins years which in my opinion made Genesis sound a bit like the later stuff by bands like The Stranglers, its very singalong in nature and was to prove a hallmark of Collins solo material. Whereas the early material was quite melancholic, long and somber and more akin to bands like pink floyd. Collins certainly took genesis down another route which in my opinion was a good move, all my fav Genesis tracks - follow you, follow me, land of confusion, invisible touch, hold on my heart were all released under the Phil Collins years, also Collins proved he could do the long sad songs to. One thing Genesis have done which cannot be said of alot of bands is all the members were able to pursue separate careers (for example Rutherford with Mike and the mechanics) and yet still form together to produce material as Genesis. It remains to be seen whether Genesis will one day become "fashionable" but as todays bands lack inspiration and originality they may turn to bands like Genesis for guidance,.. in fact a popular dance trance record pete lazonby - sacred cycles actually samples "The Fountain of Salmacis" so perhaps Genesis' influence has already started ;) and it can now be considered "ok" amongst the young to start liking Genesis!!

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