Rock, Metal

Genesis - Cleveland 1976

2014-02-22T16:51:59Z

Genesis - Cleveland 1976

Disc 1
01. Dance On A Volcano (6:37)
02. The Lamb Lies Down On Broadway (5:02)
03. Fly On A Windshield (3:07)
04. The Carpet Crawlers (5:28)
05. The Cinema Show (12:19)
06. Robbery, Assault And Battery (6:46)
07. White Mountain (8:17)

Disc 2
01. Firth Of Fifth (10:20)
02. Supper's Ready (23:28)
03. I Know What I Like (6:14)
04. Los Endos (7:14)
05. Its Watcher Of The Skies (5:47)

Tony Banks - Keyboards, 12 String & Backing Vocals
Phil Collins - Lead Vocals, Drums & Percussion
Steve Hackett - Lead Guitars & Effects
Mike Rutherford - Bass Guitars, Guitars & Backing Vocals
with special guest:
Bill Bruford - Drums & Percussion

Genesis 1976-04-15 - Cleveland, OH
(FM broadcast)

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Genesis - From Genesis To Revelation (1969/2008)

2009-10-11T14:57:22Z

Genesis - From Genesis To Revelation (1969/2008)


 1. Where The Sour Turns To Sweet  (3:13)
 2. In The Beginning               (3:46)
 3. Fireside Song                  (4:18)
 4. The Serpent                    (4:39)
 5. Am I Very Wrong                (3:31)
 6. In The Wilderness              (3:30)
 7. The Conqueror                  (3:40)
 8. In Hiding                      (2:37)
 9. One Day                        (3:21)
10. Window                         (3:33)
11. In Limbo                       (3:30)
12. Silent Gun                     (2:13)
13. A Place To Call My Own         (1:59)
14. The Silent Sun                 (2:15)
15. That's Me                      (2:38)
16. A Winter's Tale                (3:31)
17. One Eyed Hound                 (2:31)

Bass, Guitar, Vocals – Michael Rutherford*
Drum – Chris Stewart (tracks: 14, 15), John Silver
Keyboards, Vocals – Tony Banks
Vocals, Flute – Peter Gabriel

This debut Genesis album, which has appeared under license to various labels in addition to Decca and London in different configurations, is largely of historical interest. The group was still in its formative stages, the members barely past their 18th birthdays and still working out what they wanted to sound like. Mostly they sound like the Bee Gees trying to be the Moody Blues (picture something similar to the sound of the former group's Odessa album). "The Silent Sun" and "Where the Sour Turns to Sweet" are pleasant enough, but scarcely indicate the true potential of the group or its members. A pleasant enough piece of pop-psychedelia/art rock, but not a critically important release, except to the truly dedicated. ---Bruce Eder, AllMusic Review

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Genesis - Nursery Cryme (1971)

2013-07-14T15:14:34Z

Genesis - Nursery Cryme (1971)


01. The Musical Box - 10:23
02. For Absent Friends - 1:43
03. The Return Of The Giant Hogweed - 8:08
04. Seven Stones - 5:06
05. Harold The Barrel - 2:56
06. Harlequin -	2:52
07. The Fountain Of Salmacis - 7:53

Personnel:
- Peter Gabriel - lead vocals, flute, bass drum, tambourine
- Steve Hackett - electric guitar, 12-string guitar
- Tony Banks - organ, mellotron, piano, electric piano, 12-string guitar, vocals
- Mike Rutherford - bass, bass pedals, 12-string guitar, vocals
- Phil Collins - drums, percussion, vocals
+
- John Anthony – producer

If Genesis truly established themselves as progressive rockers on Trespass, Nursery Cryme is where their signature persona was unveiled: true English eccentrics, one part Lewis Carroll and one part Syd Barrett, creating a fanciful world that emphasized the band's instrumental prowess as much as Peter Gabriel's theatricality. Which isn't to say that all of Nursery Cryme works. There are times when the whimsy is overwhelming, just as there are periods when there's too much instrumental indulgence, yet there's a charm to this indulgence, since the group is letting itself run wild. Even if they've yet to find the furthest reaches of their imagination, part of the charm is hearing them test out its limits, something that does result in genuine masterpieces, as on "The Musical Box" and "The Return of the Giant Hogweed," two epics that dominate the first side of the album and give it its foundation. If the second side isn't quite as compelling or quite as structured, it doesn't quite matter because these are the songs that showed what Genesis could do, and they still stand as pinnacles of what the band could achieve. --- Stephen Thomas Erlewine, allmusic.com

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Genesis - Platinum Collection (2004)

2010-03-16T14:54:39Z

Genesis - Platinum Collection (2004)


1-1 	No Son Of Mine 	6:35
1-2 	I Can't Dance 	4:00
1-3 	Jesus He Knows Me 	4:17
1-4 	Hold On My Heart 	4:37
1-5 	Invisible Touch 	3:28
1-6 	Throwing It All Away 	3:50
1-7 	Tonight Tonight Tonight (Edit) 	4:29
1-8 	Land Of Confusion 	4:46
1-9 	In Too Deep 	4:56
1-10 	Mama 	6:48
1-11 	That's All 	4:25
1-12 	Home By The Sea 	5:07
1-13 	Second Home By The Sea 	6:06
1-14 	Illegal Alien 	5:17
1-15 	Paperlate 	3:23
1-16 	Calling All Stations	5:45

2-1 	Abacab	6:55
2-2 	Keep It Dark	4:34
2-3 	Turn It On Again 	3:51
2-4 	Behind The Lines 	5:43
2-5 	Duchess 	6:06
2-6 	Misunderstanding 	3:13
2-7 	Many Too Many 	3:34
2-8 	Follow You Follow Me 	4:08
2-9 	Undertow 	4:46
2-10 	In That Quiet Earth 	4:55
2-11 	Afterglow 	4:08
2-12 	Your Own Special Way 	6:18
2-13 	A Trick Of The Tail 	4:35
2-14 	Ripples 	8:08
2-15 	Los Endos 	5:46

3-1 	The Lamb Lies Down On Broadway 	4:49
3-2 	Counting Out Time 	3:36
3-3 	Carpet Crawlers 	5:01
3-4 	Firth Of Fifth 	9:28
3-5 	The Cinema Show 	10:48
3-6 	I Know What I Like (In Your Wardrobe) 	3:53
3-7 	Supper's Ready	22:51
3-8 	The Musical Box	10:24
3-9 	The Knife	8:53

Bass – Mike Rutherford
Bass [Synth] – Tony Banks (tracks: 1-1 to 1-15)
Drums, Vocals, Percussion – Phil Collins (tracks: 1-1 to 1-15, 2-1 to 3-8)
Drums – Nir Zidkyahu (track: 1-16)
Drums, Percussion – John Mayhew (track: 3-9)
Guitar – Mike Rutherford (tracks: 1-1 to 3-8), Steve Hackett (tracks: 2-10 to 3-8),
 Tony Banks (tracks: 2-10 to 3-8), Guitar – Anthony Phillips (track: 3-9)
Keyboards – Tony Banks
Vocals, Flute – Peter Gabriel (tracks: 3-1 to 3-9)
Vocals – Ray Wilson (track: 1-16)

Platinum Collection is a triple-disc covering the biggest hits and anthems from Genesis' career. Not a bad idea for a set, especially because it does contain the relatively rare non-LP single "Paperlate," but it's not necessarily executed as well as it could be. First off, there are the inevitable omissions, highlighted by such Genesis standards as "Man on the Corner" and "No Reply at All," but also extending to such smaller '80s hits as "Just a Job to Do" and "Anything She Does," not to mention various album tracks, particularly from the Peter Gabriel era. Nevertheless, Platinum Collection handles the Gabriel years better than 1999's Turn It on Again: The Hits, primarily because it has the space to stretch out and serve up a full disc of early Genesis, and while "Watcher of the Skies" is missed, it's hard to argue with any Gabriel comp that includes "The Lamb Lies Down on Broadway," "Counting out Time," "Carpet Crawlers," "Firth of Fifth," "The Musical Box," "I Know What I Like (In Your Wardrobe)," and a full-length "Supper's Ready." Actually, that's not entirely true -- there is one complaint that can be lodged against the Gabriel disc and that can be lodged against Platinum Collection as a whole: it's sequenced in reverse chronological order (with the notable exception of the post-Phil Collins cut "Calling All Sections" being tucked away at the end of the first disc, since there's absolutely no way that even the most devoted Genesis fan would stick with rest of the comp if it began with that tune). While it's not a fatal blow to the value of the compilation -- this does, after all, contain most of the songs casual fans would want in one handy little set -- starting with We Can't Dance and slowly rolling back over the years makes for some uneasy listening, since the reverse order not only prevents the album from gaining momentum, it doesn't provide any new insights to the band's work, the way that Jimmy Page's non-chronological sequencing on the Led Zeppelin box did. If the entire set was flipped around, beginning with "The Knife" and ending with "No Son of Mine," it would be a better listen as an album, but as a clearing-house for most, but not all, of the big Genesis songs, Platinum Collection is worthwhile for casual fans. ---Stephen Thomas Erlewine, AllMusic Review

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Genesis - The Early Of Genesis 1967-69 (2006)

2015-12-08T16:56:31Z

Genesis - The Early Of Genesis 1967-69 (2006)

Disc 1
1. Where the Sour Turns to Sweet - 3:16
2. In the Beginning - 3:47
3. Fireside Song  (Banks, Phillips, Rutherford)- 4:20
4. The Serpent (Gabriel, Banks) - 4:40
5. Am I Very Wrong? (Genesis) - 3:33
6. In the Wilderness - 3:33
7. The Conqueror (Genesis) - 3:42
8. In Hiding - 2:40
9. One Day - 3:22
10.Window - 3:35
11.In Limbo (Banks, Gabriel, Phillips) - 3:32
12.Silent Sun (Gabriel, Banks) - 2:15

Disc 2
1. A Place to Call My Own (Gabriel, Phillips) - 2:00
2. A Winter's Tale (Banks, Gabriel, Phillips) - 3:31
3. One-Eyed Hound (Banks, Gabriel, Phillips) - 2:31
4. That's Me (Banks, Gabriel, Phillips) - 2:38
5. Image Blown Out - 2:11
6. She is Beautiful - 3:46
7. Try a Little Sadness (Demo Version) - 3:18
8. Patricia (Demo Version of 'In Hiding') - 3:05
9. Where The Sour Turns To Sweet (2006 remix) - 3:19
10.The Silent Sun (2006 remix) (Banks, Gabriel) - 2:15
11.In The Wilderness (Rough Mix) (Banks, Gabriel) - 2:57

All songs by Tony Banks, Peter Gabriel, Steve Hackett except where noted

*Peter Gabriel – Vocals, Flute, Percussion
*Anthony Phillips – Guitar, Vocals
*Tony Banks – Organ, Guitar, Piano, Keyboards, Vocals
*Mike Rutherford – Bass Guitar, Guitar, Vocals
*John Silver – Drums, Vocals
*Chris Stewart – Drums on "Silent Sun"

There was a school in Surrey, England named Charterhouse. Attending this school there were two students named Tony Banks and Peter Gabriel. The two both had a love for music which caused them to form a band called The Garden Wall.

A nearby group named The Anon. Formed by Riverz Job (bass), Richard MacPhail (vocals), Anthony Phillips (guitar), and Rob Tyrell (drums). Later join by Mike Rutherford, The Anon was The Garden Wall's main competition.

The Charterhouse arranged a concert in 1967 that featured both The Garden Wall and The Anon. The Garden Wall stole the show away from The Anon (who were the concert's main feature. After this more than half The Anon left the band leaving Anthony Phillips and Mike Rutherford. Phillips and Rutherford went to their rivals and formed a new band. They later were joined by drummer Chris Stewart.

This new band put together a demo tape which they sent to producer Jonathan King (who was an ex-student of The Charterhouse). He liked this band's music so much and since they didn't have a name yet he gave them one: Genesis

In 1968 Stewart left Genesis. John Silver came in as Stewart's replacement In 1969 they released their first album titled 'From Genesis To Revelation'. The album was only released in the UK. To put it nicely, the album was a bomb. It sold less then seven hundred copies. Part of the album's lack of success can be contributed to the fact that the album was thought to be Christian.

After this, Genesis went inactive in order to get out of it's one year contract with King (who thought their new music lacked). After a year, Genesis was free of King and Silver (who wanted to stay with King).

In March of 1970, Genesis met John Anthony who signed them with Charisma-Records. This is actually their forst album release "From Genesis To Revelation", (with few bonus tracks from the 1967-1969 period and some new remixes from 2006) a magma o Bristish post psychdelia with progressive touches, it has nothing common with their later recordings except for the musicians, is more earthy, more accessible, however it is fascinating, velvet voices along with beautiful melodies, creating colorful ribbons, leaving finaly a sweet taste ...

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Genesis - Turn It On Again - The Greatest Hits (1999)

2013-11-23T16:34:43Z

Genesis - Turn It On Again - The Greatest Hits (1999)


1. Turn It On Again (3:49)
2. Invisible Touch (3:26)
3. Mama (hits edit) (5:18)
4. Land Of Confusion (4:44)
5. I Can't Dance (3:59)
6. Follow You Follow Me (3:58)
7. Hold On My Heart (4:37)
8. Abacab (hits edit) (4:10)
9. I Know What I Like (In Your Wardrobe) (4:04)
10. No Son Of Mine (hits edit) (5:44)
11. Tonight, Tonight, Tonight (single edit) (4:28)
12. In Too Deep (4:56)
13. Congo (hits edit) (4:02)
14. Jesus He Knows Me (4:16)
15. That's All (4:24)
16. Misunderstanding (3:11)
17. Throwing It All Away (3:49)
18. Carpet Crawlers (1999 Re-recording) (5:39)

Line-up / Musicians
- Tony Banks / keyboards, backing vocals
- Phil Collins / drums, percussion (1-12, 14-18), lead vocals (1-8, 10-12, 14-17, part 18)
- Peter Gabriel / lead vocals (tracks 9, 18), flute (9)
- Steve Hackett / lead guitar (9, 18)
- Mike Rutherford / lead guitar (1-8, 10-17), Bass guitar, backing vocals (1-18)

Originally, there were plans for two Genesis box sets -- one covering the classic Peter Gabriel era, the other chronicling the band's development into hit-makers under the direction of Phil Collins. The Gabriel set was released in 1998, but instead of a second box following it in 1999, the single-disc Turn It on Again: The Hits appeared. Truth be told, it was a wise move, because even if the Collins set appears, there will be a market for a concise collection of hits, which Turn It on Again more or less is. Since Genesis had such a prolific career and had so many hits, it should come as no surprise that the compilation isn't complete, but it's a little disappointing to discover that such latter-day non-entities as "Hold on My Heart" (from the last Collins album, We Can't Dance) and "Congo" (from the post-Collins album, Calling All Stations) are included in favor of such fine singles as "Paperlate" or "Man on the Corner." But that's nitpicking, since all the big hits are here: "Turn It on Again," "Invisible Touch," "Follow You, Follow Me," "Tonight, Tonight, Tonight," "In Too Deep," "That's All," "Misunderstanding," "Throwing It All Away," and the list goes on and on. True, the sublime Gabriel number "I Know What I Like (In Your Wardrobe)" sounds completely out of place sandwiched between "Abacab" and "No Son of Mine," but it's nice to have it here. Similarly, "The Carpet Crawlers 1999," reworked as a duet between Collins and Gabriel, is a surprisingly effective re-recording, and a nice inclusion. It may not be enough to convince hardcore fans that they need Turn It on Again, but this album is really for listeners who've thought of Genesis as a singles act, and they're not going to be disappointed by this. --- Stephen Thomas Erlewine, allmusic.com

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Genesis – Foxtrot (1972)

2013-06-25T16:04:51Z

Genesis – Foxtrot (1972)


01. Watcher Of The Skies - 7:22
02. Time Table - 4:44
03. Get 'Em Out By Friday  - 8:36
04. Can-Utility And The Coastliners - 5:47
05. Horizons - 1:39
06. Supper's Ready - 22:58 including:
I. Lover's Leap
II. The Guaranteed Eternal Sanctuary Man
III. Ikhnaton And Itsacon And Their Band Of Merry Men
IV. How Dare I Be So Beautiful?
V. Willow Farm
VI. Apocalypse In 9/8 (Co-Starring The Delicious Talents Of Gabble Ratchet)
VII. As Sure As Eggs Is Eggs (Aching Men's Feet)  

Personnel:
- Peter Gabriel – lead vocals, flute, oboe, bass drum, tambourine
- Steve Hackett – electric guitar, 12-string and 6-string solo guitars
- Tony Banks – organ, mellotron, acoustic and electric piano, 12-string guitar, backing vocals
- Mike Rutherford – bass, bass pedals, 12-string guitar, cello, backing vocals
- Phil Collins – drums, percussion, backing vocals

Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound -- which doesn't necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power. There's might and majesty here, and it, along with "Get 'Em Out by Friday," is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose. But what impresses most about Foxtrot is how that precociousness is delivered with pure musical force. This is the rare art-rock album that excels at both the art and the rock, and it's a pinnacle of the genre (and decade) because of it. --- Stephen Thomas Erlewine, allmusic.com

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Genesis – Selling England by The Pond (1973)

2009-10-11T14:59:32Z

Genesis – Selling England by The Pond (1973)


A1 	Dancing With The Moonlit Knight 	8:02
A2 	I Know What I Like (In Your Wardrobe) 	4:03
A3 	Firth Of Fifth 	9:36
A4 	More Fool Me    (Vocals – Phil Collins)	3:10

B1 	The Battle Of Epping Forest 	11:43
B2 	After The Ordeal 	4:07
B3 	The Cinema Show 	11:06
B4 	Aisle Of Plenty 	1:34

Drums, Percussion, Vocals – Phil Collins
Electric Guitar, Guitar [Nylon String Guitar] – Stephen Hackett
Keyboards, Twelve-String Guitar – Tony Banks
Twelve-String Guitar, Bass, Sitar [Electric Sitar] – Michael Rutherford
Vocals, Flute, Oboe, Percussion – Peter Gabriel

Genesis proved that they could rock on Foxtrot but on its follow-up Selling England by the Pound they didn't follow this route, they returned to the English eccentricity of their first records, which wasn't so much a retreat as a consolidation of powers. For even if this eight-track album has no one song that hits as hard as "Watcher of the Skies," Genesis hasn't sacrificed the newfound immediacy of Foxtrot: they've married it to their eccentricity, finding ways to infuse it into the delicate whimsy that's been their calling card since the beginning. This, combined with many overt literary allusions -- the Tolkeinisms of the title of "The Battle of Epping Forest" only being the most apparent -- gives this album a storybook quality. It plays as a collection of short stories, fables, and fairy tales, and it is also a rock record, which naturally makes it quite extraordinary as a collection, but also as a set of individual songs. Genesis has never been as direct as they've been on the fanciful yet hook-driven "I Know What I Like (In Your Wardrobe)" -- apart from the fluttering flutes in the fade-out, it could easily be mistaken for a glam single -- or as achingly fragile as on "More Fool Me," sung by Phil Collins. It's this delicate balance and how the album showcases the band's narrative force on a small scale as well as large that makes this their arguable high-water mark. ---Stephen Thomas Erlewine, AllMusic Review

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Genesis – Trespass (1970)

2014-08-22T16:41:24Z

Genesis – Trespass (1970)


1. Looking For Someone (7:06)
2. White Mountain (6:42)
3. Visions Of Angels (6:50)
4. Stagnation (8:48)
5. Dusk (4:13)
6. The Knife (8:56)

- Peter Gabriel  - lead voice, flute, accordion, tambourine and bass drum
- Anthony Phillips - acoustic 12-string, lead electric, dulcimer, voices
- Anthony Banks - organ, piano, Mellotron, guitar, voices
- Michael Rutherford - acoustic 12-string, electric bass, nylon, cello, voices
- John Mayhew - drums, percussion, voices

Genesis' first truly progressive album, and their first record for the Charisma label (although Trespass was released in America by ABC, which is how MCA came to have it), is important mostly as a formative effort. Peter Gabriel, Tony Banks, and Michael Rutherford are here, but the guitarist is Anthony Phillips and the drummer is John Mayhew. Gabriel, Banks, Phillips, and Rutherford are responsible for the compositions, which are far more ambitious than the group's earlier efforts ("Silent Sun," etc.). Unfortunately, much of what is here is more interesting for what it points toward than what it actually does -- the group reflects a peculiarly dramatic brand of progressive rock, very theatrical as music, but not very successful. The lyrics are complex enough but lack the unity and clarity that would make Genesis' subsequent albums among the most interesting of prog rock efforts to analyze. Gabriel's voice is very expressive but generally lacks power and confidence, while the conventional backup vocalizing by the others is wimpy, and Phillips' playing is muted. Tony Banks' keyboards are the dominant instruments, which isn't that bad, but it isn't the Genesis that everyone came to know. The soft, lyrical "Visions of Angels" and "Stagnation" are typical, gentle works by a band that later learned how to rock much harder. Only one of the songs here, "The Knife" -- which rocks harder than anything else on Trespass and is easily the best track on the album -- lasted in the group's concert repertory past the next album. --- Bruce Eder, allmusic.colm

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