Prog magazine recently asked their readers to help them identify the cream of the crop of Genesis tunes. Being that Genesis is one of my favorite bands I threw in my two cents, voting for the ten “best” (actually my favorites) tracks. I thought I’d provide some explanation of my choices, as well as point out one honorable mention that I couldn’t vote for in the poll.
As I suspected, this was pretty tough. I didn’t put any particular limitations on my choices (only one song from any album, etc.), but I did try and cover as much of the band’s history as I could. Here they are, arranged chronologically . . .
“The Musical Box” from Nursery Cryme (1971)
A great, weird, story song with a thunderous climax. It’s a great example of what the band was in between Anthony Philips leaving and Steve Hackett joining, as there’s lengthy bits where Tony Banks is filling in the lead guitar slot with a Hohner pianet run through a cranked up fuzz box.
“Watcher of the Skies” from Foxtrot (1972)
Two words – Mellotron intro. Yes, the tricky rhythm that takes over for that (courtesy of Phil Collins) is great, too, but there’s nothing quite like that huge, ominous opening – possible because Banks accidentally got the Mellotron to playback two tapes at once.
“Can-Utility and the Coastliners” from Foxtrot (1972)
All that’s great about classic Genesis in an easily digestible package. Mythical lyrics? Check (the story of King Canute and the waves). Multiple solos? Check (including Mellotron, not normally a solo instrument). Symphonic grandeur? You bet. If I need to play one song to someone to show them what Genesis was like in its prog heyday, this would be it.
“Firth of Fifth” from Selling England By the Pound (1973)
The song that launched a thousand prog bands. This is the template for symphonic prog going forward – classically inspired piano intro, more mythical lyrics, widdly synth solo followed by soaring guitar solo. And a flute solo! Never better than the original.
“In the Cage” from The Lamb Lies Down On Broadway (1974)
It’s hard to take one track from The Lamb . . . because they work so well together, moving from one song to another. This is the best choice to pull out and let stand on its own, I think. Another great solo from Banks. Gabriel’s vocals are particularly good, too.
“Los Endos” from A Trick of the Tail (1976)
Must have been a lot of pressure to get this right, since calling it “The End” means it’s your concert closer for years to come. Of course, they did. I particularly like the call backs from earlier in the album (from “Dance on a Volcano”) and from before (the “there’s an angel standing in the sun . . .” subdued lyrics from “Supper’s Ready”).
“Blood on the Rooftops” from Wind & Wuthering (1976)
I didn’t really get into this track until I heard Steve Hackett playing it in recent years, but it’s really grown on me. Hackett’s nylon-string guitar work sits well with Banks’ Mellotron sweeps and Collins’ vocals/lyrics have a deep melancholy to them that really stands out. Fits the grey album cover perfectly.
“Cinema Show” from Seconds Out (1977)
The studio version of this track is great, but this live version (with Bill Bruford on drums) is epic. It’s one of those prog mini-epics that hit my sweet spot (see also, “Starless” by King Crimson and “Squarer for Maud” by National Health, among others), with the delicate vocal first section giving way to a fabulous (and notably three piece) instrumental section.
“Me & Sarah Jane” from Abacab (1981)
Another weird story song, this time about a guy who makes up a girlfriend (and then mourns her departure). Proof that the band could still do interesting musical things in a shorter, more outwardly pop kind of vein.
“Domino” from Invisible Touch (1986)
While the band climbed the pop charts they kept making lengthy, weird deep cuts that really came off well live. This works as kind of a later-day “Cinema Show,” with the song-based first section and driving second section. “We’re all the next in line,” as they say.
“Behind the Lines > Duchess > Guide Vocal” from Duke (1980)
The Prog poll listed each track separately, which means I couldn’t vote for this hunk that leads off Duke. The band originally toyed with the idea of a lengthy Duke suite, but wound up breaking things up over the album (they did it all together live, though). I love how these three tunes work together, so I’ll add them to my list.
Am I right? Am I wrong? Does it matter? It’s all great!