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Genesis Albums Ranked

Genesis Albums Ranked

Genesis is one of the most fascinating bands in rock history, one that’s gone from extravagant prog-rock to sweet pop and back again. Some of their albums are ranked as proper works of art, while others are ranked highly in the charts despite criticism of their creativity.

During their early days, the band was fronted by Peter Gabriel. They became well-known for their complex musical arrangements and the fairytale atmosphere of their shows and albums.

Forced to find a new singer after Gabriel’s departure, they turned to their drummer Phil Collins. Taking a swift departure toward pop, the band members became global pop stars.

Today I’m diving back into the deep waters of prog-rock, summoning my powers of concentration and ranking the albums that form Genesis‘ discography from worst to best.

Genesis Albums Ranked
“Calling All Stations” (1997)
15. “Calling All Stations” (1997)

15. “Calling All Stations” (1997)

On “Calling All Stations,” Tony Banks and Mike Rutherford regroup and go back to their prog-rock roots. The results are intriguing. Overall, it feels that both Genesis had forgotten why they liked prog, and their audience had forgotten they’d once been a prog band.

Ray Wilson, former singer of one-hit wonder Stiltskin, delivers strong performances throughout. The songs, however, aren’t terribly memorable. This, and the reputation of both Phil Collins and Peter Gabriel, work to sabotage the project.

“Shipwrecked” and “Congo” are the standout tracks. They feature more mature lyrical content and musical complexity rarely found on the record that they’d made since the early 1980s.

Reviews weren’t great, and the public wasn’t very enthusiastic either. Sadly, the lack of critical and commercial success of “Calling All Stations” meant that Banks and Rutherford opted to finally end Genesis as a studio-active group.

“From Genesis to Revelation” (1969)
14. “From Genesis to Revelation” (1969)

14. “From Genesis to Revelation” (1969)

Genesis already had a clear concept by the time they approached their debut. While ambitious, “From Genesis to Revelation” suffers from being overly ambitious but not highly memorable.

“The Silent Sun”, with Gabriel’s haunting melodies and a lush arrangement featuring the guitar playing of Anthony Philipps, is the best thing on the album.

However, the experience of making the record made the Charterhouse boys opt for a music career, even if the lists attempting to have Genesis albums ranked often overlook the importance of this first album.

“We Can’t Dance” (1991)
13. “We Can’t Dance” (1991)

13. “We Can’t Dance” (1991)

On “We Can’t Dance,” Genesis acknowledge their status as pop stars but look to inject some edginess back into their work. The strategy occasionally, works.

“I Can’t Dance” features a catchy guitar riff and humorous lyrics that seem to suggest Tony Banks, Mike Rutherford and Phil Collins were firmly ready to embrace their middle-age status and even classic rock formulas.

“No Son of Mine”, with its emotional lyrics and soaring guitar solo, suggest that the band was ready for weightier topics for “We Can’t Dance.” Their take on television preachers captured on “Jesus He Knows Me” is another highlight of the record.

Phil Collins departed the band after the album’s release. It would mark an end to a very successful pop partnership, but one that had been running low on steam for some time.

“Invisible Touch” (1986)
12. “Invisible Touch” (1986)

12. “Invisible Touch” (1986)

“Invisible Touch” is an attempt to keep the “Genesis Pop-Machine” going. While it secured hits, it was less energy-driven and inventive than previous releases.

Part of this might be due to the workload that Collins had taken up at this time. His pop star success was anything if not unlikely. He was now doing his best to live up to the hype, becoming the most successful adult-oriented singer singer-songwriter since Elton John.

“Invisible Touch” provides the upbeat energy and catchy hooks that fans were hoping for.

“Land of Confusion” was also a singalong. But the song’s political lyrics and memorable music video helped make it one of the era’s biggest hits. It’s also one of the most oft-covered Genesis songs. Just listen to Disturbed’s version of the song, and you’ll be put off nu-metal for the rest of your lives.

“…And Then There Were Three…” (1978)
11. “…And Then There Were Three…” (1978)

11. “…And Then There Were Three…” (1978)

As the title suggests, “…And Then There Were Three…” finds Genesis carving a path forward without either Peter Gabriel or Steve Hackett. The trio move toward a more direct, pop-influenced sound and reached a new audience.

That new audience’s interest was peaked by “Follow You Follow Me”. The song features an earworm of a melody and a more straightforward structure. This helped make it a hit single.

Meanwhile, songs like “Many Too Many” shows that Genesis was ready to move away from the surrealist and literary influences of their past, and write about the themes familiar to their adult lives.

“Duke” (1980)
10. “Duke” (1980)

10. “Duke” (1980)

Success changes everything and everyone. On “Duke,” Genesis wholeheartedly embraces pop music. The results are generally good, albeit they mark a stark departure from the band’s progressive rock roots.

“Turn It On Again” might as well be called “We’re Trying to Write Follow You, Follow Me Again.” The song’s catchy chorus helped provide the band with another hit. The group was now popular with audiences that were likely, not aware of their existence during the Peter Gabriel era.

“Misunderstanding” allows the prog-rock craftsmen to use their considerable skill to create a sensitive pop ditty.

“Abacab” (1981)
9. “Abacab” (1981)

9. “Abacab” (1981)

“Abacab” is a pop-rock album made by master musicians. It’s a perfect example of the shiniest of 80s commercial rock. But, behind the studio tricks, there’s pleasant songwriting too.

“Abacab” features a funky rhythm part and the kind of driving beat that radio could not resist. “No Reply at All” shows that Collins could go up against anyone in terms of writing catchy melodies.

The rest of “Abacab” includes shifts to reggae, soul and even disco music. The sharp, stylish direction seems to signify that the group had gone all out on their pop approach and was loving the results.

“Wind & Wuthering” (1976)
8. “Wind & Wuthering” (1976)

8. “Wind & Wuthering” (1976)

“Wind & Wuthering” acted as a victory lap after Genesis had done the seemingly impossible and had replaced Peter Gabriel. The dreamy, melancholy-filled sound is in place, but the song contains fewer memorable tracks than “A Trick of the Tail.

However, “Afterglow”, with its gorgeous harmonies and “One for the Vine” with its swelling guitar solos, suggest that Genesis as a quartet was still one of the finest prog-rock bands operating during the mid-1970s. \

“Trespass” (1970)
7. “Trespass” (1970)

7. “Trespass” (1970)

“Trespass” is already a marvellous step forward from the band’s debut. It includes Genesis’ penchant for creating a mix of varied musical styles.

Having decided that they would be a professional band, Genesis’ quintet now had to decide what kind of ban they would be. They called upon their influences from soul, rock and classical to come up with an answer.

“The Knife” is the best song on the “Trespass” album. It foreshadows the band’s later work. This song’s aggressive guitar riffs and dramatic structure helped Genesis be viewed as leaders of the burgeoning prog-rock scene.

This is also the final album to feature original guitarist Anthony Phillips whose use of 12-string acoustic guitar and complex lead guitar parts added a lot to the band’s early sound.

“A Trick of the Tail” (1976)
6. “A Trick of the Tail” (1976)

6. “A Trick of the Tail” (1976)

Genesis got Phil Collins to sing instead of Peter Gabriel for “A Trick of the Tail,” but the results were surprisingly strong and not all that far removed from the previous records.

This works because of two reasons. First, Collins’ vocals resemble Gabriel’s in both timbre and range. Secondly, the band has returned to the themes of Britishness of their early work, leaving Gabriel’s surrealism behind.

“Dance on a Volcano” and “Squonk” focused on the group’s complex but well-oiled interactions giving guitar virtuoso Steve Hackett plenty of room to shine.

“Nursery Cryme” (1971)
5. “Nursery Cryme” (1971)

5. “Nursery Cryme” (1971)

On “Nursery Cryme,” Genesis announced itself as heir to Ray Davies or Syd Barrett for songs about Britishness. The album’s magical atmosphere, inspired by old folk tales, helps set the band apart from their progressive rock rivals.

“Nursery Crym” features my favourite Genesis song, “The Musical Box”.This tune’s complex arrangement, evocative lyrics, and theatrical live performances made it an early fan favourite. It also set the scene for the kind of costume-driven theatricality for Peter Gabriel would earn a reputation.

“The Return of the Giant Hogweed” is equally ambitious, albeit powered by a more aggressive sound.

“Foxtrot” (1972)
4. “Foxtrot” (1972)

4. “Foxtrot” (1972)

Genesis finally had a focal point in Peter Gabriel. On “Foxtrot” he takes us the role in earnest, often delivering mesmerizing performances.

The band was treasured by art-rock and prog-rock crowds. But in truth, Genesis’ sound was more eerie than either of those labels would suggest. “Foxtrot” excellently plays into the quasi-mystical Britishness of their early records.

“Watcher of the Skies” with its atmospheric intro and intricate instrumentation, helped pave the way, along with bands like Yes, Rush or Pink Floyd, for the template of the classic prog-rock sound.

Meanwhile, “Supper’s Ready,” a 23-minute psychedelic epic, allows Genesis to shift through numerous moods and styles, giving the track an almost operatic quality.

Overall, “Foxtrot” is the first of an incredible trilogy of records made by the classic Genesis line-up.

“Genesis” (1983)
3. “Genesis” (1983)

3. “Genesis” (1983)

On “Genesis,” Phil Collins shows that he’s ready and willing to bring his new pop-star status in service of the band. The singer’s newly-established confidence is the album’s signature trait.

“Genesis” is ranked by many fans as the best album made by Genesis with Collins on vocals. I suppose that they’re right.

One important thing had happened since the band’s previous record. Collins had released his solo album, “Face Value” and it had, against all odds (pun intended!), trumped Genesis’ success.

Rather than shift his attention exclusively to his solo career, Collins brings these newfound gifts to “Genesis” and allows himself to go wilder than he’d ever done or ever will gain in the future.

“Mama” features an incredibly ominous atmosphere, a melancholy rivalling The Cure and a passionate vocal chorus. It’s one of the band’s eeriest hit singles.

Meanwhile, “That’s All”is one of their most predictable hits. Its melodies and Collins’ vocals are immediately appealing.

My favourite song is “Home by the Sea.” It’s a tune whose structure harkens back to the band’s prog-rock intentions and features one of the best vocal grooves that Collins provided the group.

“Genesis” is the best pop record made by the band. It was widely acclaimed before both Collins and the band’s enduring success would help wear out their welcome.

“The Lamb Lies Down on Broadway” (1974)
2. “The Lamb Lies Down on Broadway” (1974)

2. “The Lamb Lies Down on Broadway” (1974)

With Gabriel’s vision firmly established on the two previous records, the singer pushes Genesis into even more ambitious and surreal territory with “The Lamb Lies Down on Broadway.” The results are, occasionally, marvellous.

“The Lamb Lies Down on Broadway” is loosely a concept album constructed around a short story written by Peter Gabriel. The imagery is inspired in large part by Alejandro Jodorowsky’s trendy movie “El Tropo.”

The title track, “The Lamb Lies Down on Broadway,” with its layered chorus vocals and nightmarish visions, is a real highlight of the record.

“In the Cage” and “Back in N.Y.C.” suggest that Genesis might’ve approximated goth-rock a few years before the fact.

“Carpet Crawlers” features one of Gabriel’s best and most tender vocal performances.

“The Lamb Lies Down on Broadway” would bring Genesis a new level of commercial attention, but would also be Peter Gabriel‘s final album with the band before embarking on a successful solo career. Soon, he would consciously move closer to the kind of territory occupied by Bruce Springsteen and farther away from quasi-mystical prog-rock and elaborate stage costumes.

Those who enjoy Genesis’ prog-era are likely to find in the “Genesis III: 1970-1975” box set containing the albums, live performances and rarities from that era.

“Selling England by the Pound” (1973)
1. “Selling England by the Pound” (1973)

1. “Selling England by the Pound” (1973)

“Selling England by the Pound” is not the only album that Genesis had attempted to make since their debut. It is also an endlessly listenable and enjoyable record, in my view.

The album begins with “Dancing with the Moonlit Knight,” a surreal journey through the history of the British empire. The song shifts from a whisper to a scream at the drop of a hat and is one of Genesis’ best. Live, Gabriel would perform as an old Briton knight, giving even David Bowie a run for his money in terms of theatricality.

“More Fool Me” allows drummer Phil Collins to showcase his vocals, which are eerily similar to Gabriel’s. It would prove an important detail soon enough.

Meanwhile, “I Know What I Like (In Your Wardrobe)” showed that Genesis could even write short, direct songs that could be hits.

Finally, “Firth of Fifth”, with the memorable piano parts composed by Tony Banks, would enter live setlists and remain there until the present day.

What’s a good introduction to the music of Genesis?

The box set “Genesis III: 1970-1975” might be the best place to start if you’re looking to get accustomed to Peter Gabriel-era Genesis. The set includes the classic prog-rock albums, a handsome booklet, and some interesting additional material. You can pick up from Amazon today.

Those looking for an abridged version containing all of Genesis’ hits should try “The Platinum Collection.” Naturally, the three records focus heavily on the pop-era successes that feature Phil Collins’ singing.

And for those who enjoy Genesis as a trio, there’s a collection of b-sides and rarities celebrating the final decades of their career.

The “Genesis albums ranked” list includes the band’s releases in the following order:

About author

Eduard Banulescu is a writer, blogger, and musician. As a content writer, Eduard has contributed to numerous websites and publications, including FootballCoin, Play2Earn, BeIN Crypto, Business2Community, NapoliSerieA, Extra Time Talk, Nitrogen Sports, Bavarian FootballWorks, etc. He has written a book about Nirvana, hosts a music podcasts, and writes weekly content about some of the best, new and old, alternative musicians. Eduard also runs and acts as editor-in-chief of the alternative rock music website www.alt77.com. Mr. Banulescu is also a musician, having played and recorded in various bands and as a solo artist.
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