GENESIS

Having been listening to Genesis for over 50 years I suppose one could legitimately propose that I am a fan. And indeed I am. But not only am I a fan of Genesis, I also quite like many other artistes that have unleashed the results of their talents upon the world. So it is with the benefit of my exposure to many things musical over the past half century (with a bit more than another dozen years added to the half century) that I put pen to paper (fingers to keyboard actually) about Calling All Stations, the final studio album by Genesis.

I acquired the album not long after its release in 1997 and I have to say that the lack of a Gabriel or a Collins on vocals was something of a curiosity (although at that stage I was very well used to the lack of a Gabriel). Ray Wilson, whom I'd never heard of (the name Stiltskin was familiar), was now the Vocalist in Chief in the band. I played the CD many times over the following months and I also saw this incarnation of the band live in March 1998. It certainly wasn't the Genesis that I'd seen and heard in the past but naggingly, some of the same Genesis sound, as well as some of the same Genesis personnel, were actually still to be seen and heard. Imagine that! So, the more I put this album into my CD player, the more I grew to like it. I began to hear little vignettes that I hadn't noticed previously (example - the really exciting sound of the ride cymbal in the latter part of One Man's Fool). So it got to the stage that the more I played Calling All Stations, the more I liked it. Nowadays, in the year 2025, I just have to say that really like this album. I like it a lot. And now that I have it on vinyl, as well as cd, it has opened up even more for me and it seems to be a different kind of a listening experience when I put the record onto my turntable.

However (there's always a "however", isn't there...), I feel that it must be said that the album is just too long as a project. It should have been shorter, in my opinion, by exactly four songs. If Calling All Stations had been more concise, it would have been a massive seller, all across the world. In the USA, I've no doubt that a shorter album would have hit high in the album charts and all the Genesis live shows would have been sold out.

So, in my opinion a problem lies in the fact that the album was produced by the band themselves. There was no input from an experienced, talented producer who could and no doubt would have, reined the band in where necessary and also have pushed them on where necessary. A strong willed independent producer would not have allowed this album, with a new singer, to exceed 45 to 50 minutes.

So what songs should have been culled from the album? Here they are - "Shipwrecked", "Small Talk", "If That's What You Need" and "Not About Us". If these songs had been left off then we'd have had a 48 minute album. That would have been a perfect length at that time in 1997. It would have been a really darkly attractive album which would have had a lot more appeal for a lot more people.

Anyway, I've given the entire album a lot of time over the last 28 years and while I know that not everybody gets it, I like it. I think that its excellent Prog. So for me I'm giving it four stars.

Well its time for me to rate my favorite Genesis album and one of my favorite doubles album of all time along with All things Must Pass - George Harrison.

Given all the obscure literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The "Lamb Lies Down on Broadway" was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it's just as well; even with the lengthy libretto included with the album, the story never makes sense. But just because the story is rather impenetrable doesn't mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak. Even if the story is rather hard to piece together, the album is set up in a remarkable fashion, with the first LP being devoted to pop-oriented rock songs and the second being largely devoted to instrumentals. This means that The Lamb Lies Down on Broadway contains both Genesis' most immediate music to date and its most elliptical. Depending on a listener's taste, they may gravitate toward the first LP with its tight collection of ten rock songs, or the nightmarish landscapes of the second, where Rael descends into darkness and ultimately redemption (or so it would seem), but there's little question that the first album is far more direct than the second and it contains a number of masterpieces, from the opening fanfare of the title song to the surging "In the Cage," from the frightening "Back in NYC" to the soothing conclusion "The Carpet Crawlers." In retrospect, this first LP plays a bit more like the first Gabriel solo album than the final Genesis album, but there's also little question that the band helps form and shape this music (with Brian Eno adding extra coloring on occasion), while Genesis shines as a group shines on the impressionistic second half. In every way, it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album. 5.0 Get this album Genesis lovers

I've been reviewing the Genesis discography recently, and in doing so, I think I've finally realized exactly what made them truly stand out from the other 70s progressive rock bands: the unmistakable atmosphere. yes, Peter Gabriel was an incredible force of personality and blurred the line between "madman" and "genius" (and was a good frontman and flutist to boot). Yes, the technical proficiency of the members was off the charts, keeping in line with several other bands of the time. But if you asked me what truly cemented Genesis as one of the greats of the genre, it's the beautiful and often haunting storybook atmosphere that permeates those old records they crafted with Gabriel and Steve Hackett in the ranks. It's no wonder to me that several neo-prog bands basically took inspiration off this sound, as it's a perfect way of expressing more emotive and sentimental vibes while still being rooted to what people love about progressive rock on a base level. And, having said all of that, I don't think any Genesis record embodies the word "atmosphere" quite like Selling England by the Pound.

Looking at the tracklist, you'll notice that the band decided to ditch the format used by Foxtrot - having one epic song dwarf most of the record - in favor of splitting the album up into four mini-epics, with more concise tracks to fill in the gaps. As much as I loved Foxtrot I can't help but admit that this format was the right move for the band. Having short accessible tracks to separate each complex behemoth really contributes to how easily digestible Selling England can be, as it offers a nice breather between each main event. Plus, hey, those short songs are pretty great too! "More Fool Me" is easily one of my favorite ballad from the Peter Gabriel era of Genesis, even though it was actually sung and penned by drummer-turned-singer and future (disputed) "most hated man in pop" Phil Collins. "I Know What I Like (In Your Wardrobe)" is probably the trippiest song on the album with a strange psychedelic feel, and yet it was also significant for being the band's first real taste of commercial success single-wise. Finally (excluding "Aisle of Plenty," which is just a reprise of the opener), we've got the stunning guitar work Steve Hackett brings on "After the Ordeal." Playing out as sort of an aftermath to "Battle of Epping Forest," it could be seen as the logical conclusion of the promise heard in "Horizons" from the prior album. The classical guitar work has been further, the solemn atmosphere more effective, and this time Tony Banks even joins in with his own piano parts!

But let's be real, the longer tracks are what this album's all about. "Dancing with the Moonlit Knight" might be one of the best openers in progressive rock history (and Genesis already has a fair share of those - look at "Musical Box" or "Watcher of the Skies"). Gabriel's voice is crucial here, as he provides much-needed humanity to the majestic and bombastic instrumental bits. It's important to note that the album's overarching theme is the loss of British culture to Americanization, which is delivered very effectively in the opening lines of "...Moonlit Knight":

Of course, it all becomes even more effective once we're treated to a much faster section in the middle with rapid-fire tapping from Hackett. The song in general goes through so many different moods and cycles but somehow never loses compositional or lyrical focus, which is something that becomes apparent with the rest of the longer tracks on the album. With that in mind, "Firth of Fifth" is primarily dominated by two people: Banks and Hackett. The former gets an incredible piano intro with heavy classical leanings and crazy time shifts, and the latter gets one of the most emotional guitar solos in rock history. The solo is also an example to aspiring musicians that virtuosity isn't everything in guitar playing; just ask David Gilmour. It's also worth noting that Mike Rutherford pulls out some nice bass lines here, especially on the soft break in the middle of the song.

Still, nothing can really prepare the listener for the other two epics, which are probably the most complex and long- winded pieces on the entire album. "The Battle of Epping Forest" is an incredibly wacky and whimsical take on? well, gang violence. Turns out that Peter Gabriel heard about some fight between two gangs in the east end of London, but didn't really know any details outside of that. So what did he do? Create his own characters and scenarios to fill in the blanks! And when you read/hear the lyrics, which are practically a novella, it really shows what an imaginative lyricist and storyteller Gabriel was in his Genesis days. It helps, too, that the music is still top notch. It does get incredibly busy and possibly overbearing at times, but the real treat is the band's knack for using their music to aid the visuals Gabriel creates in his lyrics . I also have to mention that this song has my favorite drum performance of all time; it baffles me how Phil Collins can keep such a comfortable and catchy groove out of a 7/4 time signature, as well as how he weaves in and out of the other instruments with such ease. Then there's "The Cinema Show" which is essentially a tale of two songs: one is a beautiful folk-rock ballad, and the other is the highly complex instrumental piece that follows. Think of it as a precursor to the "Home/Second Home by the Sea" suite we got years later on the self titled album, just pulled off with more imagination and finesse. The real thing to listen for on this song is the incredible vocal interplay between Gabriel and Collins; it really doesn't surprise that Collins would eventually be the next vocalist to take center-stage for Genesis.

Pulling the entire experience together is the production work of John Burns, which is a sizeable leap forward from the sound quality found on previous Genesis efforts. There's much more room for the atmosphere to breathe here, and the more rock-oriented moments don't sound as muddy or one-dimensional as before. In the end, I'm still not entirely sure whether I prefer Selling England by the Pound or Foxtrot, as both albums represent the very best that Genesis has to offer. But in saying that, This one is truly top-shelf progressive rock music. i see why this is in PA's top 5 of all time

This album would be largely responsible for Genesis' eventual break-out in the United States, "Foxtrot" is widely considered one of the undeniable classic of Genesis' discography and of the many prog albums issued in the 1970's. The album as a whole would be a breakthrough album and is incredibly more consistent than such earlier efforts like "From Genesis To Revelation". While the album, or many of Genesis' early albums, is not incredibly singles focused it was still a substantial hit in the U.K. Much of this respect is due to the epic 23 minute opus closing track "Supper's Ready".

"Supper's Ready" bounces seamlessly from time signature to time signature without loosing any of its footing. The opening track, and main single, "Watcher Of The Skies" is very reminiscent of what David Bowie was releasing at the time. "Watcher Of The Skies" is theatrically dark with Tony Banks' opening Mellotron chords and Steve Hackett's chugging guitar work. "Foxtrot's" lyrical conceits are also more colorful, creative and thought provoking than previously seen on a Genesis album, "Get Em" Out By Friday" being one of these due to it's lyrics of urban overspill.

"Foxtrot" is a definite must have for any avid Genesis fans or really anyone for that matter. Please buy this album. It's worth it its one of their essential classics in their catalog.

Recorded in 1971 following the second album "Trespass" . this album would not have previous members John Mayhew and Anthony Phillips This album would be fundamental for later albums adding Steve Hackett and Phil Collins onto the roster. 1.Musical Box (10:24) this track would display more of Peter Gabriel's artistic vision and opens the album strongly. 2.For Absent Friends (1:44) the song tells a pleasant story of a elderly couple on a bench and is the first song to have Phil Collins on vocals. 3.Return of the Giant Hogweed (8:10) this song is very heavy and displays the heavier side of Genesis 4.Seven Stones (5:10)Peter Gabriel does great vocals but is an underrated flutist. 5 and 6 are short tunes "Harold the Barrel" and "Harlequin" are pacing for the final track"The Fountain of Salmacis" 7. The Fountain of Salmacis (7:54) is a very epic track and the highlight is Steve Hacketts excellent guitar solo ending the song and ultimately the album.

I believe this is the true start for the band and for good reason. Genesis I believe were a supergroup for their time and on later albums even upgrading the roster on "Nursery Cryme" with Steve Hackett and Phil Collins. One of my favorite Genesis opinions is if Anthony Phillips had not had stage fright he would have been better than Steve Hackett :). But I digress this album deserves cheers for it having true roots of prog elements Peter Gabriel's artistic vision amplifies the music and gives insight for the talent of the band. two highlights I have from this album are the tracks "White Mountain" and "The Knife" the Knife is possibly one of the heaviest songs put out by the band and Anthony Phillips' talent shows through the song with the epic guitar solo half way through the song. after this album Anthony went on to do solo work along with some Genesis members. Throughout the entire album Tony Banks keyboard gives Genesis their symphonic prog sound and on "Dusk" shows their folk prog side

I am a Korean who likes progressive rock.

이 음반을 가장 많은 시간 들었습니다. 이유는 잘 모르겠지만, 귀에 익숙해지지 않는 까닭 때문이었어요. 많은 사람들이 이 음반을 명반이라고 해서 왜 명반인지 계속 들었습니다. 사실 Peter Gabriel의 목소리가 제 취향이 아닌 점도 있었어요. 하지만 어느새 따라 부르고 있는 저를 발견했습니다. 스스로 연기도 하면서 말이지요. 첫 번째 트랙, Dancing with the Moonlit Knight의 중독성 있는 기타 리프가 돋보입니다. 서사도 서사이지만, 한 편의 뮤지컬을 보는 것 같아요. 두 번째 트랙, I Know What I Like는 그 무엇의 프로그레시브 록 음반과 비교를 해봐도 이 곡의 멜로디가 가장 좋아요. 특유의 내레이션이 이질감이 느껴지면서도 흥미를 이끕니다. 세 번째 트랙, Firth of Fifth는 정말 아름답습니다. 이 아름다움은 네 번째 트랙, More Fool Me에서도 이어져요. Firth of Fifth가 건반의 연주가 아름답다면, More Fool Me는 Peter Gabriel의 목소리가 아름답게 느껴졌어요. 가장 이해가 가지 않는 음반이 어느새 가장 좋아하는 음반이 되었어요. 개인적으로 취향을 타는 음반 같지만, 왜 이 음반이 이 커뮤니티에서 가장 많은 사랑을 받는지 깨달았어요. 감사합니다.

Released in 1971, 'Nursery Cryme' is the third album by British musical legends Genesis. It's notable for being the first album to feature drummer Phil Collins and guitarist Steve Hackett, and following the bands previous two outings, which I found highly disappointing, it's evident here the impact these two would have on the writing, as the band finally begin to evolve into the Genesis we all know and love today.

I found the bands' debut, 'From Genesis to Revelations' and it's follow-up 'Trespass' both to be incredibly boring, and not befitting of one of the greatest progressive rock bands in history. But here the band has really started to step up, with energetic performances and much better chemistry. The melodies are much more interesting, and constantly shifting dynamics keeps the music exciting. Peter Gabriel's vocals are sounding much more confident too, with some clever and witty lyrics to boot!

It's clear that these five have an absolute synergy together, and why this is considered THE definitive Genesis line-up. Everyone is a capable writer, and working together, they all know when to hold back and when to really let loose, displaying virtuoso musicianship akin to bands such as Yes and Emerson, Lake & Palmer, years ahead of their time.

With early prog classics as 'The Musical Box' and 'The Fountain of Salmacis', the incredible 'The Return of the Giant Hogweed' and the energetic 'Harold the Barrel', 'Nursey Cryme' is a very strong release. It certainly sparked an upward trajectory for the band, and while much better things are on the horizon, this is definitely a worthy addition to any prog collection.

-The genesis of Genesis-

As the start for the symphonic prog band Genesis with Jonathan King lending a hand for the project this album gives promising vocals by Peter Gabriel displaying the potential for future editions of their discography. I have tried listening to this album but it doesn't strike as hard as other albums by the group. A good similarity is that this album is a dirty window with some clean spots that create better pieces.

Genesis' second album, 1970's 'Trespass', kicks off what many fans consider the bands golden era of progressive rock. Their 1969 debut, 'From Genesis to Revelation', was far from befitting of one of my favourite bands, but with its successor, the British five-piece would release a string of albums that would go on to become highly revered by prog rock fans everywhere.

Well, except me.

I've actually had this album on-and-off my playlist for a number of years now. Unsure what to think about it, hoping that something might just click, but nope. Nothing. While the songs seem a bit more band-oriented than before, and the writing becoming more confident, overall, I still find this album pretty boring.

There are a couple of moments dotted around that sound interesting, but they kind of get lost in the shuffle. In fact, there's only really one track that I don't mind, and that's early classic 'The Knife'. I don't think it's particularly great or anything though, and it's doubtful I'll ever go out of my way to listen to it.

Which is a shame, because Genesis are one of my all-time favourite bands. But two albums into their discography, and I'm struggling. I should note though, that I grew up on the Phil Collins pop-era material, and while Collins has become synonymous with the name Genesis, at this point he's not yet a member of the band. So maybe he's the vital piece of the puzzle that's still missing. Moving on, perhaps I'll have more luck with their next album?