Genesis technique/style

way too technical for me all the scales stuff Urko, but I can see what you're getting at- Genesis have an unmistakable sound, and it permutates constantly from Trespass to The Lamb.

Listen to 'Genesis Live'. Wear headphones. The studio recordings don't represent them as well as this. Sorry I can't help you on this one. I'm way too diffuse.

Ask Rutherford and Banks! to me they ARE the Genesis sound, the synergy between his guitar/bass pedals and Tony's wonderful keyboard soundscapes...thats it..

In my opinion, the Genesis sound is achieved by their very skillful approach to song writing. Tony Banks is a master of melody. On every Genesis album from Trespass to Duke the melodies are very strong and instantly memorable. They achieve great melancholy in their music through the chord sequences they use; the shifts from minor to major chords etc. This achieves great drama and melancholy in their music, for example the intro the 'Eleventh Eral of Mar' which starts with a very tense and unusual chord which build up then shifts to a huge major chord just before the drums come in. Very grandiose..

The melodies and beautiful sadness are backed up by rythmic power and energy courtesy of Phil Collins, who like all members of the band has a unique style and sound. Genesis are one of those groups where each member is an integral element to that sound, like Zep and Yes for example. Remove one from the mix and it never sounds the same.

Thats my take on it. Sorry if that sounds like bogsh!te, but it's Christmas day and I've been drinking like a judge..

I'm not a musician, so I cannot talk about chords or scales. BUT I'll say that one thing which stands out about Genesis music is that its truly an ensemble sound. I think that's an appropriate term (I know someone is dying to correct me).

Take ELP:  Without even trying you can pick out three exclusive components and listen to them separately - while you're listening to the one ELP track. Its almost the same with Yes during the 'classic' Wakeman-Bruford two years. With Genesis, even during Gabriel era, the listener is really enjoying  the result of some great compromise.

Banks tempered his bombastic inclinations enough to allow space for Rutherford's delicate work to become a part, and, both snip enough off of their personal tastes to leave room for Hackett's creative rantings. And it all blends together very nicely into one sound.

(Exception: Ten huge weight-lifters probably had to restrain Phil before the recording sessions so that he would not jump in there and play some snappy tune he'd heard on Dick Clark's American Bandstand the Saturday afternoon prior.)

Take all Genesis members solo stuff. None of them, not even Hackett's good work, are able to reach the heights of the material recorded when they were playing together. A  genuine band, they were.

Edited by ldlanberg

I think that the strange lyrics, insane keyboard and awesome guitar techniques made the band who it was.

Another unmistakeable trait of Tony Banks' soundscapes are those chords with a bass note from another chord.
Let me make some examples: D major with G bass note, C major with D bass, G minor with A bass...
If you take a look at the Mad Man Moon or One for the Vine sheet you'll understand what I mean...
And the beginning sequence of Behind the Lines as well