{"id":110,"date":"2016-08-24T14:01:03","date_gmt":"2016-08-24T14:01:03","guid":{"rendered":"https:\/\/2026.ikon2023.eu\/index.php\/insanely-great-genesis-songs-only-hardcore-fans-know\/"},"modified":"2016-08-24T14:01:03","modified_gmt":"2016-08-24T14:01:03","slug":"insanely-great-genesis-songs-only-hardcore-fans-know","status":"publish","type":"page","link":"https:\/\/2026.ikon2023.eu\/index.php\/insanely-great-genesis-songs-only-hardcore-fans-know\/","title":{"rendered":"Insanely Great Genesis Songs Only Hardcore Fans Know"},"content":{"rendered":"<h3 style=\"text-align: justify;\"><strong>A journey through the hidden corners of the band&#8217;s discography \u2013\u00a0from high-concept prog gems to forgotten pop-rock B-sides<\/strong><\/h3>\n<div class=\"content-byline\" style=\"text-align: justify;\"><span style=\"font-size: 14pt;\"><span style=\"font-size: 14pt;\"><span style=\"font-size: 14pt;\"><em><strong>By Ryan Reed\u00a0<time class=\"content-published-date\">October 10, 2014<\/time><\/strong><\/em><\/span><\/span><\/span><\/p>\n<hr \/>\n<p><time class=\"content-published-date\"><\/time><\/div>\n<div class=\"content-byline\" style=\"text-align: justify;\">\u00a0<\/div>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\" alignleft size-full wp-image-103\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/a_firth_of_fifths_by_waltermb-1fb.jpg\" width=\"475\" height=\"316\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/a_firth_of_fifths_by_waltermb-1fb.jpg 691w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/a_firth_of_fifths_by_waltermb-1fb-300x200.jpg 300w\" sizes=\"auto, (max-width: 475px) 100vw, 475px\" \/>The question &#8220;Do you like Genesis?&#8221; brings an inevitable follow-up: &#8220;Which one?&#8221; The band&#8217;s early work, recorded under the idiosyncratic Batwing of frontman Peter Gabriel, is the Holy Grail of progressive rock \u2013 exemplified by sprawling masterpieces like the 1974 double-LP The Lamb Lies Down on Broadway. But after Gabriel left the band in &#8217;75, Genesis carried on with drummer Phil Collins as their de-facto frontman, transitioning from complex, symphonic epics (&#8220;Eleventh Earl of Mar&#8221;) to concise, polished pop (&#8220;Invisible Touch).&#8221; For many diehard prog buffs, the Collins era is a travesty; for many pop-rock aficionados, the Gabriel era is, as serial killer Patrick Bateman put it in the 2000 thriller American Psycho, &#8220;too artsy, too intellectual.&#8221; <\/p>\n<p>The truth, of course, is that Genesis made incredible music in every one of their distinct eras \u2013 from the long-form insanity of &#8220;Supper&#8217;s Ready&#8221; to the savvy yacht-pop of &#8220;Hold on My Heart.&#8221; What other band has covered so much sonic territory?<\/p>\n<p>It&#8217;s been a big year for Genesis. The five members of the classic quintet (Gabriel, Collins, Tony Banks, Mike Rutherford and Steve Hackett) recently reunited for the upcoming BBC\/Showtime documentary, Genesis \u2013 Sum of the Parts, and a career-spanning, three-disc box set, R-Kive, arrived last month. To celebrate, let&#8217;s take a look at 20 of the band&#8217;s buried treasures. <\/p>\n<p><strong><img decoding=\"async\" class=\" alignleft size-full wp-image-104\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_lamb06-211.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_lamb06-211.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_lamb06-211-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_lamb06-211-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/>&#8220;The Carpet Crawlers&#8221;<\/strong><\/p>\n<p>&#8220;The Carpet Crawlers&#8221; first appeared as the emotional centerpiece of Genesis&#8217; 1974 double-LP, The Lamb Lies Down on Broadway. It&#8217;s the album&#8217;s most visually vivid piece (with frontman Peter Gabriel layering imagery of massive wooden doors and spiraling staircases), a true sing-along moment surrounded by ambitious experimentation. It&#8217;s also one of Gabriel&#8217;s favorite Genesis songs \u2013 but since he left the band after the Lamb tour, Phil Collins wound performing it hundreds of times himself. <\/p>\n<p>This updated version \u2013 recorded in 1995 but shelved until the release of 1999&#8217;s Turn It On Again: The Hits \u2013 brings that story full circle, allowing Gabriel and Collins to intertwine their soulful voices in a contemporary arrangement. Producer Trevor Horn frames their vocals with subtle electronic programming, and little else \u2013 it almost functions like a Gabriel-Collins collaboration instead of a Genesis track. (Steve Hackett has infamously expressed disappointment that his guitar parts were under-utilized.) Quibbles aside, &#8220;The Carpet Crawlers 1999&#8221; remains a profound coda to one of rock&#8217;s most singular arcs.<\/p>\n<p><strong><img decoding=\"async\" class=\" alignleft size-full wp-image-105\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/>&#8220;Looking for Someone&#8221;<\/strong><\/p>\n<p>Trespass, the second Genesis album, is defined by its reflective 12-string textures \u2013 but it&#8217;s also bookended by two longform rock epics. With its heroic organ pattern, fan-favorite closer &#8220;The Knife&#8221; gets all the glory, but opener &#8220;Looking for Someone&#8221; is the more musically varied of the two, building from a soulful whisper to a thunderous roar. It&#8217;s a creative rebirth in seven seamless minutes.<\/p>\n<p style=\"text-align: justify;\">\u00a0<\/p>\n<p style=\"text-align: justify;\">\n<p><strong><img decoding=\"async\" class=\" alignleft size-full wp-image-106\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_revel01-8ba.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_revel01-8ba.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_revel01-8ba-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_revel01-8ba-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/>&#8220;Am I Very Wrong?&#8221;<\/strong><\/p>\n<p>The Genesis presented on From Genesis to Revelation isn&#8217;t really the band fans grew to love. They were all teenagers when they recorded their debut LP: very much in their formatives stages as musicians, operating under the smothering pop shadow of producer Jonathan King. But Revelations remains fascinating as a historical document, planting subtle seeds of the folk-prog sound that would bloom on the following year&#8217;s Trespass. Look no further than &#8220;Am I Very Wrong?,&#8221; a gently melodic ballad laced with lush Tony Banks piano and Anthony Phillips&#8217; pastoral 12-string guitar passages. The adorably dated lyrics (&#8220;The happiness machine is trying hard to sing my song&#8221;) make this a true period piece, but that doesn&#8217;t diminish the song&#8217;s naive charm. <\/p>\n<p style=\"text-align: justify;\"><strong><img decoding=\"async\" class=\" alignleft size-full wp-image-107\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/>&#8220;Twilight Alehouse&#8221;<\/strong><\/p>\n<p>&#8220;I will now receive my comfort,&#8221; sings an enraptured Peter Gabriel on this brooding powerhouse, &#8220;conjured by the magic power of wine!&#8221; A staple of the early Genesis set lists, &#8220;Twilight Alehouse&#8221; was recorded during the Foxtrot sessions but cut for space concerns, eventually slipping through the cracks as the B-side for their breakthrough single, 1973&#8217;s &#8220;I Know What I Like (in Your Wardrobe).&#8221; The studio version is essential listening, but it&#8217;s also worth exploring this in-studio live take filmed for Belgian TV. (Early Seventies Steve Hackett carries the aura of a true prog-rock wizard.)<\/p>\n<p style=\"text-align: justify;\">\u00a0<\/p>\n<p style=\"text-align: justify;\"><strong><img decoding=\"async\" class=\" alignleft size-full wp-image-105\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_tres02-67e-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/>&#8220;Going Out to Get You&#8221;<\/strong><\/p>\n<p>Bluesy rocker &#8220;Going Out to Get You&#8221; was written during the Trespass era and became a highlight of the band&#8217;s early setlists, but it was left off that album in favor of the similarly hard-hitting &#8220;The Knife.&#8221; The only known studio version is a slower, groovier demo recorded at London&#8217;s Regent Sound Studio in August of 1969 (and featured the 1998 box set Genesis Archive 1967-75). It&#8217;s a deviation from the classic Genesis style \u2013 the fascinating sound of a band in flux. <\/p>\n<p><\/p>\n<p style=\"text-align: justify;\">\u00a0<img decoding=\"async\" class=\" alignleft size-full wp-image-108\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_nurse03-008.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_nurse03-008.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_nurse03-008-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_nurse03-008-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/><strong>&#8220;The Fountain of Salmacis&#8221;<\/strong><\/p>\n<p>Phil Collins and Steve Hackett made their Genesis debuts on 1971&#8217;s Nursery Cryme \u2013 but in spite of its historical significance, the album suffers from a flat mix and a tracklist padded with filler. Regardless, the LP&#8217;s highlights are unimpeachable, especially the oft-overlooked closer &#8220;The Fountain of Salmacis.&#8221; Co-composed by the entire early quintet, this triumphant epic delves into Greek mythology and stretches into jazzy atmospherics. But the biggest goosebump moment is Tony Banks&#8217; opening mellotron swirl \u2013 a definitive souvenir for the prog-rock time-capsule<\/p>\n<p style=\"text-align: justify;\">\u00a0<\/p>\n<p style=\"text-align: justify;\"><strong><img decoding=\"async\" class=\" alignleft size-full wp-image-107\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_selling05-5bf-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/>&#8220;The Cinema Show&#8221; (&#8216;Seconds Out&#8217; Live Version)<\/strong><\/p>\n<p>Percussion master Bill Bruford is the only human being to serve time in each of the Prog Big Three: Yes, King Crimson and Genesis. And the latter gig came about almost as an afterthought. In 1976, fresh from recording his debut lead vocals on Genesis&#8217; A Trick of the Trail, Phil Collins invited Bruford to sit in with jazz-fusion side-group Brand X; after mentioning he needed to find a replacement live drummer for Genesis, Bruford casually offered his services for their upcoming tour.<\/p>\n<p>Bruford only stuck around for one tour, replaced in &#8217;77 by former Frank Zappa drummer Chester Thompson. But his experimental style breathed new life into the band&#8217;s setlist, as evidenced on their 1977 live LP, Seconds Out. The album&#8217;s centerpiece is a dizzying version of &#8220;The Cinema Show&#8221; (recorded at the Pavillion de Paris on June 23rd, 1976), which is anchored by the journeyman&#8217;s percussive whiplash. <\/p>\n<p><strong><img decoding=\"async\" class=\" alignleft size-full wp-image-109\" style=\"margin-right: 7px; margin-left: 7px; float: left;\" src=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_fox04-703.jpg\" width=\"200\" srcset=\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_fox04-703.jpg 385w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_fox04-703-300x300.jpg 300w, https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2016\/08\/7_fox04-703-150x150.jpg 150w\" sizes=\"(max-width: 385px) 100vw, 385px\" \/>&#8220;Get &#8216;Em Out by Friday&#8221;<\/strong><\/p>\n<p>It&#8217;s easy to spot which Genesis lyrics were written by Peter Gabriel. Most of the frontman&#8217;s contributions are conceptually outlandish, often prodding the words-per-minute boundaries of rock singing. &#8220;Get &#8216;Em Out By Friday,&#8221; from 1972&#8217;s Foxtrot, tells the whimsical sci-fi tale of Genetic Control, a group regulating &#8220;humanoid height&#8221; in order to fit more people into apartment complexes. But, as usual with prog-era Genesis, the words aren&#8217;t too important. The track&#8217;s true strength is its dynamic ensemble playing: Gabriel&#8217;s throaty roar, Tony Banks&#8217; searing organ, Mike Rutherford&#8217;s galloping bass guitar.\u00a0<\/p>\n<p style=\"text-align: justify;\">\u00a0<\/p>\n<hr \/>\n<div class=\"content-byline\" style=\"text-align: right;\"><a href=\"index.php?option=com_content&#038;view=featured&#038;Itemid=101\" rel=\"alternate\">Go Back<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>A journey through the hidden corners of the band&#8217;s discography \u2013\u00a0from high-concept prog gems to forgotten pop-rock B-sides By Ryan Reed\u00a0October 10, 2014 \u00a0 The question &#8220;Do you like Genesis?&#8221; brings an inevitable follow-up: &#8220;Which one?&#8221; The band&#8217;s early work, recorded under the idiosyncratic Batwing of frontman Peter Gabriel, is the Holy Grail of progressive [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":103,"parent":0,"menu_order":17,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-110","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/pages\/110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/comments?post=110"}],"version-history":[{"count":0,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/pages\/110\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/media\/103"}],"wp:attachment":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/media?parent=110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}