Swiss Journal of Research in Business and Social Sciences

Music

Ranking Genesis Album Opening Songs from Worst to Best


The musical journey of Genesis spans three distinct yet occasionally overlapping periods, each marked by pivotal contributions from iconic frontmen Peter Gabriel, Steve Hackett, and Phil Collins. Even their solitary album featuring Ray Wilson, the 1997 release Calling All Stations, could not shake off the profound impact left by the trio’s departure. This legacy is deeply felt throughout their discography, highlighting the unique talents and styles each frontman brought to the table.

The opening tracks of their albums serve as a testament to this eclectic blend of approaches and artistic identities. Following an ambitious yet misguided attempt by their producer to mold 1969’s From Genesis to Revelation into an orchestral-pop venture, the early lineup, under Gabriel’s leadership, began to carve out their niche in the progressive rock genre with the release of 1970’s Trespass. The arrival of Collins and Hackett before the launch of 1971’s Nursery Cryme played a crucial role in Genesis’ ascent, culminating in two of their most acclaimed albums: 1972’s Foxtrot and 1973’s Selling England by the Pound.

The latter half of the decade was shaped by significant departures. Following the success of the gold-certified The Lamb Lies Down on Broadway in 1974, Gabriel departed, and Hackett followed suit after contributing to two albums in 1976, A Trick of the Tail and Wind and Wuthering, during which Collins stepped into the role of lead vocalist. Notably, these albums achieved the milestone of being Genesis’ first two entries into the Top 40 in the U.S., marking a new chapter in their commercial success.

READ MORE: Explore Our Comprehensive Ranking of Every Genesis Album

Genesis continued as a trio, launching their next era with the highly successful 1978 album And Then There Were Three, which sold over a million copies. The following five albums achieved platinum or multi-platinum status, with 1986’s Invisible Touch receiving six-times-platinum certification. Both 1983’s Genesis and 1991’s We Can’t Dance sold over four million copies, solidifying their status in the rock genre. However, following Collins’ departure and the arrival of Wilson, the band’s presence in the Top 40 waned, leading to the cessation of their studio projects.

Notably, Gabriel and Hackett contributed to six of the subsequent 15 album-opening tracks, while Collins took the lead on eight. The result is a complex legacy, rich with intriguing and sometimes perplexing musical elements. Here’s a detailed, ranked reflection on their album-opening songs:

 

No. 15. “Down and Out”
From: And Then There Were Three (1978)

Opening with a strikingly unconventional choice, “Down and Out” serves as the inaugural track of Genesis’ first album as a streamlined trio, consisting of Collins, Mike Rutherford, and Tony Banks. The song features a jarring 5/4 time signature that clashes with the overall sound of the album, creating an internal musical dialogue that challenges listeners. Its distinctive style diverges significantly from the rest of the album and the trio’s typical sound, leading to difficulties in replicating it during live performances, with the band playing it fewer than 40 times throughout their career.

See also  The Insult That Sparked Ozzfest's Origins

 

No. 14. “Where the Sour Turns to Sweet”
From: Genesis to Revelation (1969)

Ironically, the experience surrounding “Where the Sour Turns to Sweet” contradicted its optimistic title. This track was initially part of a hopeful four-track demo aimed at securing a recording contract. Following their signing with Decca Records, Genesis released two other singles and their debut album, which went largely unnoticed. Although “Where the Sour Turns to Sweet” was eventually released months later, it suffered from the producer Jonathan King‘s interference, resulting in a version marred by poorly executed string arrangements.

 

No. 13. “Calling All Stations”
From: Calling All Stations (1997)

When Collins departed from the band, it was not the first time Genesis had to adapt to a new frontman. However, the landscape of the music industry had shifted dramatically over the two decades prior, complicating their transition. Replacement Ray Wilson brought a different, more languid vocal style that complemented the album’s progressive elements. Unfortunately, the absence of Collins’ knack for crafting radio-friendly hits left “Calling All Stations” and Wilson struggling to capture the same audience, resulting in the album’s lack of commercial success.

 

No. 12. “Invisible Touch”
From: Invisible Touch (1986)

Fans of the original Genesis sound might have assumed that “Invisible Touch” marked the moment the band succumbed entirely to Collins’ burgeoning solo career. However, this track was a collaborative effort, originating from a jam session around “The Last Domino,” a segment of a more extended composition featured on the second side of the album. The band came together to craft what became a chart-topping synth-pop hit, showcasing their ability to adapt while maintaining some connection to their progressive roots.

 

No. 11. “Looking for Someone”
From: Trespass (1970)

Debuting during a challenging tour following the lukewarm reception of their first album, “Looking for Someone” hints at the band’s future direction in the 1970s. Gabriel introduces elements of R&B into Genesis’ early folk-prog sound, a style he would further develop in his solo career with hits like “Sledgehammer,” “Big Time,” and “Steam.” The song begins with just Gabriel’s vocals and Banks’ organ, gradually building into a powerful, collaboratively written crescendo that showcases their growth as a band.

 

No. 10. “Mama”
From: Genesis (1983)

Similar to “Down and Out,” “Mama” presents a sonic landscape that diverges sharply from the sound of the album that follows it. However, unlike its predecessor, this track is coherent and compelling, featuring unique musical elements such as gated Linn drums and haunting synth washes from Banks. Lyrically, “Mama” delves into darker themes, making it one of Genesis’ more unsettling songs. Released as the lead single from the self-titled album, it achieved significant commercial success, reaching No. 4 on the UK charts.

See also  Tabla Virtuoso Zakir Hussain, Rock Collaborator, Dies at 73

 

No. 9. “Dance on a Volcano”
From: A Trick of the Tail (1976)

Genesis found their footing as they sought a successor to Gabriel, ultimately realizing that the ideal candidate was already in their ranks, sitting behind the drums. The first track crafted in this new era, “Dance on a Volcano,” marks a turning point for the band, bursting with collaborative energy that reflects their newfound confidence. This song, which would later become the opening track on their first album without Gabriel, encapsulates the spirit of renewal and evolution within the band.

 

No. 8. “Behind the Lines”
From: Duke (1980)

As a standout from a period characterized by creative challenges, “Behind the Lines” presents a promise that the album Duke does not consistently fulfill. Initially conceived as a fragment meant to link various parts of a larger progressive suite, the band recognized its potential and expanded it into a complete song. Regrettably, the rest of Duke often fails to reach the same heights of creativity and innovation as this track.

 

No. 7. “No Son of Mine”
From: We Can’t Dance (1991)

Collins had previously explored deeper themes in his successful 1989 solo album, but nothing prepared listeners for the emotional weight of “No Son of Mine.” This song features one of his most impassioned vocal performances in years, paired with a haunting narrative. The song’s distinctive sound emerged from a serendipitous moment when Banks accidentally created a keyboard sequence while experimenting, adding an unsettling cadence that enhances the song’s dramatic tension.

 

No. 6. “Dancing with the Moonlit Knight”
From: Selling England by the Pound (1973)

This epic, driven by the Mellotron, transitions from a serene a cappella introduction to a powerful rock anthem. Hackett’s innovative tapping technique and sweeping guitar sounds bring a unique flair to the track. Reflecting on his approach, Hackett described it as akin to a violinist’s bowing technique, allowing for rapid, intricate playing. This track exemplifies the band’s ability to blend complex musical techniques with captivating storytelling.

 

No. 5. “Abacab”
From: Abacab (1981)

In “Abacab,” Genesis masterfully combines elements of new wave and progressive rock, firmly establishing their footing in both genres. The track features an infectious hook and allows for improvisational moments from Banks, showcasing their versatility. While the lyrics are abstract and open to interpretation, discussions about the song’s title and its potential references to its structure have persisted. Collins himself has admitted uncertainty regarding the song’s meaning, emphasizing the experimental nature of this piece.

 

No. 4. “The Lamb Lies Down on Broadway”
From: The Lamb Lies Down on Broadway (1974)

See also  Which Rock Act Released the Best Two Albums in a Single Year?

Gabriel’s departure followed the release of this complex and enigmatic album, filled with rich narratives and intricate imagery. The title track encapsulates Gabriel’s storyline of a half-Puerto Rican street character on a quest to rescue his lost brother in a chaotic New York City. Despite its complexity, “The Lamb Lies Down on Broadway” remains one of Genesis’ most accessible tracks, capturing the groove that solidified the album’s success during the Gabriel era.

 

No. 3. “Eleventh Earl of Mar”
From: Wind and Wuthering (1976)

On “Eleventh Earl of Mar,” Hackett narrates a captivating story of a historic Scottish uprising, marking a significant moment in his career as tensions with Banks escalated. This was the second album released after Gabriel’s exit, and Hackett sought creative freedom by releasing solo work in response to the growing songwriting conflicts within the band. Despite the challenges, Banks received writing credits for most of the tracks on this album before Hackett departed.

 

No. 2. “The Musical Box”
From: Nursery Cryme (1971)

With the arrival of Collins and Hackett, Nursery Cryme marked a turning point for Genesis, achieving their first Top 40 hit in the UK. “The Musical Box,” which evolved from an instrumental initially written by the departed Anthony Phillips, showcases a powerful collaboration featuring lyrics inspired by a Victorian fairy tale. Hackett’s innovative tapping technique, which he introduced during this song, would later influence guitarists like Eddie Van Halen, helping to popularize this method among musicians.

 

No. 1. “Watcher of the Skies”
From: Foxtrot (1972)

“Watcher of the Skies” serves as a groundbreaking entry that encapsulates the spirit of Genesis’ first major artistic achievement. This track exemplifies their ability to merge whimsical elements with substantial rock energy, setting a precedent for their future successes in the 1970s. The intricate interplay between Hackett’s guitar and Banks’ Mellotron creates a rich sonic tapestry that highlights the band’s innovative approach to music during this transformative period.

Discover Fascinating Insights into Rock’s Most Iconic Album Covers

In the early days, album covers typically featured straightforward portraits of the artists. However, the landscape soon evolved into something far more imaginative and surreal.

Gallery Credit: Nick DeRiso

Understanding Our Ranking of Every Genesis Song

best barefoot shoes

For further details, please visit the original article; images and information used in this piece are credited to their original source and are utilized here for informational purposes only.

LEAVE A RESPONSE

Sarah Parker is a research analyst and content contributor with a strong interest in business strategy, organizational behavior, and social development. With a background in sociology and public policy, she focuses on exploring the intersection between research and real-world application. Sarah regularly contributes articles that bridge academic insights and practical relevance, aiming to foster critical thinking and innovation across sectors.