In another timeline (namely, the '70s), this Stations leftover could have bloomed into a legit prog epic. Possibly the most boring Genesis song, waltzing from one forgettable melody to another.įrom: B-side of "Shipwrecked" single (1997) Banks' minor-key synths open the album with an air of art-rock mystery, but the top-line melody starts fizzling after the first note. Wilson has called this his favorite Stations song - a puzzling choice, even on a project with so few obvious highlights. But it’s all downhill from there, surrounding that riff with pillowy synths and a flat-lining vocal melody. The engine is Mike Rutherford's guitar, which leans into the era's post-grunge/alt-rock landscape without embarrassing itself.
(Clapton channeled his grief into a much more memorable tune, " Tears in Heaven.") Collins wrote the song for his friend Eric Clapton, whose four-year-old son tragically died in March 1991 after falling from the window of a 53rd-story apartment. Proof: this tedious adult-contemporary ballad. Good intentions don't always result in good songs. The effect is like second-hand cringe, the musical equivalent of flipping through a stranger's middle-school yearbook. Goofy psych-era production, sub-four-track fidelity, Gabriel's bleating-goat lead, awkwardly timid backing vocals.
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This dopey symph-pop tune squanders its modest promise through a series of perplexing choices: layering in distracting brass, pushing the entire rhythm section into the right speaker and, for some bizarre reason, letting people not named Gabriel sing backup.įrom: B-side of "A Winter's Tale" single (1969) The most interesting thing about this Stations reject is how much Ray Wilson's overwhelming rasp conjures Peter Gabriel circa 2002. synth-saxophone? Yet another plodding drum pattern? Goodness gracious.
The bluesy keyboard lick is nothing to sneeze at, but Christ does this one spin its wheels.įrom: B-side of "Not About Us" single (1998)Ī. " Calling All Stations B-side" shouldn't instill much confidence. The naive "That's Me" sounds like a demo from some hippie teenagers after learning their first four chords. " From Genesis to Revelation B-side" shouldn't instill much confidence. Even the hardest of die-hards would struggle to argue the logic.įrom: B-side of "The Silent Sun" single (1968)
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("Pa, you broke her heart!" might be the least convincing chorus in their catalog.) Genesis briefly tried to erase the song from history, leaving it off their 2000 box set Archive 2. The track, which first appeared on the 1982 3x3 EP, vaguely chronicles a country boy's attempt to care for his single mother - but nothing about the result, from Tony Banks' clunky chord changes to Phil Collins' hay-chewing vocal delivery, feels the slightest bit natural. If "Genesis attempting a roots-rock song" sounds like a disaster, you share the opinion of Genesis themselves. With the fine print out of the way, let's dive in: From "Mama" to "No Son of Mine," from "Firth of Fifth" to "Eleventh Earl of Mar," here's our ranking of every Genesis song.
(So, no "Image Blown Out," "Pacidy," "Going Out to Get You," or "Let Us Now Make Love.") And for the sake of ease, two different song pairs have been combined into one. That means we avoided live cuts (no matter how interesting), along with compilation demos and rarities that only exist in bootleg form. Some disclaimers are needed: This list includes only officially released studio album tracks, singles and B-sides.
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Most prog bands faced the proposition of "adapt or die" in the '80s, but none of them navigated that change better than Genesis.įor some fans, they'll always be the long-haired dudes with mellotrons and fox costumes playing 20-minute epics for others, the group might as well not exist until "Invisible Touch." Ranking their songs is beyond difficult for that reason alone: how to pit, say, the New Wave punch of Abacab against the prog-folk warmth of Trespass? And all these choices shaped Genesis' sound in one way or another. The world is a strange place.Ī lot of more obvious career moves shaped the Genesis arc: original guitarist Anthony Phillips bowing out in 1970 due to stage fright Collins and Steve Hackett joining to form the classic quintet Peter Gabriel, who felt " part of the machinery," leaving the lineup in 1975 Collins, who'd long been balancing the band with a high-profile solo career, tapping out himself in 1996. Without that hesitation, record buyers may have never glimpsed Collins' sweaty mug on the cover of No Jacket Required.
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