Genesis, a band that defies simple categorization, stands as a testament to musical evolution and enduring creativity. Emerging from the progressive rock scene of the late 1960s, they not only helped define the genre but also masterfully transitioned into mainstream rock and pop superstardom. This journey, spanning decades, produced a rich catalog of songs that continue to resonate with fans across generations. From intricate epics to chart-topping singles, Genesis Band Songs showcase a remarkable range and depth. This article delves into the very best of their output, ranking their greatest hits while exploring the band’s fascinating legacy.
40. “Jesus He Knows Me” from ‘Live: The Way We Walk, Volume One: The Shorts’ (1992)
“Jesus He Knows Me,” particularly in its live rendition from ‘Live: The Way We Walk, Volume One: The Shorts,’ takes a satirical jab at televangelism and religious hypocrisy. Released in a time when such themes were less openly discussed in mainstream media, the song’s commentary on preachers exploiting faith for personal gain was both bold and timely. Mike Rutherford’s observation about Genesis’s potential reception in today’s media landscape rings especially true given the current sensitivities around such topics. Phil Collins’s exaggerated preacher persona during live performances, while entertaining, underscores the song’s critical edge. The track’s enduring relevance lies in its exploration of themes of authenticity and manipulation within organized religion, making it a noteworthy entry in the Genesis songbook.
39. “Since I Lost You” from ‘We Can’t Dance’ (1991)
A deeply moving ballad from ‘We Can’t Dance,’ “Since I Lost You” carries a poignant backstory, inspired by the tragic loss of Eric Clapton’s son, Conor. This personal connection lends an emotional weight to the song, reflecting themes of grief and loss with raw sincerity. Phil Collins’s close friendship with Eric Clapton at the time adds another layer of depth to the song’s creation, making it a heartfelt tribute to a shared sorrow. Musically, Mike Rutherford’s guitar work subtly nods to Clapton’s bluesy style, further cementing the song’s dedication. “Since I Lost You” stands as a testament to the band’s ability to infuse personal experiences into their music, creating songs that resonate on a deeply human level.
38. “The Brazilian” from ‘Invisible Touch’ (1986)
“The Brazilian,” an instrumental piece from the commercially successful album ‘Invisible Touch,’ served as a powerful reminder of Genesis’s progressive roots amidst their pop dominance. Closing the album, it offered a moment of pure musical exploration, showcasing Phil Collins’s drumming prowess and the band’s instrumental virtuosity. Its inclusion on an album known for its pop hits highlights Genesis’s commitment to their artistic identity, even as they achieved mainstream success. The song’s resurgence in popularity through its use in the 2020 film ‘Palm Springs’ demonstrates its timeless appeal and ability to connect with new audiences, solidifying its place as a standout instrumental in the Genesis catalog.
37. “Paperlate” from ‘Three Sides Live’ (1982)
“Paperlate,” a studio track included on the live album ‘Three Sides Live,’ marks a pivotal moment in Genesis’s transition towards mainstream appeal. Featuring the horn section from Earth, Wind & Fire, it injects a vibrant, funk-infused energy into the band’s sound, signaling their exploration beyond progressive rock boundaries. This collaboration, also reflected in “No Reply At All,” and Phil Collins’s solo work, underscores their growing interest in diverse musical styles. “Paperlate” encapsulates the band’s evolving sonic landscape during the early 1980s, foreshadowing their imminent pop breakthrough and their lasting impact on the pop music scene.
36. “Behind The Lines” from “Duke” (1980)
“Behind The Lines” from the album ‘Duke’ exists in two distinct yet compelling versions: the Genesis band rendition and Phil Collins’s R&B-influenced solo version on ‘Face Value.’ While Collins’s solo take is noteworthy, the Genesis version is often favored for its raw energy and intricate instrumentation. Mike Rutherford’s funky bassline and distinctive guitar work are central to the track’s appeal, showcasing his crucial role in shaping Genesis’s sound. The song exemplifies the band’s ability to blend complex rhythms with catchy melodies, a hallmark of their evolving style during the early 80s. “Behind The Lines” stands as a testament to the collaborative musical synergy within Genesis, where individual talents merged to create something greater than the sum of its parts.
35. “Los Endos (live)” from “Live Over Europe, 2007” (2007)
“Los Endos,” captured live on ‘Live Over Europe, 2007,’ serves as a powerful nod to Genesis’s progressive rock roots, particularly for their dedicated fanbase. This instrumental piece, often a staple in their live performances, highlights the band’s instrumental virtuosity and improvisational skills. The 2007 live version is especially poignant given Phil Collins’s later inability to play drums, making this recording a showcase of his exceptional drumming alongside Chester Thompson. The track’s inclusion in their reunion tour setlist demonstrates Genesis’s acknowledgment of their prog legacy, even as they continued to evolve musically. “Los Endos” remains a fan favorite, embodying the band’s instrumental prowess and live performance energy.
34. “Squonk (live)” from ‘Seconds Out’ (1977)
Opening ‘Seconds Out,’ Genesis’s first live album with Phil Collins on vocals, “Squonk (live)” is a powerful statement of Collins’s emergence as the band’s frontman. Following Peter Gabriel’s departure, doubts lingered about Collins’s ability to fill the vocal void. However, both ‘A Trick Of The Tail’ and ‘Wind And Wuthering’ studio albums, and especially ‘Seconds Out,’ unequivocally silenced those doubts. “Squonk” in particular showcases Collins’s vocal range and stage presence, solidifying his position as a worthy successor to Gabriel and a dynamic frontman in his own right. This live track is a testament to Collins’s transformative role in Genesis’s history, marking a new era for the band.
33. “Your Own Special Way” from ‘Wind And Wuthering’ (1976)
“Your Own Special Way” from ‘Wind And Wuthering’ holds a unique place in Genesis’s discography as their first US hit single, reaching #62. Written by Mike Rutherford, this song hinted at the band’s future pop sensibilities, a direction that would become increasingly prominent. While guitarist Steve Hackett, who would soon depart, was less inclined towards pop stardom, Collins, Banks, and Rutherford embraced this evolution. “Your Own Special Way” marked an early step in Genesis’s journey towards mainstream success, demonstrating their ability to craft accessible melodies without completely abandoning their progressive roots. This track foreshadowed the band’s significant impact on the pop charts in the years to come.
32. “Ripples” from ‘A Trick Of The Tail’ (1976)
“Ripples” from ‘A Trick Of The Tail,’ the first Genesis album with Phil Collins as lead vocalist, is a beautifully crafted song that signaled a shift towards more concise songwriting. Composed by Tony Banks and Mike Rutherford, it features a folky melody and a catchy chorus, showcasing the band’s evolving approach to song structure. While some progressive rock purists may have initially resisted this simplification, “Ripples” exemplifies Genesis’s growing understanding of songcraft and their ability to create impactful music without excessive instrumental complexity. This track paved the way for some of their biggest and most beloved hits, demonstrating the power of simplicity in songwriting.
31. “Anyway” from ‘The Lamb Lies Down On Broadway’ (1974)
“Anyway” from the ambitious concept album ‘The Lamb Lies Down On Broadway’ is a standout track that transcends the album’s narrative. Showcasing Tony Banks’s masterful piano playing and Steve Hackett’s electrifying guitar solo, the song is a dynamic instrumental showcase within a lyrically dense album. While many songs from ‘The Lamb Lies Down On Broadway’ are best appreciated within the album’s context, “Anyway” stands on its own as a powerful musical piece. It highlights the individual talents within Genesis, particularly Banks and Hackett’s instrumental contributions, making it a memorable track even for those less familiar with the album’s complex storyline.
30. “Keep It Dark” from ‘Abacab’ (1981)
“Keep It Dark” from ‘Abacab’ is a unique blend of progressive lyrics and a pop-infused musical jam. Tony Banks described the song’s concept as a character who fabricates a robbery to conceal a journey to a utopian future, a world too incredible to share. This imaginative narrative is paired with a musically upbeat and rhythmic track, driven by Rutherford’s funky guitar and bass lines. “Keep It Dark” exemplifies Genesis’s ability to experiment with lyrical themes and musical styles, creating songs that are both intellectually stimulating and engaging on a purely sonic level. It’s a testament to their willingness to push boundaries and explore unconventional musical territories.
29. “Where The Sour Turns To Sweet” from ‘From Genesis To Revelation’ (1969)
“Where The Sour Turns To Sweet” is a deep dive into Genesis’s early discography, a single from their debut album ‘From Genesis To Revelation,’ predating Phil Collins’s involvement. Featuring Peter Gabriel’s vocals, Tony Banks’s keyboards, and Mike Rutherford’s bass, alongside Anthony Phillips on guitar and John Silver on drums, the song offers a glimpse into the band’s nascent sound. At a time when progressive rock was in its formative stages, this track showcases influences ranging from The Association to The Hollies, revealing Genesis’s early pop sensibilities. Even in their early, more experimental phase, an ear for pop melodies was evident, a thread that would run through their entire career.
28. “Never A Time” from ‘We Can’t Dance’ (1991)
“Never A Time,” the fifth single from ‘We Can’t Dance,’ arrived at a cultural crossroads, released shortly after Nirvana’s ‘Nevermind’ reshaped the music landscape. By 1992, Genesis, along with many of their contemporaries, appeared somewhat out of sync with the prevailing grunge movement. “Never A Time,” a ballad, perhaps suffered from this shift in popular taste. However, the song itself is a beautifully crafted piece, particularly highlighting Mike Rutherford’s exceptional guitar work. While categorized as “adult contemporary,” “Never A Time” remains a testament to Genesis’s songwriting quality, even as musical trends evolved around them.
27. “Back In N.Y.C.” from ‘The Lamb Lies Down On Broadway’ (1974)
“Back In N.Y.C.” from ‘The Lamb Lies Down On Broadway’ is a rare Genesis song, particularly from the Peter Gabriel era, to have been covered by other artists. Jeff Buckley, a renowned singer-songwriter and Genesis admirer, recorded a version of this track, albeit released posthumously. The song features some of Peter Gabriel’s most raw and intense vocals, reflecting the anger and frustration of the album’s protagonist, Rael. Lyrically and vocally, “Back In N.Y.C.” is a departure from Genesis’s more ethereal soundscapes, showcasing a gritty and urban edge, and highlighting Gabriel’s dynamic vocal range and emotive delivery.
26. “Misunderstanding” from ‘Duke’ (1980)
“Misunderstanding” from ‘Duke’ was originally intended for Phil Collins’s solo debut but ultimately became a significant hit for Genesis, reaching #16 on the pop charts. For many mainstream pop listeners, this song served as their introduction to Genesis, marking a turning point in the band’s wider recognition. A decade into their career, Top 40 radio finally embraced Genesis, propelled by the song’s catchy melody and relatable lyrics. “Misunderstanding” represents Genesis’s growing crossover appeal, demonstrating their ability to create commercially successful songs while retaining their musical identity.
25. “Man On The Corner” from ‘Abacab’ (1981)
“Man On The Corner” from ‘Abacab’ is another pop hit penned solely by Phil Collins. Notably, it begins with a drum machine, a sonic element Collins frequently employed in his solo work, even amidst his drumming expertise. Lyrically, the song addresses the issue of homelessness in England, a theme Collins would revisit in his later solo hit, “Another Day In Paradise.” “Man On The Corner” showcases Genesis’s willingness to tackle socially conscious themes within a pop framework, blending catchy melodies with meaningful lyrical content, reflecting Collins’s growing influence on the band’s songwriting direction.
24. “Follow You Follow Me” from ‘And Then There Were Three’ (1978)
“Follow You Follow Me” from ‘And Then There Were Three’ marked Genesis’s first single as a trio and a significant stylistic shift. With lyrics by Mike Rutherford and music co-composed by Rutherford, Collins, and Banks, the song is notably more accessible and simpler than their earlier work. It became their first US Top 40 single, reaching #23, signaling a clear trajectory towards a more mainstream sound. “Follow You Follow Me” represents a pivotal moment in Genesis’s career, demonstrating their ability to craft commercially successful pop songs and foreshadowing their future chart dominance.
23. “After The Ordeal” from ‘Selling England By The Pound’ (1973)
“After The Ordeal” from ‘Selling England By The Pound’ is an evocative instrumental piece composed by Steve Hackett and Mike Rutherford, highlighting Hackett’s often-underestimated guitar skills. The song begins as a musical dialogue between Hackett, Rutherford, and Tony Banks, creating a rich tapestry of sound before Phil Collins’s drums enter, adding a rock edge. “After The Ordeal” showcases the instrumental interplay and compositional depth within Genesis, particularly Hackett’s melodic guitar work and the band’s ability to create atmospheric and engaging instrumental pieces within their progressive rock framework.
22. “In Too Deep” from ‘Invisible Touch’ (1986)
“In Too Deep” from ‘Invisible Touch’ is a song that could easily fit within Phil Collins’s solo discography. Written lyrically by Collins and musically co-written with Banks and Rutherford, this soulful ballad about heartbreak became one of Genesis’s biggest hits, reaching #3 on the pop charts. Its widespread popularity is further cemented by its iconic scene in ‘American Psycho,’ as analyzed by Patrick Bateman. While sometimes labeled as “easy listening,” the song’s lyrical depth and emotional resonance are undeniable, making “In Too Deep” a standout ballad in Genesis’s repertoire, showcasing Collins’s strength as a songwriter of poignant love songs.
21. “Get ‘Em Out By Friday” from ‘Foxtrot’ (1972)
“Get ‘Em Out By Friday” from ‘Foxtrot’ is an ambitious eight-and-a-half-minute socially conscious prog-rock piece. It tells a science fiction-tinged tale of eviction and social displacement, reflecting Peter Gabriel’s penchant for theatrical storytelling. Gabriel employs different vocal styles to embody various characters within the narrative, a signature technique of his early Genesis years. “Get ‘Em Out By Friday” is a prime example of Genesis’s early progressive work, blending complex musical arrangements with socially relevant lyrical themes and Gabriel’s dramatic performance style, creating a compelling and thought-provoking song.
20. “That’s All” from ‘Genesis’ (1983)
“That’s All” from ‘Genesis’ (1983) exemplifies the band’s embrace of simplicity and directness in their songwriting. Phil Collins cited Ringo Starr’s drumming as an influence on his part, emphasizing a less is more approach. Mike Rutherford’s guitar solo, while simple, is perfectly melodic and effective. The song became Genesis’s first US Top 10 single, reaching #6, propelled by its catchy melody and constant airplay on MTV. “That’s All” represents Genesis’s successful foray into a more streamlined pop-rock sound, demonstrating their ability to create hit singles without sacrificing their musical integrity.
19. “The Musical Box” from ‘Nursery Cryme’ (1971)
“The Musical Box” from ‘Nursery Cryme’ was the first song from Genesis’s first album with guitarist Steve Hackett and drummer Phil Collins, and it made a strikingly bizarre introduction. This ten-and-a-half-minute epic features lyrics based on a Victorian fairy tale involving children, murder, ghosts, and unsettling themes. The narrative, unfolding with macabre details, is arguably one of Genesis’s most peculiar and theatrical. “The Musical Box” showcases the band’s early progressive tendencies, blending intricate instrumentation with Peter Gabriel’s theatrical storytelling and lyrical eccentricity, creating a song that is both captivating and deeply strange.
18. “Invisible Touch” from ‘Invisible Touch’ (1986)
“Invisible Touch,” the title track from ‘Invisible Touch,’ became Genesis’s first and only US chart-topper. Ironically, it reached #1 just as Peter Gabriel’s “Sledgehammer” was gaining momentum, eventually replacing it at the top spot. Despite its pop-oriented sound, which might have alienated some prog-rock purists, “Invisible Touch” is undeniably catchy and well-crafted. Phil Collins himself has cited it as his favorite Genesis song. The song’s success underscores Genesis’s ability to seamlessly blend progressive musicianship with mainstream pop sensibilities, achieving massive commercial success without compromising their artistic core.
17. “The Knife” from ‘Trespass’ (1970)
“The Knife” from ‘Trespass’ is the closing track of their second album and their last with original guitarist Anthony Phillips. More aggressive and politically charged than much of Genesis’s early work, it features a mellow flute interlude by Peter Gabriel, providing dynamic contrast. Inspired by writings on Mahatma Gandhi, the lyrics explore themes of violent revolution and power, reflecting Gabriel’s growing social consciousness. “The Knife” is an early example of Genesis tackling politically relevant themes, blending their progressive sound with socially aware lyrics and Gabriel’s theatrical vocal delivery, creating a powerful and thought-provoking track.
16. “Home By The Sea/Second Home By The Sea” from ‘Genesis’ (1983)
“Home By The Sea/Second Home By The Sea” from ‘Genesis’ (1983), a combined eleven-minute-plus track, serves as a reminder of Genesis’s progressive roots amidst their more pop-focused hits on the same album like “That’s All” and “Illegal Alien.” This two-part suite showcases the band’s instrumental prowess and compositional complexity, harking back to their longer, more intricate pieces. “Home By The Sea/Second Home By The Sea” demonstrates Genesis’s commitment to balancing their pop ambitions with their progressive heritage, proving they could still deliver epic, musically rich pieces even as they conquered the pop charts.
15. “Cinema Show” from ‘Selling England By The Pound’ (1973)
“Cinema Show” from ‘Selling England By The Pound’ is progressive rock at its zenith, another eleven-minute epic. It features Steve Hackett’s sublime guitar work, Tony Banks’s intricate keyboards, Peter Gabriel and Phil Collins’s harmonized vocals, and Gabriel’s flute and oboe playing. Collins’s drumming is subtly brilliant beneath the instrumental solos. Unusually, Gabriel had no lyrical input on this track, with Banks and Rutherford credited for the lyrics and co-composing the music with Collins and Hackett. “Cinema Show” is a showcase of Genesis’s instrumental virtuosity and collaborative songwriting, a quintessential piece of their progressive era.
14. “Tonight, Tonight, Tonight” from ‘Invisible Touch’ (1986)
“Tonight, Tonight, Tonight” from ‘Invisible Touch’ mirrors the album structure of ‘Genesis’ (1983) in some ways. Both albums feature socially conscious songs, progressive throwbacks, and reggae-tinged tracks. While ‘Genesis’ had “Mama” as its darker, more intense piece, ‘Invisible Touch’ offered “Tonight, Tonight, Tonight.” Though “Mama” charted lower at #73 compared to “Tonight, Tonight, Tonight” at #3, the latter resonated more strongly with pop audiences. The full eight-minute, fifty-one-second version of “Tonight, Tonight, Tonight” is preferred by many fans, highlighting the band’s ability to craft both pop hits and longer, more complex compositions within the same album.
13. “In The Cage” from ‘The Lamb Lies Down On Broadway’ (1974)
“In The Cage” from ‘The Lamb Lies Down On Broadway’ is one of the Gabriel-era songs that Collins-era Genesis frequently performed live, testament to its enduring power. The band operates at peak intensity on this track, with Collins’s drumming particularly noteworthy. Like “Anyway,” “In The Cage” is one of the tracks from ‘The Lamb Lies Down On Broadway’ that stands strong even outside the album’s narrative context. It exemplifies the instrumental and performance energy of Genesis during the Gabriel era, making it a compelling live choice for the band even after Collins took over vocal duties.
12. “Fading Lights” from ‘We Can’t Dance’ (1991)
“Fading Lights” from ‘We Can’t Dance’ serves as the closing track of what is effectively Genesis’s last studio album with Phil Collins. Tony Banks wrote the lyrics, seemingly aware of the band’s approaching end. Genesis’s breakup was amicable, marked by mutual respect rather than conflict. “Fading Lights” acts as a poignant farewell, encapsulating many elements that defined Genesis’s greatness, from its ballad-like beginning with drum machines to its powerful instrumental jam. It was a fitting and emotional send-off, showcasing the band’s enduring musical chemistry even as they reached their final chapter.
11. “The Lamb Lies Down On Broadway” from ‘The Lamb Lies Down On Broadway’ (1974)
“The Lamb Lies Down On Broadway,” the title track and opening song of the album, sets the stage for Genesis’s final album with Peter Gabriel. Co-written by Gabriel and Tony Banks, it features Mike Rutherford’s exceptional bass playing, highlighting his often-underappreciated skills on both bass and guitar. The song is a dynamic introduction to the album’s complex narrative and musical landscape, showcasing Genesis’s progressive artistry and Rutherford’s instrumental contributions, setting the tone for the epic journey that follows.
10. “Throwing It All Away” from ‘Invisible Touch’ (1986)
“Throwing It All Away” from ‘Invisible Touch’ is a reggae-tinged track driven by a catchy Mike Rutherford guitar riff. Despite Rutherford also writing the lyrics, the breakup theme is often associated with Phil Collins’s songwriting style. The song’s relatable lyrics about a failing relationship resonate even with fans who might lean towards Genesis’s prog side. “Throwing It All Away” demonstrates Genesis’s ability to craft emotionally resonant songs within a pop-reggae framework, proving their versatility and Rutherford’s songwriting contributions beyond instrumental work.
9. “Watcher Of The Skies (live)” from ‘Genesis Live’ (1973)
“Watcher Of The Skies,” particularly the live version from ‘Genesis Live,’ opens the band’s first live album in grand progressive style. Tony Banks’s extended mellotron intro is a clear nod to prog contemporaries like Keith Emerson and Rick Wakeman. The title itself references John Keats’s poem, while the lyrics draw inspiration from Arthur C. Clarke’s ‘Childhood’s End.’ “Watcher Of The Skies” is arguably Genesis’s most overtly progressive moment. Phish even covered this song at Genesis’s Rock and Roll Hall of Fame induction, underscoring its significance within the band’s prog legacy and its influence on other musicians.
8. “Mama” from ‘Genesis’ (1983)
“Mama” from ‘Genesis’ (1983) stands as one of Genesis’s most intense and sonically experimental tracks, proving Phil Collins’s capacity for musical eccentricity akin to Peter Gabriel. The song’s distinctive “HA HA ha!” vocal element was inspired by Grandmaster Flash and the Furious Five’s “The Message,” demonstrating an unexpected hip-hop influence. Lyrically, it explores a teenager’s unsettling fixation on a prostitute. “Mama” defied adult contemporary radio conventions, appealing more to Genesis’s rock fanbase with its dark and unconventional themes and sound.
7. “I Know What I Like (In Your Wardrobe)” from ‘Selling England By The Pound” (1973)
“I Know What I Like (In Your Wardrobe)” from ‘Selling England By The Pound’ marked Genesis’s first UK hit single, reaching #21. It took five albums for the band to achieve UK chart success, with US recognition still to come. The song’s quirky lyrics about a content lawnmower man are unexpectedly catchy and relatable. “I Know What I Like (In Your Wardrobe)” showcases Genesis’s ability to craft commercially appealing songs even with unconventional lyrical themes, proving their growing mainstream potential.
6. “Land Of Confusion” from ‘Invisible Touch’ (1986)
“Land Of Confusion” from ‘Invisible Touch’ addresses global issues, perhaps simplistically, yet its core message of using our given “hands” to improve the world remains potent. The song’s Grammy-winning music video, though it lost an MTV award to Peter Gabriel’s “Sledgehammer,” is iconic for its satirical puppets lampooning world leaders and celebrities of the 1980s. Had it been released today, its bold political and cultural satire would undoubtedly dominate news cycles and social media, demonstrating its enduring relevance and provocative nature.
5. “Abacab (live)” from ‘Three Sides Live’ (1982)
“Abacab,” particularly the live version from ‘Three Sides Live,’ surpasses the excellent studio version with added intensity and nearly two extra minutes. While Genesis weren’t primarily a jam band, this live rendition of “Abacab” showcases their improvisational energy and performance dynamism. Watching Phil Collins and touring drummer Chester Thompson’s drumming interplay at the song’s climax was a live highlight, making this version definitive for many fans.
4. “The Carpet Crawlers” from ‘The Lamb Lies Down On Broadway’ (1974)
“The Carpet Crawlers” from ‘The Lamb Lies Down On Broadway’ possesses a bittersweet melancholy and undeniable catchiness. While the lyrics are best understood within the album’s narrative, the song’s emotional resonance is universal. Its significance to Genesis is underscored by the 1999 reunion version featuring both Peter Gabriel and Phil Collins on vocals, and its role as the closing song on their final reunion tour. “The Carpet Crawlers” is a testament to the song’s enduring beauty and its central place in Genesis’s legacy, bridging both the Gabriel and Collins eras.
3. “No Reply At All” from ‘Abacab’ (1981)
“No Reply At All” from ‘Abacab’ defies easy genre categorization, blending rock, funk, R&B, and pop elements into an irresistibly catchy song. One of the few Genesis tracks to feature outside musicians, it includes Earth, Wind & Fire’s horn section, adding to its unique sonic texture. The song’s humorous music video, featuring the band miming horn parts, reflects Genesis’s often-understated sense of humor. “No Reply At All” is a prime example of Genesis’s genre-bending creativity and their ability to craft highly infectious and innovative songs.
2. “Dancing With The Moonlit Knight” from ‘Selling England By The Pound’ (1973)
“Dancing With The Moonlit Knight” from ‘Selling England By The Pound’ is said to be Peter Gabriel’s response to critics accusing Genesis of catering to American audiences. Its lyrics are deeply rooted in UK-specific imagery and themes, kicking off what many consider the best album of the Gabriel era, and potentially Genesis’s best album overall. Interestingly, this song indirectly inspired their later R&B-flavored hit “Paperlate,” demonstrating the song’s lasting creative ripple effect. “Dancing With The Moonlit Knight” is a cornerstone of Genesis’s progressive era, showcasing their lyrical depth, musical complexity, and Gabriel’s theatrical artistry.
1. ”Turn It On Again (live)” from ‘Three Sides Live’ (1982)
”Turn It On Again,” particularly the live version from ‘Three Sides Live,’ claims the top spot as Genesis’s greatest song. While the studio version is excellent, the live rendition, with its extended intro and heightened energy, elevates it to another level. Mike Rutherford and Daryl Stuermer’s pulsing guitars, Tony Banks’s iconic keyboard riff, and Phil Collins’s charismatic frontman presence combine to create a truly electrifying performance. Despite their virtuosity, Genesis always understood the power of simplicity, and “Turn It On Again” perfectly balances instrumental brilliance with raw energy and Collins’s dynamic stage presence. It encapsulates everything that made Genesis a musical behemoth and a lasting force in rock history.
In conclusion, the journey through these genesis band songs reveals not just a ranking of musical achievements, but a narrative of evolution, innovation, and enduring appeal. From their progressive rock origins to their pop rock dominance, Genesis consistently delivered music that was both technically masterful and emotionally resonant. Their legacy, cemented by these incredible songs, continues to inspire and captivate listeners worldwide, proving their timeless place in the pantheon of great bands.
