Genesis, a band that defied easy categorization, carved a unique path in music history. Emerging from the progressive rock scene, they not only helped define the genre but also masterfully transitioned into mainstream rock and, surprisingly, pop superstardom. Their journey is marked by complex epics and chart-topping hits, a testament to their enduring creativity and adaptability. Even at their most commercially successful, Genesis never fully abandoned their progressive roots, often weaving intricate, longer tracks into their pop-oriented albums. This list celebrates the breadth and depth of their catalog, ranking the greatest Genesis Songs from their entire career, spanning both the Peter Gabriel and Phil Collins eras. While we acknowledge their 1997 album Calling All Stations with Ray Wilson, this ranking focuses on the core discography that solidified their legendary status. Prepare to explore the best of Genesis, a band that consistently delivered exceptional music across genres and decades.
40. “Jesus He Knows Me” from ‘Live: The Way We Walk, Volume One: The Shorts’ (1992)
This live rendition of “Jesus He Knows Me” captures the band’s willingness to tackle satirical themes. Mike Rutherford once remarked on Genesis’s fortunate timing, suggesting this song, a pointed critique of televangelists, might face significant backlash in today’s media landscape. Originally from the We Can’t Dance album, this live version allowed Phil Collins to amplify the song’s comedic edge with an exaggerated preacher persona. While the humor might be considered edgy by some contemporary standards, it underscores Genesis’s occasional foray into social commentary, even amidst their more fantastical and personal songwriting. It highlights a facet of Genesis often overlooked in discussions of their more serious or romantic tracks, showcasing their capacity for wit and social observation within their music.
39. “Since I Lost You” from ‘We Can’t Dance’ (1991)
“Since I Lost You” stands as a deeply moving ballad, born from tragedy and friendship. Inspired by the devastating loss of Eric Clapton’s young son, Conor, it mirrors the raw emotion of Clapton’s own tribute, “Tears In Heaven.” The close bond between Phil Collins and Eric Clapton during this period lends an additional layer of poignancy to the song. Musically, Mike Rutherford subtly nods to Clapton’s blues guitar style, adding a touch of soulful tribute within the song’s instrumentation. This track showcases Genesis’s ability to handle sensitive subjects with grace and emotional depth, moving beyond their typical lyrical themes to explore profound personal grief and empathy. It’s a testament to their versatility and emotional range as songwriters and performers.
38. “The Brazilian” from ‘Invisible Touch’ (1986)
Even at the zenith of their pop success with Invisible Touch, Genesis made sure to tip their hat to their progressive rock origins with tracks like “The Brazilian.” This high-energy instrumental, concluding the album, is a showcase for Phil Collins’s drumming prowess and creative flair. It’s a vibrant, rhythmically complex piece that diverges from the album’s more commercially oriented singles. Its recent inclusion in the 2020 film ‘Palm Springs’ brought it to a new audience, highlighting its enduring appeal and cinematic quality. “The Brazilian” serves as a reminder that even as Genesis embraced pop, they retained the instrumental virtuosity and adventurous spirit that defined their early work, offering a balance within their albums that appealed to long-time fans and new listeners alike.
37. “Paperlate” from ‘Three Sides Live’ (1982)
“Paperlate” emerged from the studio sessions for Three Sides Live, a bridge for fans awaiting their self-titled Genesis album in 1983. Notably, it’s one of two Genesis songs (along with “No Reply At All”) to feature the horn section from Earth, Wind & Fire, a collaboration that underscores the band’s expanding sonic palette. Phil Collins’s own work with Earth, Wind & Fire further cemented this cross-genre exploration. “Paperlate” marks a pivotal transitional phase for Genesis, signaling their deliberate move towards broader mainstream appeal, venturing beyond both progressive and mainstream rock boundaries. This track is a clear indicator of the pop ubiquity that Genesis, and particularly Phil Collins, were soon to achieve, a reign that would dominate the airwaves for much of the 1980s.
36. “Behind The Lines” from “Duke” (1980)
“Behind The Lines” from Duke exists in two compelling versions, the Genesis original and Phil Collins’s more R&B-infused solo rendition on his debut album, Face Value. While both have their merits, the Genesis version often edges out as the preferred take. This is largely due to Mike Rutherford’s standout performance, particularly his funky bass lines and rhythmic guitar work, which provide the song’s driving force and distinctive character. The Genesis iteration retains a raw energy and band interplay that sets it apart. It’s a prime example of Genesis blending their progressive sensibilities with a more groove-oriented approach, foreshadowing some of the directions they would explore in the coming decade.
35. “Los Endos (live)” from “Live Over Europe, 2007” (2007)
“Los Endos (live)” from Live Over Europe, 2007 is a treat for long-time Genesis aficionados. Recorded during their successful reunion tour, it represents a deep cut from their catalog, specifically chosen to resonate with their dedicated fanbase. It’s poignant to consider Phil Collins’s drumming limitations today, as this performance, featuring both Collins and their longtime touring drummer Chester Thompson, is a masterclass in percussive interplay. Thompson, however, wasn’t part of the final Genesis lineup; Phil’s son Nic Collins took over drumming duties, mirroring his role in Phil’s solo tours. This live version of “Los Endos” is a powerful reminder of Genesis’s instrumental prowess and their ability to deliver complex, dynamic performances on stage, even as they revisited their classic material decades later.
34. “Squonk (live)” from ‘Seconds Out’ (1977)
“Squonk (live)” opens Seconds Out, Genesis’s first live album featuring Phil Collins as vocalist, and immediately silences any doubts about his ability to succeed Peter Gabriel. While A Trick Of The Tail and Wind And Wuthering had already showcased his vocal capabilities, Seconds Out solidified his position as not just a capable singer, but a compelling frontman. This live version of “Squonk” is energetic and commanding, demonstrating Collins’s growing stage presence and vocal confidence. It marks a pivotal moment in Genesis’s history, proving their resilience and ability to evolve after Gabriel’s departure, with Collins stepping seamlessly into a dual role that would define the band’s next era. His performance on Seconds Out set the stage for his long and successful tenure as Genesis’s frontman.
33. “Your Own Special Way” from ‘Wind And Wuthering’ (1976)
“Your Own Special Way” from Wind and Wuthering, penned by Mike Rutherford, holds a significant place in Genesis’s history as their first US chart entry, reaching #62. At the time, this seemed like an anomaly, but it foreshadowed the band’s future consistent presence on the pop charts, both as Genesis and through its individual members’ solo projects. Interestingly, Wind and Wuthering was Steve Hackett’s final studio album with the band, and his lack of interest in pop stardom contrasted with the clear ambitions of Collins, Banks, and Rutherford in that direction. “Your Own Special Way” represents an early step towards Genesis’s more commercially accessible sound, hinting at the pop-rock success that lay ahead, even as it marked the end of an era with Hackett’s departure.
32. “Ripples” from ‘A Trick Of The Tail’ (1976)
“Ripples” is a standout track from A Trick Of The Tail, Genesis’s first album post-Peter Gabriel, and it signaled a shift in their songwriting approach. Written by Tony Banks and Mike Rutherford, this folk-tinged song leaned towards simpler structures and memorable choruses. Despite the band’s exceptional musicianship, they began to recognize the power of restraint and focused songwriting. While some prog rock purists might have initially resisted this direction, these more accessible songs became some of Genesis’s biggest and most beloved. “Ripples” exemplifies this evolution, showcasing a melodic sensitivity and lyrical directness that broadened their appeal without sacrificing their musical identity. It’s a key track in understanding Genesis’s transition towards a more mainstream sound.
31. “Anyway” from ‘The Lamb Lies Down On Broadway’ (1974)
“Anyway” is one of the few tracks from the sprawling concept album The Lamb Lies Down On Broadway that truly stands alone outside of the album’s complex narrative. It serves as a showcase for Tony Banks’s exceptional piano work, which dominates the song’s first half. Midway through, Steve Hackett interjects with a searing guitar solo before Banks reclaims the spotlight. While The Lamb Lies Down On Broadway is known for its intricate storyline, “Anyway” is appreciated for its musicality and instrumental performances. For listeners less invested in the album’s narrative, “Anyway” offers a compelling glimpse into the individual talents within Genesis during their progressive rock peak, particularly Banks’s and Hackett’s contributions.
30. “Keep It Dark” from ‘Abacab’ (1981)
“Keep It Dark” from Abacab is a unique blend of progressive rock lyrical themes and a catchy, almost poppy musical framework. Tony Banks described the song’s concept as centered around a character who fabricates a robbery story to conceal a trip to a utopian future world. This quirky narrative is matched by the song’s playful musicality, driven by Rutherford’s funky guitar and bass lines. “Keep It Dark” exemplifies Genesis’s experimental approach during the Abacab era, where they were willing to incorporate more unconventional song structures and lyrical ideas into their evolving sound. It’s a testament to their ability to fuse complex concepts with accessible musicality, creating songs that were both intellectually stimulating and enjoyable.
29. “Where The Sour Turns To Sweet” from ‘From Genesis To Revelation’ (1969)
“Where The Sour Turns To Sweet” is a genuine deep cut, a single from Genesis’s debut album, From Genesis To Revelation, predating Phil Collins’s tenure. Featuring Peter Gabriel on vocals, Tony Banks on keyboards, and Mike Rutherford on bass, alongside Anthony Phillips on guitar and John Silver on drums, it offers a glimpse into Genesis’s nascent sound. At this early stage, progressive rock was still in its formative years, and “Where The Sour Turns To Sweet” reflects a blend of influences, sounding like a cross between The Association and The Hollies. Despite their later progressive explorations, this track reveals Genesis’s early grounding in pop sensibilities, a thread that would run through their entire career, even as their music became more complex and ambitious.
28. “Never A Time” from ‘We Can’t Dance’ (1991)
“Never A Time” was the fifth single from We Can’t Dance, an album released shortly after Nirvana’s Nevermind, a seismic shift in pop culture. By the time “Never A Time” reached radio in late 1992, Genesis, along with many of their contemporaries, seemed somewhat out of step with the prevailing musical trends. This was particularly true of this ballad, which leaned into adult contemporary territory. However, dismissing it due to changing trends would be a mistake, as “Never A Time” is a beautifully crafted song, highlighted by Mike Rutherford’s exceptional guitar work. It stands as a testament to Genesis’s songwriting quality, even as musical tastes evolved around them, proving their ability to create enduring melodies and emotionally resonant tracks regardless of current fashion.
27. “Back In N.Y.C.” from ‘The Lamb Lies Down On Broadway’ (1974)
“Back In N.Y.C.” is notable for being one of the few Genesis songs, particularly from the Peter Gabriel era, to be covered by other artists. Legendary singer-songwriter Jeff Buckley, a known Genesis fan, recorded a version of this track, though its release was posthumous. The song features some of Peter Gabriel’s most raw and intense vocals, perfectly capturing the rage of the album’s protagonist, Rael. Lines like “You say I must be crazy, ‘cause I don’t care who I hit/But I know it’s me that’s hitting out… and I’m not full of s—!” showcase a visceral energy rarely heard in Genesis’s catalog. “Back In N.Y.C.” is a powerful and aggressive track, standing out within The Lamb Lies Down On Broadway for its sheer intensity and Gabriel’s unrestrained performance.
26. “Misunderstanding” from ‘Duke’ (1980)
“Misunderstanding” has an interesting origin story, initially penned by Phil Collins for his solo debut but ultimately given to Genesis. It became their biggest hit to that point, reaching #16 on the pop charts and introducing Genesis to a wider pop audience. For many listeners, “Misunderstanding” was their first encounter with Genesis, marking a significant breakthrough into Top 40 radio after a decade into their career. This song highlights Genesis’s growing ability to craft commercially successful singles without entirely abandoning their musical identity. It served as a crucial step in their transition from a primarily album-oriented band to a consistent presence on mainstream radio, expanding their reach and solidifying their place in popular music.
25. “Man On The Corner” from ‘Abacab’ (1981)
“Man On The Corner” represents another significant pop hit for Genesis, again written solely by Phil Collins. It begins with a drum machine, a sound Collins frequently employed in his solo work, showcasing his willingness to experiment with new technologies even within the band context. 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” is notable for its socially conscious lyrics set against a commercially accessible pop backdrop, demonstrating Genesis’s capacity to blend social commentary with mainstream appeal. It further solidified their position as hitmakers while touching on relevant social issues.
24. “Follow You Follow Me” from ‘And Then There Were Three’ (1978)
“Follow You Follow Me” holds the distinction of being the first single from Genesis as a trio, following the departure of Steve Hackett. With lyrics by Mike Rutherford and music co-composed by Rutherford, Collins, and Banks, it marked a deliberate shift towards a simpler, more accessible sound. This song became their first US Top 40 single, reaching #23, and definitively signaled the future direction of the band. “Follow You Follow Me” is a pivotal track in Genesis’s evolution, demonstrating their willingness to embrace a more streamlined, commercially viable style. It paved the way for their subsequent pop success and established the sound that would define their 1980s output.
23. “After The Ordeal” from ‘Selling England By The Pound’ (1973)
“After The Ordeal” is a captivating instrumental from Selling England By The Pound, composed by Steve Hackett and Mike Rutherford, showcasing Hackett’s often-understated guitar skills. The song opens as a musical conversation between Hackett, Rutherford, and Tony Banks, highlighting their instrumental interplay and melodic sensibilities. Phil Collins’s drums enter around the two-minute mark, adding a rock edge to the initially more ethereal piece. “After The Ordeal” is a testament to Genesis’s instrumental prowess and their ability to create evocative, purely musical pieces within their albums. It’s a highlight of Selling England By The Pound, demonstrating the band’s depth beyond vocal tracks and their mastery of instrumental composition.
22. “In Too Deep” from ‘Invisible Touch’ (1986)
“In Too Deep” from Invisible Touch could easily have been a Phil Collins solo track, fitting seamlessly into his signature style of soulful breakup ballads. Written by Collins with music co-written by Banks and Rutherford, it became one of Genesis’s biggest hits, reaching #3 on the pop charts. This song epitomizes the commercially polished sound of Invisible Touch and Collins’s strength as a writer of emotionally resonant ballads. Its cultural impact is further cemented by its memorable inclusion in the film American Psycho, as famously analyzed by Patrick Bateman. “In Too Deep” is a prime example of Genesis’s ability to craft “easy listening” hits that still carry emotional weight and lyrical depth, contributing to their widespread pop success in the 1980s.
21. “Get ‘Em Out By Friday” from ‘Foxtrot’ (1972)
“Get ‘Em Out By Friday” is an ambitious eight-and-a-half-minute track from Foxtrot, blending social commentary with progressive rock complexity. It tells a sci-fi tinged tale of low-income tenant evictions, showcasing Peter Gabriel’s theatrical vocal approach. Gabriel employs different vocal styles to portray various characters within the narrative, a technique he frequently used in early Genesis. “Get ‘Em Out By Friday” is a powerful example of Genesis using their music to address social issues, albeit within a fantastical framework. It demonstrates their progressive storytelling capabilities and Gabriel’s unique performance style, making it a standout track from their early, more overtly progressive era.
20. “That’s All” from ‘Genesis’ (1983)
“That’s All” from their self-titled Genesis album is another example of the band embracing musical simplicity. Phil Collins even cited Ringo Starr’s drumming as an influence on his part, emphasizing the song’s straightforward approach. Mike Rutherford’s guitar solo, while simple, is perfectly tailored to the song’s feel. “That’s All” became Genesis’s first Top 10 single in America, reaching #6, and its music video was a constant presence on MTV. The song represents Genesis’s successful move towards more concise and radio-friendly songwriting, proving that their musicality could be just as effective in a more streamlined format. It marked a significant commercial achievement and solidified their place in mainstream pop-rock.
19. “The Musical Box” from ‘Nursery Cryme’ (1971)
“The Musical Box” is a bizarre and captivating track from Nursery Cryme, the first Genesis album featuring guitarist Steve Hackett and drummer Phil Collins. This ten-and-a-half-minute epic is based on a Victorian fairy tale, unfolding a dark and surreal narrative. The lyrics depict a disturbing scene: a girl, Cynthia, accidentally kills a boy, Henry, with a croquet mallet. Later, upon opening Henry’s musical box, his ghost appears, aged and with unsettling intentions towards Cynthia. Even within Genesis’s catalog of unusual songs, particularly from The Lamb Lies Down On Broadway, “The Musical Box” stands out for its sheer weirdness and macabre storytelling. It showcases their early penchant for theatrical and lyrically unconventional progressive rock.
18. “Invisible Touch” from ‘Invisible Touch’ (1986)
“Invisible Touch,” the title track from their most commercially successful album, became Genesis’s first and only US chart-topper. The band’s support for Phil Collins’s solo success, despite its potential to shift band dynamics, is evident in their embrace of this undeniably pop-oriented track. Ironically, “Invisible Touch” reached #1 just as Peter Gabriel’s “Sledgehammer,” his own chart-topping hit, was gaining momentum, briefly placing former bandmates in direct competition at the top of the charts. While some prog rock purists might have balked at its pop sensibilities, Collins himself has cited “Invisible Touch” as his favorite Genesis song. It represents the pinnacle of Genesis’s pop phase, a testament to their ability to craft infectious and commercially dominant hits.
17. “The Knife” from ‘Trespass’ (1970)
“The Knife,” the closing track of Trespass, Genesis’s second album and the last with original guitarist Anthony Phillips, stands out for its aggressive energy. It’s more overtly forceful than much of their early work, though Peter Gabriel’s flute solo provides a contrasting mellow interlude. Lyrically, “The Knife” marks one of Gabriel’s earliest forays into socially conscious songwriting, inspired by a book about Mahatma Gandhi. The lyrics explore themes of violent revolution and the cyclical nature of power, questioning whether revolutionary violence ultimately leads to true liberation or merely replaces one form of oppression with another. “The Knife” is a powerful and thought-provoking track, showcasing Genesis’s early ability to blend musical intensity with socially relevant lyrical themes.
16. “Home By The Sea/Second Home By The Sea” from ‘Genesis’ (1983)
Alongside pop-leaning hits like “That’s All,” “Illegal Alien,” “Taking it All Too Hard,” and “Just A Job To Do,” the Genesis album also featured “Home By The Sea/Second Home By The Sea,” a combined track exceeding eleven minutes. This two-part suite served as a reminder that Genesis still had a strong affinity for classic prog rock structures and extended instrumental passages. While embracing Top 40 success, they consciously maintained a connection to their progressive roots, offering a balance within the album that catered to both newer and long-time fans. “Home By The Sea/Second Home By The Sea” is a key example of Genesis’s ability to navigate both pop charts and progressive rock landscapes simultaneously during their 1980s output.
15. “Cinema Show” from ‘Selling England By The Pound’ (1973)
“Cinema Show” is progressive rock at its finest, another epic track from Selling England By The Pound clocking in at over eleven minutes. It showcases Steve Hackett’s sublime lead guitar, Tony Banks’s intricate keyboard work, Peter Gabriel and Phil Collins’s harmonized vocals, and even Gabriel’s flute and oboe playing. Collins’s drumming is subtle yet masterful, particularly underneath the instrumental solos. Interestingly, “Cinema Show” is one of the few Genesis songs Gabriel had no hand in writing; while the band is credited collectively for songwriting, Banks and Rutherford primarily wrote the lyrics, and co-composed the music with Collins and Hackett. It stands as a testament to the collaborative musical brilliance within Genesis during their progressive peak.
14. “Tonight, Tonight, Tonight” from ‘Invisible Touch’ (1986)
Invisible Touch in some ways mirrored the structure of the Genesis album, featuring a mix of pop hits, socially conscious tracks, progressive throwbacks, and experimental pieces. Where Genesis had “Mama” as its darker, more intense track, Invisible Touch offered “Tonight, Tonight, Tonight.” While “Mama” might be preferred by some fans, “Tonight, Tonight, Tonight” resonated more strongly on the pop charts, reaching #3 compared to “Mama”’s #73. Though often heard in its radio-edited form, the full eight-minute, fifty-one-second version of “Tonight, Tonight, Tonight” is the definitive experience, showcasing its full dynamic range and atmospheric depth. It’s a testament to Genesis’s ability to create both chart-topping singles and musically substantial album tracks within the same project.
13. “In The Cage” from ‘The Lamb Lies Down On Broadway’ (1974)
“In The Cage” is one of the Peter Gabriel-era songs that Genesis continued to perform most frequently in their Phil Collins era, a testament to its enduring musical power. It’s a track where the band truly fires on all cylinders, with Collins’s drumming being particularly noteworthy. Like “Anyway,” “In The Cage” is another The Lamb Lies Down On Broadway track that transcends the album’s narrative, standing strong as a standalone musical piece. Its continued presence in Genesis’s live sets across eras underscores its inherent strength and appeal, showcasing the band’s instrumental and performance intensity at their progressive peak.
12. “Fading Lights” from ‘We Can’t Dance’ (1991)
“Fading Lights” holds a poignant position as the final song on what is effectively the last Genesis album featuring Phil Collins (Calling All Stations followed after his departure). Tony Banks wrote the lyrics, which seem to reflect a sense of the band’s impending end. Genesis’s breakup was notably amicable, marked by a sense of timing rather than internal conflict. Rutherford and Banks were arguably fortunate that Collins remained with the band as long as he did, given his massive solo success. “Fading Lights” serves as a fitting and moving farewell, encapsulating many elements that defined Genesis’s greatness. Starting with a drum machine and a ballad-like feel, it evolves into a powerful instrumental jam, allowing Collins, Rutherford, and Banks to showcase their musical chemistry one last time. Its inclusion in their final tour, even in an abbreviated form, highlights its significance as a concluding statement.
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 their ambitious concept album, sets the stage for the entire narrative. Co-written by Gabriel and Banks, it features some of Mike Rutherford’s most impressive bass playing. Rutherford’s dual instrumental talents, on both guitar and bass, are often underrated, but this track highlights his bass virtuosity. “The Lamb Lies Down On Broadway” is a powerful opening statement, introducing the album’s complex world and showcasing the band’s instrumental prowess and collaborative songwriting. It’s a crucial track in understanding the scope and ambition of the entire Lamb Lies Down On Broadway project.
10. “Throwing It All Away” from ‘Invisible Touch’ (1986)
“Throwing It All Away” is a reggae-tinged track driven by a memorable Mike Rutherford guitar riff. Although Rutherford wrote the lyrics, they resonate strongly with Phil Collins’s signature themes of heartbreak and relationship turmoil. It’s a breakup song that even Genesis’s prog rock fans could likely relate to, exploring the bittersweet complexities of a relationship ending not due to fault, but due to inherent incompatibility. Lines like “We cannot live together/We cannot live apart/And that’s the situation/I’ve known it from the start” capture a universal experience of relationship impasse. “Throwing It All Away” is a well-crafted pop song that manages to convey emotional depth and relatability, contributing to Invisible Touch’s broad appeal.
9. “Watcher Of The Skies (live)” from ‘Genesis Live’ (1973)
“Watcher Of The Skies (live)” opens Genesis’s first live album, Genesis Live, in grand, overtly progressive style. It begins with Tony Banks’s extended mellotron intro, almost as if directly challenging prog contemporaries like Keith Emerson or Rick Wakeman in terms of sheer instrumental scale. The song’s title itself is a reference to John Keats’s 1817 poem “On First Looking into Chapman’s Homer,” while the lyrics were inspired by Arthur C. Clarke’s sci-fi novel Childhood’s End (which also inspired Pink Floyd’s “Childhood’s End”). “Watcher Of The Skies” arguably represents Genesis at their proggiest peak, and notably, it was one of two songs Phish performed at Genesis’s Rock and Roll Hall of Fame induction, underscoring its significance within their catalog and the broader prog rock genre.
8. “Mama” from ‘Genesis’ (1983)
“Mama” is one of Genesis’s most intensely atmospheric and sonically unique songs, serving as a reminder that Phil Collins could be just as musically adventurous and unconventional as Peter Gabriel when inclined. The song’s rhythmic structure was surprisingly influenced by early hip-hop, with Collins’s distinctive “HA HA ha!” vocalization directly inspired by Grandmaster Flash and the Furious Five’s “The Message.” Lyrically, “Mama” delves into a darker, more psychologically complex theme: a young man’s obsessive infatuation with a prostitute he barely knows. Collins described it as exploring a “mother fixation” in an unsettling context. Far from typical adult contemporary radio fare, “Mama” resonated with the rock-oriented segment of Genesis’s fanbase, showcasing their ability to blend experimental sounds with intense lyrical themes.
7. “I Know What I Like (In Your Wardrobe)” from ‘Selling England By The Pound” (1973)
“I Know What I Like (In Your Wardrobe)” marked a significant breakthrough for Genesis in the UK, becoming their first hit single, reaching #21 on the UK charts. Their first US hit was still a few years away, but this song signaled growing commercial recognition. Remarkably, “I Know What I Like (In Your Wardrobe)” is lyrically centered on the mundane life of a content lawnmower, a far cry from typical rock song subject matter. Its unexpected chart success demonstrated Genesis’s ability to craft catchy and engaging songs even with unconventional lyrical content, broadening their appeal and setting the stage for further commercial successes.
6. “Land Of Confusion” from ‘Invisible Touch’ (1986)
“Land Of Confusion” is a socially conscious anthem from Invisible Touch that, while perhaps simplifying complex global issues, delivers a powerful and enduring message. The lyrics, “This is the world we live in/And these are the hands we’re given/Use them and let’s start trying/To make it a place worth living in,” offer a straightforward call to action and responsibility. The song’s music video, featuring Spitting Image puppets, won a Grammy and became iconic for its satirical lampooning of world leaders and celebrities, including Ronald Reagan, Mikhail Gorbachev, Margaret Thatcher, and numerous pop culture figures. Released today, the video’s sharp political and social satire would undoubtedly ignite intense media and online discussion, highlighting its enduring relevance and provocative nature.
5. “Abacab (live)” from ‘Three Sides Live’ (1982)
Genesis’s studio recordings in the 1980s were known for their polished production, and they weren’t typically considered a jam band. Live versions of their songs generally adhered closely to studio arrangements. However, the live rendition of “Abacab” on Three Sides Live is an exception, adding nearly two minutes of instrumental intensity that surpasses the excellent studio version. The extended instrumental outro, featuring Phil Collins and touring drummer Chester Thompson in a percussive duel, was a highlight of their live shows. “Abacab (live)” captures the raw energy and improvisational flair that Genesis occasionally unleashed on stage, offering a more dynamic and extended take on a studio favorite.
4. “The Carpet Crawlers” from ‘The Lamb Lies Down On Broadway’ (1974)
“The Carpet Crawlers,” like many songs from The Lamb Lies Down On Broadway, benefits from understanding the album’s narrative but also possesses a standalone beauty. Its bittersweet and melancholic melody, combined with a catchy chorus (“The carpet crawlers heed their callers, you gotta get in to get out”), makes it instantly memorable. The song clearly holds deep significance for Genesis, as evidenced by the reunion of the Gabriel-era lineup (Gabriel, Hackett, Rutherford, Banks, Collins) in 1999 to record a new version featuring both Peter and Phil on lead vocals. It also served as the closing song on Genesis’s final reunion tour, underscoring its emotional resonance and symbolic importance within their catalog.
3. “No Reply At All” from ‘Abacab’ (1981)
“No Reply At All” defies easy genre categorization, blending elements of rock, funk, R&B, and pop into a seamlessly catchy and infectious track. It’s one of the few Genesis songs to feature outside musicians, utilizing the horn section from Earth, Wind & Fire, adding to its distinctive sonic palette. The song’s music video showcases Genesis’s sense of humor, featuring a performance setting where Phil, Mike, and Tony comically mime playing the horn parts themselves. “No Reply At All” is simply one of Genesis’s most undeniably catchy and fun songs, demonstrating their ability to cross genre boundaries and create music that is both sophisticated and broadly appealing.
2. “Dancing With The Moonlit Knight” from ‘Selling England By The Pound’ (1973)
“Dancing With The Moonlit Knight” reportedly originated as a response to critics accusing Genesis of overly catering to American audiences. Peter Gabriel’s lyrics for Selling England By The Pound deliberately incorporated very UK-specific themes and imagery. Regardless of its specific inspiration, “Dancing With The Moonlit Knight” powerfully opens what many consider the best album of the Gabriel era, and potentially the best Genesis album overall. Interestingly, this complex prog track indirectly inspired the R&B-flavored hit “Paperlate” nearly a decade later. During a soundcheck jam on “Dancing With The Moonlit Knight,” Collins improvised vocalizations around the phrase “Paper late!”, derived from a lyric in “Dancing With The Moonlit Knight,” sparking the idea for an entirely new and sonically contrasting song.
1. ”Turn It On Again (live)” from ‘Three Sides Live’ (1982)
Like “Abacab,” the studio version of “Turn It On Again” is excellent, but the live version on Three Sides Live elevates it to another level. Adding over a minute, including an extended intro, it becomes the definitive rendition. Mike Rutherford and Daryl Stuermer’s pulsing guitars build anticipation before Tony Banks enters with his iconic keyboard riff. One of Genesis’s greatest strengths, particularly in the 1980s, was their ability to balance virtuosity with simplicity. They could showcase instrumental complexity but also understood the power of restraint and melodic focus. This live recording perfectly captures Phil Collins’s charismatic frontman persona and the band’s dynamic stage presence. Ultimately, Collins’s dual role as frontman and songwriter was crucial to Genesis becoming the global phenomenon they were, enabling them to return decades later and still sell out arenas worldwide. “Turn It On Again (live)” encapsulates the energy, musicianship, and sheer performance power that made Genesis one of the greatest bands in rock history.
