In the 1970s, Genesis underwent a major shift. The band’s lineup kept shifting starting with the publication of Trespass, their last album with co-founder Anthony Phillips, in 1970. Phil Collins and Steve Hackett both had an influence when they joined the mix on Nursery Cryme (1971) and Foxtrot (1972), despite Hackett’s much shorter time with the band.
After their ambitious concept album The Lamb Lies Down on Broadway (1974) became Peter Gabriel’s farewell song, Genesis had shrunk to Mike Rutherford, Tony Banks, and Collins by the time of their 1978 album And Then There Were Three.
With every lineup change, they were allowed to experiment with their sound. We should go back and listen to some of Genesis’ best songs from the 1970s.
“Ripples” – Trick of the Tail (1976)
This was the turning point—when Phil Collins truly stepped into the spotlight, and Genesis began evolving into something new. A Trick of the Tail pushed them into the U.S. Top 40 for the first time and matched their best U.K. chart performance at No. 3. The band started moving away from pure prog, but not all at once. “Ripples” captures that transition perfectly, blending their classic 12-string guitar sound with Tony Banks’ piano-driven middle section. Collins’ vocals, both melancholic and soaring, make it a stunning bridge between Genesis’ past and their future.
“The Knife” – Trespass (1970)
In contrast to numerous other Peter Gabriel-era recordings, Trespass has never experienced a significant critical renaissance. It is frequently remembered more for the path it suggested than for the actual accomplishments. However, after touring nonstop, “The Knife” demonstrates how much Genesis had matured. As they performed night after night, they improved their sound and transcended their early pop-focused aesthetic. They performed with greater assurance, tightness, and volume. This powerful and audacious song signifies the point at which Genesis really began to establish its own character.
“Dancing with the Moonlit Knight” – Selling England by the Pound (1973)
“Dancing with the Moonlit Knight” was a standout track, transforming from an eerie cappella introduction into a potent, Mellotron-fueled epic. Selling England by the Pound, which took its name from a line in this song, became Genesis’ biggest hit at the time, peaking at No. 3 in the UK and reaching gold status in the US. Steve Hackett demonstrated his distinctive sweep-picking method in addition to his characteristic tapping. Hackett recalls, “What I was doing was akin to a violinist’s bow technique,” Hackett recalled. “It was just another way of playing very, very fast.”
“The Lamb Lies Down on Broadway” – The Lamb Lies Down on Broadway (1974)
Before departing, Peter Gabriel provided Genesis with one of their most interesting albums, setting the stage for a revolutionary solo career. “The Lamb Lies Down on Broadway,” the title track, is a crazy mashup of mystery, plot twists, and fantastical images. To locate his missing brother, Rael, a half-Puerto Rican street tough, must navigate the turbulent city of New York. The song has a captivating groove despite its intricate narrative. The Lamb Lies Down on Broadway was the most musically approachable record of the Gabriel era because of its harmony between ambition and accessibility.
“Deep in the Motherlode” – And Then There Were Three (1978)
Though written by Mike Rutherford, Deep in the Motherlode kicks off with a bold, keyboard-driven theme that puts Tony Banks in the spotlight. But it’s Phil Collins who truly shines in the song’s quiet middle section, painting a vivid picture of a fortune-seeker chasing riches during the American gold rush. The track steadily builds to its commanding refrain: “Go West, young man.” The phrase, often linked to 19th-century newspaperman Horace Greeley, symbolized expansion and ambition—much like Genesis’ own journey toward gold records and greater success.
“Carpet Crawlers” – The Lamb Lies Down on Broadway (1974)
More appreciated than completely comprehended, Broadway’s The Lamb Lies Down became Genesis’ most popular show in the United Kingdom. achievement at the time, but it also served as Peter Gabriel’s departure. “Carpet Crawlers” stood out for its emotional depth despite the album’s abundance of cryptic wordplay and strange storytelling. Long after the song has ended, the mesmerizing refrain “We’ve got to get in to get out” continues to play. This single is a highlight of Gabriel’s Genesis journey because of his rich, layered vocals, which alluded to the deeper, more sophisticated tone he would pursue in his solo career.
“Eleventh Earl of Mar” – Wind & Wuthering (1976)
With his compelling account of a Scottish rebellion, “Eleventh Earl of Mar,” Steve Hackett makes a daring statement. Tensions, however, were growing behind the scenes. Hackett and Tony Banks’ artistic disagreements reached their zenith by the time Genesis’ second album following Gabriel was published. With Voyage of the Acolyte, his solo debut in 1975, Hackett had previously attempted to break free, but the creative blockage persisted. When Hackett eventually left, an era for Genesis came to a close, with Banks controlling the songwriting credits for Wind & Wuthering.
“The Musical Box” – Nursery Cryme (1971)
With Phil Collins and Steve Hackett on board, Genesis finally had their classic five-piece lineup—and Nursery Cryme quickly became their first U.K. Top 40 hit. “The Musical Box” started as an instrumental from former member Anthony Phillips but transformed into something much bigger. Gabriel added eerie, fairytale-inspired lyrics, while Hackett delivered a jaw-dropping guitar performance. He introduced a fresh fretboard technique—what we now call “tapping”—years before Eddie Van Halen made it famous. The result? A song that blended soft melodies with explosive power, showcasing the band’s evolving sound.
“Watcher of the Skies” – Foxtrot (1972)
“Watcher of the Skies” marked a turning point for Genesis, paving the way for their first truly great album. It struck the perfect balance between their early whimsical style, a growing talent for storytelling, and a newfound rock intensity. This song set the stage for their ambitious ‘70s prog-rock era. Hackett’s signature guitar work shines, but Banks’ Mellotron steals the show—so much so that Mellotron makers Streetly Electronics later created a preset called the “Watcher Mix” to replicate his iconic sound. It was a bold, cinematic opener that defined the band’s evolving identity.
“Firth of Fifth” – Selling England by the Pound (1973)
The song “Firth of Fifth” showcases Steve Hackett’s genius and includes one of his most memorable solos. This rhythmically complex song by Tony Banks combines a wide range of genres, including church music, blues, folk, and even hints of Asian and King Crimson sounds. Hackett creates a sweeping, violin-like journey by first mirroring Gabriel’s flute tune and then building upon it. His performance here seems more like a jazz player exploring a theme, adding passion with each iteration, in contrast to conventional rock solos. It solidifies his place in Genesis history and is among his longest and most beautiful solos.