d Genesis

What happens when you take a master of progressive rock and an accomplished Nashville producer engineer, and put them together with a host of top-flight Nashville session players to reinterpret one of the most revered 70s prog double-albums? In the case of Spock s Beard drummer Nick D'Virgilio and producer engineer Mark Hornsby, you get Rewiring Genesis A Tribute To The Lamb Lies Down on Broadway, and it's fantastic. While the original featured layers of classic synthesizers (ARP, Mellotron, etc.), there's none of that fake string or choir stuff going on here. Besides rock guitar, bass, and Nick's great drumming (and tasteful lead vocal work), The Lamb is filled with real strings, huge vocal arrangements, horn sections, and even some accordion! Clearly, it's not attempting to simply re-record the classic, it's a fresh and beautiful sounding reinterpretation.

Arcangelo Corelliis one of the great composers of the Baroque era, a trailblazer who forever changed the relationship between soloist and orchestra, and did much to establish the violin as the star of the orchestra. He is considered the ‘father’ of the concerto grosso – apiece for several soloists accompanied by an orchestra – and his seminal Opus 6 volume became the benchmark for his contemporaries, including Handel, Vivaldi and Geminiani.

Prog rock audiences have always been receptive to box sets, especially sets that include an abundance of rare material – witness the success of the numerous King Crimson sets. When it came time to assemble their own box sets, Genesis chose to follow the path of rarities instead of merely rehashing their old hits. That means, of course, that Genesis Archives, Vol. 1: 1967-1975 is the province of hardcore fans and collectors, not casual listeners, since there is nothing but unreleased material on the four-disc set…

The first Genesis Archive made sense. It covered the Peter Gabriel years, an era that was not only supremely creative for the band, but filled with rarities, forgotten tracks, outtakes, B-sides, BBC sessions, and live performances begging for a collection. It was a box set for fans and it filled its purpose splendidly. Its sequel, Genesis Archive 2: 1976-1992, attempts to fill the role for the Genesis Mach II, otherwise known as the Phil Collins years, but the problem is, the Collins era was completely different from Gabriel's…

From the 70's right through to the 90's Genesis was one of the most consistently successful Rock acts on the scene. They enjoyed a longevity exceeded only by the likes of the Rolling Stones, in the process providing a launching pad for the superstardom of members Phil Collins and Peter Gabriel. Together with Yes, they were also without doubt the most influential of all progressive rock bands. Over the years Genesis then succeeded a victorious transition from theatrical art rock to the mainstream Pop market and the pinnacle of hit parades. Our Own Special Way, A Tribute To Genesis, contains inspired interpretations of memorable Genisis songs, performed by recognised progressive rock artists such as Brand X Ii, Mother Gong, The Flower Kings, Nick D’virgilio of Genesis, Patrick Moraz of Yes and The Moody Blues, John Ford of The Strawbs, Daevid Allen of Soft Machine And Gong, John Wetton of Asia And King Crimson…

Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it's not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis.