Genesis

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.

The Way We Walk, Volume One: The Shorts is the fourth live album by British band Genesis. Eight songs were recorded live on the 1992 We Can't Dance tour, with the remaining three recorded on the 1986–87 Invisible Touch tour. While the album centres on Genesis' shorter and commercial songs, a companion piece, The Way We Walk, Volume Two: The Longs focuses on their lengthier material. The shared title of the two releases refers to the phrase "the way I walk," which appears in the lyrics to two different songs, "I Can't Dance" on Volume One, and "I Know What I Like" on Volume Two.

In early 1973, Genesis allowed the taping of a couple of live shows for broadcast in America as part of the King Biscuit Flower Hour syndicated radio show – most of their current set, drawn from their albums up through 1972's Foxtrot, was represented. A few months later, Tony Stratton-Smith, the head of Charisma, to which the group was signed, approached them about allowing him to fill the extended gap between Foxtrot and their next album, Selling England by the Pound, by releasing a live album from this same taped performance. The bandmembers, who now say they were somewhat distracted at the time by their work on the new album, agreed to it.

Tracks taken from his albums 'Bay Of Kings' and 'Genesis Revisited' with members of King Crimson, Yes, Asia and The Zombies assisting. There is nothing older than two pieces from '83 acoustic guitar album Bay of Kings (except 'Horizons' from it appeared originally in Foxtrot, and 'Steppes' from Tokyo Tapes live album in Defector '80). Each song is served with liner notes and thus clearing the 'Genesis' concept also in tracks that at first seem to have nothing to do with it. Two instrumental tracks from '99 Darktown? As well or better could have been some (new versions perhaps) from earliest solo albums that are closer in style to Genesis. But this kind of limited compiling principle suits well. The sense of compilation is almost absent if you haven't heard all the source albums. It's principally just an extended version of "Watcher of the Skies - Genesis Revisited" (96) and it works as that.

Genesis is a unique case in the world of popular music, as it began its career as a cult band and despite losing its lead singer, the charismatic Peter Gabriel, they moved on with then-drummer Phil Collins as front man, which brought them massive and unexpected success in the 80s. In this chapter of our The Many Faces series, we explore Genesis' inner world, including some of its members' rare side-projects, their collaborations, versions of some of their most iconic songs and the early-stages of the band, when they were still a bunch of teens who hardly imagined they would become one of the greatest bands of all times. The Many Faces Of Genesis is an essential album, that showcases the hidden stories behind a unique band.

The Way We Walk, Volume Two: The Longs is the fifth live album by British band Genesis and was released in 1993, having been recorded during their 1992 tour for We Can't Dance. The album's title refers to a lyric in two songs, "I Can't Dance" on the previous volume and "I Know What I Like" on this one. While its companion piece, the preceding The Way We Walk, Volume One: The Shorts contained the band's recent pop hits, The Way We Walk, Volume Two: The Longs focused on the longer songs performed during this period. For the 1992 tour, Genesis performed a "new" medley of their old songs—"Dance on a Volcano/The Lamb Lies Down on Broadway/The Musical Box/Firth of Fifth/I Know What I Like (In Your Wardrobe)"—which replaced the "In the Cage" medley.

Despite what some Yngwie Malmsteen fanatics would like to believe, the Swedish guitarist did not just pick up the six-string and pen such classically tinged heavy metal epics as "I'll See the Light Tonight" – he gradually worked his way up the ladder of speed-demon guitar wizardry. And while most admirers pick up Malmsteen's career from either his Steeler or Alcatrazz recordings, even earlier compositions exist, which have been compiled together for 2002's The Genesis. Although Ritchie Blackmore is often credited as being Malmsteen's prime six-string influence, Jimi Hendrix was also always at the top of the list, which is proven by an over 12-minute jam of "Voodoo Child (Slight Return)." Elsewhere, such instrumentals as "Plague in Lucifer's Mind" and "Black Magic Suite Op. 3" show that Malmsteen was doing the "classical metal thang" even earlier than many assume.