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Phil Collins arrived at a time when Genesis badly needed a healthy injection of fresh blood and revitalized energy. His musical adeptness and percussive proficiency on drums made it that much easier for Genesis to create the time changes so integral to their world. Enter also Steve Hackett, a guitarist capable of colouring various passages and textures instead of only being able to play the archetypal guitar solo. With Rutherford on bass and acoustic guitars, Banks on keyboards, mellotrons and synthesizers and Gabriel onstage an occasional flute, Genesis had gone through a necessary transformation, emerging unscarred as one of the few 70’s bands moving towards tomorrow instead of being merely content to recall what was once yesterday. From this transitional 1971 period, Genesis began moving closer to bridging the gap between theatre and music both onstage and record. Yet the bands visual attempts at clearing up lyrical discrepancies, created some dire misconceptions which followed the group like the plague, and begged for clarification. The most common problems revolved around the group’s position in the rock ‘n roll hierarch, for both fans and enemies were confused about just where Genesis fitted in the rock family tree. And it came to pass that people wrongly assumed that Genesis bore a strong resemblence to bands like Yes, ELP musically and people like Alice Cooper and David Bowie visually. Musically all that bound those groups together was the keyboard based instruments used to colour different sounds. Time changes, chord structures, song construction, vocals and lyrics differ between them so much so that no obvious similarities exist. Visually Genesis share no bonds with other popular rock posers of our time.

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