How Phil Collins killed Genesis

Unknowingly, Peter Gabriel called his band’s shot in 1969 with the release of their debut album, “From Genesis to Revelation.”

Within six years, the English prog-rock band Genesis’ authenticity would collapse under the guise of drummer Phil Collins’ direction toward a more financially savvy and artistically devoid musical style that appealed to the masses while overlooking the band’s beginning as a burgeoning progressive powerhouse.

From the humble beginnings of catchy hooks and Bee Gees-esque melodies, the band continued to grow during its first six years with increased musical techniques, odd time signatures and a lyrical prowess that only Gabriel could pull off. “Nursery Cryme” (1971), “Foxtrot” (1972) and “Selling England By The Pound” (1973), to name the string of records preceding the group’s epic double album “The Lamb Lies Down On Broadway,” showcased Gabriel’s increasing leadership with the group and unfailing ability to paint mental landscapes with his visceral, often epic and introspective lyrics.

Gabriel’s hushed husky vocals climbed to realms that encapsulated the sheer emotions of its singer within lyrical lines that evoked imagery similar to many post-modernist writers of the 20th century. Gabriel’s musical direction, as evidenced on the band’s most ambitious venture, 1975’s “The Lamb Lies Down On Broadway,” created atmospheric anthems and musical interludes that would comprise the band’s most adventurous and musically intellectual work to date.

After completing the tour for “The Lamb Lies Down On Broadway,” Gabriel left the band feeling estranged from his band mates and in the midst of familial issues. For many it was a disquieting departure just as the group was expanding its musical horizons far past the poppy beginnings of its debut album.Enter drummer Phil Collins’ stint as lead singer.



Genesis shifted from an almost art-rock songwriting format to a period in which well-polished pop anthems evoking Collins’ never-failing ego brought the band immense commercial success during the next two decades. With intellectually devoid lyrics and a penchant for mainstream success, Collins traded Gabriel’s trademark eccentricity for something more financially viable, eventually turning the band into nothing more than an elevator music-producing sham.

Garnering more hits than ever, Genesis was suddenly a world-wide phenomenon with a string of hits including “Follow You, Follow Me,” “Turn It On Again,” and “Invisible Touch.”Some critics went so far as to say Collins sounded more like Gabriel than Gabriel did. But Collins’ penned tunes lacked tenacity and integrity.

His voice was, and still is, whiny and annoying, and lacked the emotional relentlessness of his predecessor.

Instead, they were derivative of Gabriel’s genius combined with tried-and-true 60s rhythm and blues format in a more listener-friendly format. It was more accessible to the masses.

Boil it all down and Genesis under Collins' direction was a trio of talented musicians pandering to the musical taste of a light-rock generation that wanted nothing more than something to listen to in the background.

In essence, it was Muzak.

Collins’ style, while not completely ephemeral, gained Genesis more exposure and a slew of hits, but at what price? Perhaps unwittingly, Gabriel provided the band’s genesis while Collins fueled the band’s artistic demise by trying to fix a horse that wasn’t broken.

While Gabriel sang about the lamb lying down on Broadway, Collins killed the lamb by pandering to a geriatrics-friendly fan base that probably didn’t know the difference.