Ranking The Songs: My Top 20 Genesis Songs (1978 - 1992)

Written: 20th July 2025

On my 14th birthday in July 1986, I received Invisible Touch -  my first Genesis album. Before that, I only really knew the title track, released as a single just a couple of months earlier in May. This album introduced me to the trio of Phil Collins, Tony Banks and Mike Rutherford, the band’s line-up (in the studio at least) at the time.

By the time We Can’t Dance was released in 1991, I had explored the band’s earlier catalogue but the three pronged line-up still holds a special place for me. While I now love the work of Steve Hackett and Peter Gabriel — with Wind & Wuthering, Selling England by the Pound and some others from that era now sitting comfortably in my top five Genesis albums - I am perhaps more open to this later era because it was the Genesis I discovered first. Some fans who had followed the band since the 1970s often dislike this period, feeling the music had become too commercial and polished compared to the earlier progressive and experimental work.

This list actually covers twenty three songs from the era of the trio line-up (I needed to include the other three as honourable mentions), sharing my personal highlights and favourites. Of course, rankings are subjective, and I am sure some of your favourites will not be here or may be ordered differently. Please feel free to share your own picks and thoughts.

23: Taking It All Too Hard (Genesis, 1983)

This track is a softer moment on Genesis. With a smooth, melodic flow and heartfelt lyrics, Taking It All Too Hard reveals a vulnerable side to Genesis. Phil Collins’s emotive vocal performance anchors the song, supported by gentle guitar and synth layers. It is a mature, contemplative piece about being overwhelmed and the risks of caring deeply. Not as immediate as some of their bigger hits but it resonates quietly and sincerely. For me, it is a reminder of the band’s ability to write sensitive, relatable ballads amidst their more upbeat work.

22: Evidence of Autumn (B’ Side of Misunderstanding, 1980)

Evidence of Autumn is a vivid, atmospheric track built on swelling crescendos that pulse with emotional tension. The music layers gradually, starting softly with ethereal synths and gentle vocals before bursting into dramatic waves of sound. These powerful buildups give the song a restless energy, capturing a sense of change and fleeting moments. Phil Collins’s voice rides the shifts perfectly, from quiet introspection to urgent intensity. It is a masterclass in mood and pacing, the crescendos keeping us hooked throughout.

21: You Might Recall (3×3 EP, 1982)

You Might Recall is a fascinating non-album track from the Abacab era that offers a glimpse into the band’s experimental side. The vocals carry a wistful tone, and the music moves through shifting moods with subtlety. Though it never made the main album, You Might Recall shows Genesis’s willingness to explore less commercial, more nuanced sounds. It is a hidden gem for fans who enjoy the deeper cuts and the band’s evolving creative edge during this period.

20: On the Shoreline (B’ Side of I Can’t Dance, 1991)

On the Shoreline is a quietly powerful track. Thoughtful lyrics create a reflective mood, while the arrangement gradually builds with subtle instrumentation. Phil Collins’s vocal is tender and sincere, delivering a sense of longing and hope. It is less bombastic than some of the band’s other work but no less affecting. For me, it is a beautiful example of Genesis’s softer side, blending emotional depth with tasteful musicianship. It certainly could have replaced any number of tracks on the album itself.

19: No Son Of Mine (We Can't Dance, 1991)

No Son Of Mine opens with a distinctive synth tone Tony Banks called the “elephant sound,” a low, resonant pulse that immediately sets a tense atmosphere. The track moves with a steady, deliberate rhythm, unfolding in layered waves of sound. Phil Collins’s voice is measured, carrying the weight of fractured connection without excess. The music balances soft synths and sharp guitar accents, creating space that feels both empty and charged. It captures unspoken distance and the quiet effort to bridge gaps - each sound purposeful, honest, and grounded in real human complexity.

18: Duchess (Duke, 1980)

Duchess is a storytelling gem on Duke, combining poignant lyrics with dynamic musical shifts. The song tells the rise and fall of a singer’s career, full of bittersweet reflection. Musically, it starts softly with piano and vocals before erupting into energetic, multi-layered sections with intricate guitar and drums. Phil Collins’s expressive singing captures both vulnerability and determination. The track balances prog complexity with accessible hooks, making it a standout. Duchess is deeply moving - a dramatic narrative wrapped in masterful composition.

17: Burning Rope (…And Then There Were Three…, 1978)

Overall, …And Then There Were Three might be Genesis’s most underrated album from any period. Burning Rope begins with eerie keyboards that set a sombre mood. The song’s story is raw and intimate, exploring themes of loss and regret. Musically gripping with moments of tension and release that draw you in completely, it is a blend of where the band were heading and where they had been. The section near the four-minute mark stands out as a striking highlight, full of poignant weight. It is a deeply moving piece that leaves a lasting impression, blending melancholy and strength.

16: Fading Lights (We Can’t Dance, 1991)

At over ten minutes, Fading Lights is an epic closing track that perfectly melds the band's more modern approach with their longer progressive pieces. It unfolds slowly, layering lush keyboards and subtle, restrained vocals. The lyrics deal with nostalgia, change and the passing of time, fitting for a song that feels like a farewell. The gradual crescendo showcases Genesis’s ability to craft deeply moving music that is both grand and intimate. A richly rewarding finale, with Tony Banks the star of the track.

15: Turn It On Again (Duke, 1980)

Turn It On Again is a classic Genesis anthem with an irresistible hook and driving rhythm. The song’s unusual time signatures give it a quirky energy, while the melody stays catchy and accessible. Phil Collins’s vocal delivery is confident and animated, perfectly matching the song’s tension and release. It is a celebration of rock and roll excess and the thrill of live performance. This track became a concert staple, encapsulating the band’s knack for combining progressive complexity with stadium-sized appeal.

14: Undertow (…And Then There Were Three…, 1978)

Undertow carries a mysterious energy, Phil Collins’s absorbing vocals matching the tension within the music. The lyrics explore emotional undercurrents and struggles beneath the surface, a metaphorical undertow pulling quietly but inexorably. This track blends grittier moments with a melodic edge. It is an intense and memorable piece, showcasing Genesis’s ability deliver compelling storytelling and expressively charged songs.

13: Abacab (Abacab, 1981)

Abacab marked a turning point for Genesis, embracing a punchy, modern sound that, following Duke and …And Then There Were Three was another step further away from their earlier progressive epics. The title track is driven by a tight, memorable riff and a confident groove. Phil Collins delivers the vocals with a blend of urgency and cool detachment. The production is clean but layered, balancing rock energy with subtle textures. This song captures Genesis reinventing themselves, sharp, catchy, and full of attitude.

12:  The Lady Lies (…And Then There Were Three…, 1978)

The Lady Lies unfolds like a shadowed reverie, cloaked in theatrical intrigue. Phil Collins’s voice threads through the fabric of the song with an eerie elegance, weaving a tale tinged with duplicity and subtle menace. The instrumentation shimmers as synths glisten against swelling orchestral pulses, conjuring a surreal soundscape that oscillates between lull and tempest. Moments of hushed tension suddenly erupt into grandiose flourishes, painting vivid scenes of suspense and veiled peril.

11: The Brazilian (Invisible Touch, 1986)

The Brazilian stands out as one of Genesis’s most distinctive instrumentals. Its brooding synth layers and complex rhythms create a cinematic mood that contrasts with the pop sheen of much of Invisible Touch. The track unfolds with tension and release, evoking a sense of urgency and mystery. It is a bold, experimental piece that hints at the band’s progressive roots even in their more commercial phase. Moody and intense.

10: Dreaming While You Sleep (We Can’t Dance, 1991)

Dreaming While You Sleep features a hypnotic rhythmic motif, reflecting the driver falling asleep and the potential monotony of driving. The music gradually unfolds, incorporating lush keyboards and driving drums that heighten the tension. The vocals narrate the aftermath of a hit-and-run from the driver’s perspective, filled with confusion and unresolved guilt. The section that begins with the lyrics All my life… stands out, delivering a striking blend of lyrical depth and musical intensity that captures the driver’s inner turmoil. This moment shifts the mood with a wondrous melodic rise, enhancing the song’s reflective and haunting nature. It remains one of the most resonant pieces on We Can’t Dance.

9:Dodo / Lurker (Abacab, 1981)

This two-part piece from Abacab offers an interesting odyssey for listeners. Dodo is initially eerie, setting a mysterious tone, before building into a dynamic, groove-driven finale. Phil Collins’s vocals on Lurker are urgent and impassioned, supported by detailed instrumentation. The track showcases Genesis’s willingness to experiment with structure and mood within a rock framework. It is an immersive listen that highlights their progressive ambitions even in a more concise format.

8: Duke’s Travels / Duke’s End (Duke, 1980)

This epic two-part suite closes Duke with a mix of gentle passages and soaring crescendos. Duke’s Travels unfolds gradually, featuring delightful guitar work from Mike Rutherford and atmospheric keyboards, creating a sense of journey and reflection. Duke’s End - with intense rhythms and dextrous guitar solos - concludes the album on a triumphant note. The seamless transition between the two parts is a testament to the band’s compositional skill. For me, this suite feels like a fitting farewell, full of hope and resolution.

7: Land of Confusion (Invisible Touch, 1986)

Land of Confusion pairs a catchy, anthemic chorus with sharp political lyrics about a world in turmoil. The driving beat and layered guitars give the song an urgent, punchy feel. Phil Collins’s vocal delivery is passionate and commanding, perfectly matching the song’s message of alarm and a call for change. The iconic music video with its satirical puppetry only added to its impact. It is one of Genesis’s most memorable hits, balancing pop accessibility with serious themes. Land of Confusion remains strikingly relevant and energising.

6: Driving The Last Spike (We Can’t Dance, 1991)

Driving The Last Spike is a gripping epic from We Can’t Dance, telling the gritty story of railway workers enduring hardship and sacrifice. Phil Collins’s voice carries a mix of pain, anger and weary determination. The music builds slowly, layering haunting piano, driving drums and soaring guitars, pulling you deep into the labourers’ struggle. It is more than just a song – it is a cinematic journey through toil, loss and resilience. The lyrics paint vivid pictures of sweat, blood and hope, making it one of Genesis’s most intense, storytelling masterpieces. A heavy hitter that lingers long after the last note fades. Despite its reputation with some fans, We Can’t Dance does have some excellent moments and this is the best of them.

5: Mama (Genesis, 1983)

Mama, driven by a heavy drum machine beat and haunting guitar riffs, finds Phil Collins delivering one of his most intense vocal performances, full of menace and tension. The lyrics explore obsession and desire with a raw honesty that stands out in their catalogue. The song builds in intensity, combining industrial sounds with its direct narrative. It is a bold, unsettling track that is surprisingly catchy. For me, Mama, complete with its chilling laugh, is a masterclass in creating mood and tension — unforgettable.

4:  Tonight, Tonight, Tonight (Invisible Touch, 1986)

This song combines a slow-burning opening with dramatic shifts into powerful rock passages. The lyrics evoke feelings of entrapment and a cry for escape, touching on themes of desperation and false hope. Phil Collins’s vocals are evocative and intense, supported by lush synthesizers and layered guitars. The extended instrumental breaks add depth and texture, making it one of the album’s most ambitious tracks. It balances pop sensibility with a progressive feel and dark subject matter. Expansive and evocative.

3: Heathaze (Duke, 1980)

Heathaze by Tony Banks is a standout piece on Duke that showcases Genesis’s experimental edge. Sparse instrumentation, shimmering synths and echoing vocals create a disconcerting mood. Phil Collins’s intimate and restrained vocal delivery draws you in, adding to the track’s enigmatic quality. The minimalist percussion and subtle rhythmic pulse build tension gradually, with moments of sparse but effective crescendos leading into choruses that, while not as instantly hummable as some hits, remain deeply resonant. Heathaze fits perfectly with the mood and style of Duke, revealing a more introspective side and adding rich texture and intrigue to the album.

2: Domino (Invisible Touch, 1986)

Domino is a two-part epic that balances melodic beauty with intense rock energy. It starts with In the Glow of the Night, a soft, reflective opening, before exploding into The Last Domino, the rhythm-driven climax. The song explores themes of fate and loss with poetic lyrics and dynamic shifts. Phil Collins’s vocals move from gentle to impassioned, while the band’s layered instrumentation creates a rich sonic landscape. It is Invisible Touch’s most ambitious piece.

1:  Home by the Sea / Second Home by the Sea (Genesis, 1983)

This two-part suite is a narrative masterpiece, telling a story of intrusion and imprisonment through vivid lyrics and shifting musical moods. Home by the Sea features a catchy melody and a steady rhythm, while Second Home by the Sea dives into instrumental explorations with each member of the band making an intoxicating contribution. Phil Collins’s vocals carry the unfolding drama with clarity. The track combines storytelling, progressive complexity and memorable hooks, making it a definitive Genesis epic. For me, it is one of their most compelling and enduring works.

Listen to my Top 23 Genesis Songs (1978 - 1992) playlist below: