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Genesis: Turn It On Again - The Hits

 A l b u m   D e t a i l s


Label: Virgin Records
Released: 1999
Time:
 78:58
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *********. (9/10)
Media type: CD
Web address: www.worldofgenesis.com
Appears with: Peter Gabriel, Phil Collins, Steven Hackett, Mike + The Mechanics, Tony Banks, Ray Wilson
Purchase date: 1999
Price in €: 13,99



 S o n g s ,   T r a c k s


[1] Turn It on Again (Banks/Collins/Rutherford) - 3:48
[2] Invisible Touch (Banks/Collins/Rutherford) - 3:26
[3] Mama (Banks/Collins/Rutherford) - 5:18
[4] Land of Confusion (Banks/Collins/Rutherford) - 4:45
[5] I Can't Dance (Banks/Collins/Rutherford) - 3:59
[6] Follow You, Follow Me (Banks/Collins/Rutherford) - 3:58
[7] Hold on My Heart (Banks/Collins/Rutherford) - 4:37
[8] Abacab (Banks/Collins/Rutherford) - 4:12
[9] I Know What I Like (In Your Wardrobe) (Banks/Collins/Gabriel/Hackett/Rutherford) - 4:04
[10] No Son of Mine (Banks/Collins/Rutherford) - 5:44
[11] Tonight, Tonight, Tonight (Banks/Collins/Rutherford) - 4:28
[12] In Too Deep (Banks/Collins/Rutherford) - 4:58
[13] Congo (Banks/Collins/Rutherford) - 4:02
[14] Jesus He Knows Me (Banks/Collins/Rutherford) - 4:16
[15] That's All (Banks/Collins/Rutherford) - 4:24
[16] Minunderstanding (Collins) - 3:11
[17] Throwing It All Away (Banks/Collins/Rutherford) - 3:49
[18] The Carpet Crawlers (Banks/Collins/Rutherford) - 5:38

 A r t i s t s ,   P e r s o n n e l


Phil Collins - Drums, Vocals, Producer
Peter Gabriel - Guitar, Vocals, Producer
Steve Hackett - Guitar, Producer
Tony Banks - Keyboards, Producer
Mike Rutherford - Bass, Guitar, Producer
Ray Wilson - Vocals, Producer

Nir Zidkiyahu - Drums
Garry Hughes - Programming

John Burns - Producer
Nick Davis - Producer, Engineer, Mastering
David Hentschel - Producer, Engineer
Trevor Horn - Producer
Andy Richards - Programming
Jamie Muhoberac - Programming
Hugh Padgham - Producer, Engineer
Tim Weidner - Engineer
Steve Fitzmaurice - Engineer
Alex Black - Assistant Engineer
Andre Coulam - Assistant Engineer
Dan Vickers - Assistant Engineer
Justin Fraser - Assistant Engineer
Tim Young - Mastering
Richard Lowe - Mixing
Geoff Callingham - Compilation

 C o m m e n t s ,   N o t e s


It's over thirty years since four teenage boys at England's Charterhouse school decided to form a high school band - what would become the most successful high school band in history: Genesis. In those three decades, through numerous personnel changes, Genesis have weathered endless changes in fashion, to plough their own furrow. They've sold over a 100 million albums, created some of the most extravagant live shows ever and had a stream of international hit singles. Turn It On Again celebrates those hits in one package for the first time ever.

The original Carpet Crawlers, from the group's great 1975 concept album The Lamb Lies Down on Broadway, has been a highlight of their live show ever since. This year, celebrated producer Trevor Horn has collaborated with the group to re-create this classic. This new version sees both Phil Collins and Peter Gabriel momentarily back among the groups ranks to record new vocals.



Originally, there were plans for two Genesis box sets -- one covering the classic Peter Gabriel era, the other chronicling the band's development into hit-makers under the direction of Phil Collins. The Gabriel set was released in 1998, but instead of a second box following it in 1999, the single-disc Turn It On Again: The Hits appeared. Truth be told, it was a wise move, because even if the Collins set appears, there will be a market for a concise collection of hits, which Turn It On Again more or less is. Since Genesis had such a prolific career and had so many hits, it should come as no surprise that the compilation isn't complete, but it's a little disappointing to discover that such latter-day nonentities as "Hold on My Heart" (from the last Collins album, We Can't Dance ) and "Congo" (from the post-Collins album, Calling All Stations ) are included in favor of such fine singles as "Paperlate" or "Man on the Corner." But that's nitpicking, since all the big hits are here: "Turn It On Again", "Invisible Touch", "Follow You, Follow Me", "Tonight, Tonight, Tonight", "In Too Deep", "That's All", "Misunderstanding", "Throwing It All Away"...the list goes on and on. True, the sublime Gabriel number "I Know What I Like (In Your Wardrobe)" sounds completely out of place sandwiched between "Abacab" and "No Son of Mine," but it's nice to have it here. Similarly, "The Carpet Crawlers 1999", reworked as a duet between Collins and Gabriel, is a surprisingly effective re-recording, and a nice inclusion. It may not be enough to convince hardcore fans that they need Turn It On Again, but this album is really for listeners who've thought of Genesis as a singles act, and they're not going to be disappointed by this.

Stephen Thomas Erlewine, All-Music Guide



"Unglaublich, aber wahr: Hier kommt doch tatsächlich das erste "normale" Best-ofAlbum dieser Supergroup. Erst "Turn It On Again" streift alle wichtigen Kapitel der Genesis-Ära auf einer Disc."

C. Hammer in stereoplay 12/99



The much anticipated 'Turn It On Again - The Hits' brings together for the first time ever eighteen classic songs by one of the most successful rock groups of all time: Genesis. And if you think that's press release hyperbole, check out the facts: this is a group that have had hit singles in four separate decades, a group that has sold over 100 million albums worldwide, a group who, despite numerous personnel changes (including three different frontmen) have retained a instantly recognisable sound across 20 albums, and whose spectacular live shows wowed three generations of fans. Of course, Genesis couldn't just release a simple Best Of, could they? The hits are here, for sure, from their 1978 breakthrough hit 'Follow You, Follow Me' to their recent live favourite 'Congo'. But to celebrate the album's release, the group have come up with something very special indeed. Almost a quarter-century since leaving the group, Peter Gabriel has re-joined his old mates, and another former frontman, Phil Collins, to add vocals to a newly reworked version of the all time 1975 Genesis classic 'Carpet Crawlers', produced by the group in collaboration with Trevor Horn.

SteveHackett.com - Steve's Official Homepage



What's the selling point for a collection of hits by mega-hit band Genesis? What's the selling point for any greatest hits package for any band? Well, most will add a few new tracks to make the product attractive; others will include rare or extended versions. In the case of Turn It On Again it is a re-recorded version of "Carpet Crawlers", which originally appeared on The Lamb Lies Down On Broadway. This wasn't a necessary release, and though I haven't read anything, one wonders if the album was released to support the new "Carpet Crawlers" or if that track was added to sell this release. The track was originally planned for The Genesis Archive 1967-75, as I understand it (see the interview clip with Steve Hackett on the Genesis website). A greatest hits package often signals the end of a band's career (though there are exceptions, of course; Fish, for but one recent example). Certainly, Genesis don't have to put together a package to sell themselves - even if they "can't dance, can't sing," they can fashion hits. So, the biggest question is why. Most of the hits come from the post-Gabriel, post-progressive era of Genesis, which shouldn't surprise too many fans. Gabriel is represented by the classic "I Know What I Like (In Your Wardrobe)" and that redo of "Carpet Crawlers." New vocalist Wilson is also only represented by a single track, "Congo" (again, not surprising). So, if you hated the post-'80 Collins era, then this isn't for you. Some of the more annoying hits are here; "I Can't Dance," for example. But fortunately no "Illegal Alien." But, some of my personal favourites from the Collins era are here - "Turn It On Again," "Follow You, Follow Me," "Misunderstanding," "Abacab" 'm finding more appreciation for "No Son Of Mine" in listening to it here. So how does that new version of "Carpet Crawlers" compare to the original? Well, the arrangement is more lively, more 90's - closer to the Peter Gabriel of today than the Gabriel of '74. But, also sounding distinctly like Genesis without the pop trappings. The production is clearer, but then the hardware has advanced in the intervening 25 years. It hasn't changed so much that diehards are going to complain about fiddling. All the elements that were there in the original are enhanced, making the recording more dynamic. The added sonic effects enhance the atmosphere of the track. This is the highlight track of the album and makes it worth hearing - unlikely that they'll release this as a separate single, as it would kill the album's sales. If you are just discovering Genesis via Calling All Stations, this would provide a good overview of the recent past, but don't stop going back further into the catalog. There may not have been "hits" from this period (68-73), but some of Genesis' best progressive material is there. My personal favourite is Nursery Crime.

Reviewed by: Stephanie Sollow, February 2000
www.progressiveworld.net - Your Ultimate Guide To Progressive Music



A new testament to Phil and those other two blokes

To mark the arrival of Genesis's first greatest hits album, James O'Brien catches up with Phil Collins and... those other blokes. Ask the average punter to name three members of Genesis and, despite three decades of success, most people can get no further than Phil Collins. Longer memories might also throw up Peter Gabriel.

However, the fact remains that the most famous member is Collins, a singing drummer so cuddly he could not only come up with a plan for Goldilocks: The Movie but also convince Danny De Vito that he play a bear.

It must be pretty galling for keyboard player Tony Banks and guitarist Mike Rutherford, former schoolfriends who had been in Genesis for a couple of years before Collins arrived in 1970 and still are five years after he left to concentrate on solo projects.

"Not at all," insists Rutherford, 49. "We never wanted to be stars. When we started out we only wanted to be songwriters."

Banks, 49, agrees: "Pop and rock were still in their infancy when we began and any idea that we might make a living out of it was a long way off when we made our first record.

"Writing songs was at least established as a potentially lucrative pursuit so that's what we wanted to do.

"The rest happened by accident. In fact, the whole Genesis story hinges on a succession of accidents. If people are surprised that we're still here I can assure you that they're not nearly as surprised as us."

While their career longevity may rise eyebrows, Genesis's enduring chart success raises bank balances and will continue do so with tomorrow's release of Turn It On Again . . . The Hits.

A comprehensive retrospective of a band written off as dinosaurs by the end of the Seventies but at the peak of their commercial success a decade later, its release yields two major surprises.

Firstly, in an era when every act with half a hit feels the need to release a Best Of... Genesis are to be congratulated on waiting until now before joining the throng.

And secondly, they weren't really all that popular beyond a committed caucus of long-haired fans until Collins began to combine his contributions -both percussive and vocal after original singer Peter Gabriel's 1975 departure - with an immediately successful solo career.

Collins, whose starrier existence demands that he contribute to the conversation by telephone from his Swiss mansion rather than join his former bandmates at London's Dorchester Hotel, is coy on his role as catalyst.

"It helped Genesis," he says, before quickly qualifying the comment. "Actually, I'd prefer to say it didn't hurt Genesis when I started having solo hits."

There are clearly ego-issues at work here which are as old as Genesis. Rutherford, in particular, finds it hard to square his avowed ambivalence for the spotlight with a side-project in the only band in history to be named after its guitarist, Mike and the Mechanics.

"That was an accident," he says, apparently oblivious to the conclusions most people will draw when a metaphorical bridesmaid casts himself as bride. "I do most of the writing anyway."

But Collins, who claims to have discovered a new sense of calm and control since marrying his third wife, Swiss marketing executive Orianne Cevey in July, is quick to credit his former cohorts with the inspiration and execution of the new collection.

"I'm going to put all my cards on the table," he says. "I left the band five years ago but still see Tony and Mike as friends and love them very much.

"But as far as Genesis is concerned, it's entirely their gig now. I'm out of the picture and it's up to them what happens with things like greatest hits. I just told them to let me know what was going to be on it and had a bit of a look at the artwork. That's it."

It seems a strangely disconnected approach to the first collection of the bulk of a life's work but it is positively hands-on compared to Gabriel's.

The aggressively avant-garde singer - he was wearing frocks when David Beckham was just a twinkle in a referee's eye - recorded his vocal for a new version of the 1974 favourite Carpet Crawlers without seeing his former bandmates and remains something of an enigma even to them.

"Are you going to be talking to Peter?" inquires Rutherford.

"Probably best, he's not much of a talker," he says when I reply in the negative. And neither, if the truth be told, is he. Affable, amenable and articulate they may be, but Rutherford and Banks are right on the money when they say they are not rock stars.

Quietly-spoken and mild-mannered, their demeanour and dress owe more to the exclusive Charterhouse public school where they met than the rock'n'roll odyssey they subsequently shared.

Collins, by contrast, is a rougher-hewn character and it is this, rather than any musical superiority or popularity with punters, which has rendered him the most recognisable member of the triumvirate.

On the subject of their band, he has as little to say as the others and, to be fair, when you've been on the interview trail for 30 years it must be hard to come up with new lines for old songs.

But where Rutherford keeps polo ponies and Banks his own counsel, Collins keeps ex-wives in alimony and his own name in the public eye.

His appeal lies in his ordinariness and his success in his simplicity. Where Genesis were once regarded as exponents of the proggiest prog-rock and the other fellas almost revelled in their high-falutin' reputations, Collins was the grinning geezer with his eye on the main chance. He still is and the next chances, for the moment, include an on-going association with Disney - which has just signed him up for a second stab at soundtrack-writing after the success of Tarzan - films, an eponymous big band and a bid to become a dad again.

"Orianne and I are trying for a baby, trying very hard actually. I want to be young enough to play with the kid and, while I'm a very spritely 48, I appreciate that won't always be the case.

"I'm trying to spend as much time as possible at home and am quite happy to keep a lower profile because I'm sick and tired of being bashed over the head.

"You know those things in fairgrounds with loads of holes and when some sort of creature pops out of one of them you have to smack on the head with a hammer. I'm that creature."

He is referring to the British reviews of Tarzan, many of which mentioned the music in less than flattering terms despite its already being mooted as an Oscar contender and drawing uniformly glowing praise in the States.

"It's very sad that the British don't let you get out of your pigeon-hole. It's one of the things that depresses me most about the place, the way you just can't get rid of all your career baggage," says Collins.

A desire to be rid of career baggage seems a very strange way to whet appetites for a career retrospective but Collins is unconcerned and Rutherford and Banks too far away to object. "It's not just me," he says. "Tony has always wanted to do film scores and he'd be brilliant at it but people are reluctant to give him a chance because he's so associated with Genesis.

"I'd really like to work with the other guys again but wouldn't do it under the Genesis name," adds Collins.

The greatest hits album may be a milestone but it seems that the band itself may be becoming a millstone.

The Express, October 24 1999



Peter Gabriel Duets With Phil Collins On "New" Genesis Track

Peter Gabriel fans who have been waiting seven years for the singer to release his first studio album since "Us" will have to keep waiting, as his next LP, titled "Up," isn't due in stores until next year. Not that Gabriel hasn't been keeping busy in the studio. He recently laid down vocals for British progressive rock group Genesis, the band he founded in the mid-'60s and which he quit over 20 years ago. Gabriel and Phil Collins, the band's other former vocalist, both sing on "The Carpet Crawlers 1999," an update of the song of the same name, originally from Genesis' 1974 double album opus, "The Lamb Lies Down On Broadway." The track will be included on "Turn It On Again... The Hits," which is due in stores on October 26. If you're only interested in hearing the new song, and not "Tonight, Tonight, Tonight," "I Can't Dance," and the group's other hits (most of which feature Collins on lead vocals), you can download "The Carpet Crawlers 1999" at http://www.genesis-web.com/. In recent months, Gabriel has also been occupied with preparations for England's Millennium Show, a performance piece he conceived. Along with music composed by Gabriel, the event boasts a cast of 61 artists from a variety of backgrounds, including dance, circus, club music, gymnastics, opera, and ballet performing on, above, and beyond the stage. For those travelling to England during 2000, the Millennium Show will be seen between two and five times daily, from January 1 to December 31, at the Millennium Dome in Greenwich, London.

From MTV



Genesis Remake Song With Peter Gabriel

An upcoming greatest-hits album from British prog-rock band Genesis will feature a remake of "Carpet Crawlers" with original singer Peter Gabriel who quit in 1975 for a solo career and a new version of "I Know What I Like (In Your Wardrobe)." "Carpet Crawlers" originally appeared on the 1975 concept album The Lamb Lies Down on Broadway, and "I Know What I Like" was on the following year's Selling England by the Pound. The complete track listing: "Invisible Touch," "Follow You, Follow Me," "Turn It On Again," "Mama," "I Can't Dance," "Land of Confusion," "Hold On My Heart," "Abacab," "I Know What I Like (In Your Wardrobe)," "No Son of Mine," "Congo," "That's All," "In Too Deep," "Jesus He Knows Me," "Tonight, Tonight, Tonight," "Misunderstanding," "Throwing It All Away" and "Carpet Crawlers." The album hits stores Oct. 26.

From SonicNet



GENESIS "TURN IT ON AGAIN..." WITH FIRST-EVER GREATEST HITS COLLECTION

Atlantic Records has announced the October 26th release of "TURN IT ON AGAIN... THE HITS," the first-ever greatest hits collection from Genesis. The album includes 18 classic songs spanning the remarkable career of one of the most acclaimed and successful bands of all time. The set's release also coincides with the 30th anniversary of the very first Genesis album. The tracks on "TURN IT ON AGAIN" were originally released between 1973 and 1997, and represent four separate band line-ups -- with a membership roster including Tony Banks, Mike Rutherford, Phil Collins, Peter Gabriel, Steve Hackett, and Ray Wilson. Since the release of their first album in 1969, Genesis has sold more than 100 million records worldwide. Over the past 30 years, Genesis has proved to be one of the most remarkably resilient and powerful units in modern music, enjoying extraordinary popularity while continually exploring new musical avenues. In the face of popular music's ever-changing sounds and attitudes, Genesis has remained original and inventive, and as a result, their career has bridged generations. Formed originally as a songwriting collective, Genesis has never been about flashy solos or fashion statements. Rather, the band has always remained true to their initial focus: the crafting and composing of honest and exceptional songs. "TURN IT ON AGAIN... THE HITS" ranges from the Gabriel-era staple, "I Know What I Like (In Your Wardrobe)," to such later R&B-fueled pop smashes as "ABACAB" and "Misunderstanding." The album also includes top-charting favorites like "Tonight, Tonight, Tonight," "Land of Confusion," and "In Too Deep," not to mention the #1 hit, "Invisible Touch." A highlight of the anthology is "The Carpet Crawlers 1999," an all-new recording of the mesmerizing song which first appeared on 1974's legendary "THE LAMB LIES DOWN ON BROADWAY." The track - produced by Trevor Horn (Yes, Art of Noise) - marks the reunion of the ground-breaking early-70's Genesis line-up of Banks, Collins, Gabriel, Hackett, and Rutherford, with Gabriel and Collins sharing lead vocals. "The Carpet Crawlers 1999" has just shipped to radio outlets nationwide. "TURN IT ON AGAIN... THE HITS" follows 1998's "GENESIS ARCHIVE 1967-75," a 4-CD set compiling rare tracks, previously unreleased live recordings, and various odds 'n' sods from the band's early history. In other news, Genesis will be the focus of an upcoming installment of VH1's hit series, Behind The Music. The episode is scheduled to air before the end of the year.

From All Direct News, 10/12/1999 at 17:20:59



Genesis Not Exactly Reunited On 'Carpet'

For many Genesis fans, the highlight of Turn It On Again...The Hits, due out Oct. 29, is a new recording of "The Carpet Crawlers," originally from the group's 1974 rock opera, The Lamb Lies Down On Broadway. The new track reunites the group's famous lineup of Peter Gabriel, Phil Collins, Mike Rutherford, Steve Hackett, and Tony Banks. However, Hackett tells LAUNCH that the quintet was never actually in the studio at the same time. "We all played on it, but I don't think anyone played eyeball-to-eyeball," he says. "I did my stuff at home, and I think everyone else did their stuff at home or wherever they record. Phil probably did his stuff beamed in from a mountaintop in Switzerland somewhere. Pete probably flew his in from his tree house in Africa. I don't know about the rest; you know, maybe that was more local, but it was done over a period of time." Trevor Horn produced the new version of "The Carpet Crawlers."

From Launch (10/13/99, 10 a.m. PDT)



Turn It On Again-The Hits

Hard though it might be to believe after hearing them, there was a time when Genesis were seen as being at the cutting edge of some sort of brandnew music. This was in the early Seventies when, along with the likes ofYes and Jethro Tull, a bunch of public school kids decided that what rock really needed was less noise and far more whimsical noodling about. Ten years later all their hair fell out and they started making grown-up non-whimsical noodling, occasionally troubling the charts with airbrushed inconsequential soft rock songs like Turn It On Again and Invisible Touch. Both of those are included here as well as tracks like I Know What I Like (In Your Wardrobe) and Jesus He Knows Me which may well have been "hits", but only for about 30 seconds in a parallel universe. There are 18 tracks here and if you can listen to them all, you deserve a medal.

Paul Mathur, Virgin Net
Released: 25/10/1999



The sound of Phil Collins's distinctive voice set against a pulsing synthesizer and pounding electro/acoustic percussion became one of the most characteristic and ubiquitous sounds of 1980s (and early '90s) rock. And if Collins's solo work during that period seemed occasionally indistinguishable from that of his band, it was only evidence of the remarkable transformation that Genesis had undergone from its late '60s art-school roots. Indeed, the idea of an eventual Greatest Hits package would have been laughable then. But as the original quintet turned quartet (with the departure of vocalist Peter Gabriel) and then trio (when guitarist Steve Hackett left), the spotlight focused with increasing intensity on Collins and his pop and R&B sense. Though it overlooks a few contenders ("No Reply at All" and "Taking It All Too Hard") in service of balance (and the inclusion of late-model Genesis frontman Ray Wilson), this is a good sampler of one of rock's most consistent (if predictable) hit-makers. Gabriel and Hackett also return for one new track, reuniting the original quintet for a richly textured update of The Lamb Lies Down on Broadway 's "The Carpet Crawlers."

Amazon.com



A techno reunion for Genesis

And you thought technology -- e-mail, cell phones, faxes -- has made just your life more impersonal. Rest assured, it extends all the way up the ladder. After years of hoping that Genesis' classic lineup -- Peter Gabriel, Phil Collins, Tony Banks, Steve Hackett and Mike Rutherford -- would get back together, fans finally got their wish this week with the release of a new version of the song Carpet Crawlers on Turn It on Again... The Hits. Thank goodness, though, that the band members didn't actually have to see one another for the reunion. Once musicians went for the chemistry of working together; now they strive for the convenience of not having to deal with one another. Yeah, Carpet Crawlers is an all-new version of the classic from The Lamb Lies Down on Broadway, but it took three years and five studios to reunite the band. Isolated living through technology isn't new, of course. The late Frank Sinatra spent his final ailing days recording long-distance duets with rock singers he never met. Natalie Cole revived a career by dueting with her long-dead dad. The Threetles recorded Free As a Bird a decade and a half after John Lennon died. Genesis members have the distinction of being alive and well -- just lacking any desire to sit down together in the studio. Band members did occasionally run into one another, and producer Trevor Horn "kind of acted as referee when we were all working together," keyboard player Banks said from his studio in England. "It took a long time to get Phil on the record. Then Steve Hackett was (overdubbed) as guitarist. It was finally finished two or three months ago, but it took three years to do it." The fact that Gabriel participated at all in either the new recording or the 1998 Genesis boxed set, Genesis Archive Vol. 1, shocked fans. But as the years have passed, Gabriel has come to terms with the band that had him going onstage dressed as a giant flower, along with other things. The split "wasn't really acrimonious -- just for him," Banks said with a resigned chuckle. "He's spent the last 20 years trying to tell people that he's not a member of Genesis anymore. He's enjoying himself, doing his own thing. Having said that, I was really pleased that we were able to do this Carpet Crawler thing again. Working in a recording situation again is not impossible. "I think it's unlikely we'd ever appear onstage with Peter again. But with Phil, there's no reason not to. We all get on well; as time goes by, we may feel the inclination." As for Gabriel, though, the band is grateful that he's even acknowledging them. "He's proud of his contribution to that period, and he wants to be part of the record," Banks said. "It's so long ago now that he's able to be part of it." Well, not really; except for Carpet Crawlers, the new collection has no Gabriel material, focusing on the big, Collins-led songs from the '80s -- Abacab, That's All and the like. That was just another way to avoid conflict. "It's the hits; it's not the greatest," Banks stressed. "We really just went for all the singles -- all the ones that have been a hit somewhere, rather than make any kind of value judgment, go for favorites or anything. Just the biggest hits, no argument." The band's longevity is startling even to Banks. "I'm very surprised, sometimes, at how well it's all gone," he said. "Because the early music was somewhat bizarre, we got a very loyal following. People felt very intense about the group and they stuck with us through all the phases. Different things are required to make a band successful now. You've gotta look good, have the right people behind you. When we did it, we did it by playing onstage endlessly. It's more difficult to do that these days, if not impossible."

Mark Brown writes about popular music for the News



CD REVIEW: Genesis's 'Turn It On Again - The Hits'

Seemingly at the end of their rope as far as releasing studio material is concerned, the 34-year old Genesis releases "Turn It On Again- The Hits," their first greatest hits album. The ubiquitous band has one box set, five live albums, 15 studio albums, countless hit singles to date, as well as one of the most diverse fan bases known to mankind. If you haven't heard of Genesis, you must have been living in Boelter Hall your whole life. Whether it was the antics of '70s frontman Peter Gabriel, the keyboard wizardry of Tony Banks, the soulful voice and virtuous drumming of Phil Collins or the '80s-defining guitar licks of Mike Rutherford, Genesis managed to find a home in just about everyone's heart for the last two decades. Even if the band is now the epitome of uncool, it's hard to deny the lovability of its music. Since Phil Collins ' 1996 departure, it has been a slick downhill slope for the band, whose first (and probably last) post-Collins attempt, "Calling All Stations" utterly flopped. Fittingly, this album is only represented by one song on "Turn It On Again," the forgettable "Congo." All your sing-along favorites are here, and then some, with most tracks coming from 1986's "Invisible Touch" and 1991's "We Can't Dance." "Land of Confusion," "No Son of Mine," "Jesus He Knows Me" and "Throwing It All Away" are all in the collection, as well as the older, lite-FM waves "Follow You, Follow Me" and "That's All." Not surprisingly, the only cut to make it from the six Gabriel-era albums is the whimsical "I Know What I Like (In Your Wardrobe)," unless you also count the 1999 remake of 1976's "The Carpet Crawlers." This piece features a newly reunited classic Genesis lineup (Gabriel and Collins included). For the avid fan who might already own the entire Genesis back catalog, this song alone makes for a reasonable excuse to buy "Turn It On Again," as it is an excellent remake. All in all, "Turn It On Again" is a good collection for those who like the hit singles but are too cheap to go out and buy the individual albums, and represents nearly three decades of phenomenal output from one of the world's biggest bands.

by Cyrus Mcnally - U-Wire
January 20 2000, LOS ANGELES
 

 L y r i c s


Turn It On Again

All I need is a TV show, that and the radio
Down on my luck again, down on my luck again
I can show you I can show you some of the people in my life
I can show you I can show you some of the people in my life
It's driving me mad just another way of passing the day
I, I get so lonely when she's not there
I, I, I...

You're just another face that I know from the TV show
I have known you for so very long I feel you like a friend
Can't you do anything for me, can I touch you for a while
Can I meet you another day and we will fly away

I can show you I can show you some of the people in my life
I can show you I can show you some of the people in my life
It's driving me mad it's just another way of passing the day
I, I get so lonely when she's not there
I, I, I...

Turn it on, turn it on, turn it on again
Turn it on, turn it on, turn it on again I can see another face
Turn it on, turn it on, turn it on again I can see another face
Turn it on, turn it on, turn it on again


Invisible Touch

Well I've been waiting, waiting here so long
But thinking nothing, nothing could go wrong, ooh now I know
She has a built in ability
To take everything she sees
And now it seems I'm falling, falling for her.

She seems to have an invisible touch yeah
She reaches in, and grabs right hold of your heart
She seems to have an invisible touch yeah
It takes control and slowly tears you apart.

Well I don't really know her, I only know her name
But she crawls under your skin, you're never quite the same, and now I know
She's got something you just can't trust
It's something mysterious
And now it seems I'm falling, falling for her.

She seems to have an invisible touch yeah
She reaches in, and grabs right hold of your heart
She seems to have an invisible touch yeah
It takes control and slowly tears you apart.

She don't like losing, to her it's still a game
And though she will mess up your life,
You'll want her just the same, and now I know
She has a built in ability
To take everything she sees
And now it seems I've fallen, fallen for her.

She seems to have an invisible touch yeah
She reaches in, and grabs right hold of your heart
She seems to have an invisible touch yeah
It takes control and slowly tears you apart.

She seems to have an invisible touch...


Mama

I can't see you mama
but I can hardly wait
ooh to touch and to feel you mama
oh I just can't keep away
in the heat and the steam of the city
oh its got me running and I just can't brake
so say you'll help me mama
cos its getting so hard - oh

Now I can't keep you mama
but I know you're always there
you listen, you teach me mama
and I know inside you care
so get down, down here beside me
oh you ain't going nowhere
no I won't hurt you mama
but its getting so hard - oh

ha ha, ha ha ha ha, ha ha, argh
ha ha, ha ha ha ha, ha ha, argh

Can't you see me here mama
mama mama mama please
can't you feel my heart
can't you feel my heart
can't you feel my heart oh
now listen to me mama
mama mama
you're taking away my last chance
don't take it away
can't you feel my heart?

ha ha, ha ha ha, ha, argh

It's hot, too hot for me mama
but I can hardly wait
my eyes they're burning mama
and I can feel my body shake
don't stop, don't stop me mama
oh make the pain, make it go away - hey
no I won't hurt you mama
but its getting so hard - oh

Now I can't see you mama
but I know you're always there
you taunt, you tease me mama
but I never never can keep away
it's the heat and the steam of the city
oh got me running and I just can't brake
so stay don't leave me mama
cos its getting so hard - oh

don't go no no, don't go
no no no, don't go...


Land Of Confusion

I must've dreamed a thousand dreams
Been haunted by a million screams
But I can hear the marching feet
They're moving into the street.

Now did you read the news today
They say the danger's gone away
But I can see the fire's still alight
There burning into the night.

There's too many men
Too many people
Making too many problems
And not much love to go round
Can't you see
This is a land of confusion.

This is the world we live in
And these are the hands we're given
Use them and let's start trying
To make it a place worth living in.

Ooh Superman where are you now
When everything's gone wrong somehow
The men of steel, the men of power
Are losing control by the hour.

This is the time
This is the place
So we look for the future
But there's not much love to go round
Tell me why, this is a land of confusion.

This is the world we live in
And these are the hands we're given
Use them and let's start trying
To make it a place worth living in.

I remember long ago -
Ooh when the sun was shining
Yes and the stars were bright
All through the night
And the sound of your laughter
As I held you tight
So long ago -

I won't be coming home tonight
My generation will put it right
We're not just making promises
That we know, we'll never keep.

Too many men
There's too many people
Making too many problems
And not much love to go round
Can't you see
This is a land of confusion.

Now this is the world we live in
And these are the hands we're given
Use them and let's start trying
To make it a place worth fighting for.

This is the world we live in
And these are the names we're given
Stand up and let's start showing
Just where our lives are going to.


I Can't Dance

Hot sun beating down
burning my feet just walking around.

Hot sun making me sweat
'Gators getting close, hasn't got me yet

I can't dance, I can't talk.
Only thing about me is the way I walk.
I can't dance, I can't sing
I'm just standing here selling everything.

Blue jeans sitting on the beach,
her dog's talking to me, but she's out of reach.

She's got a body under that shirt,
but all she wants to do is rub my face in the dirt.

Cos, I can't dance, I can't talk.
Only thing about me is the way I walk.
I can't dance, I can't sing
I'm just standing here selling.

Oh and checking everything is in place,
you never know who's looking on.

Young punk spilling beer on my shoes,
fat guy's talking to me trying to steal my blues.

Thick smoke, see her smiling through.
I never thought so much could happen just shooting pool.

But I can't dance, I can't talk.
The only thing about me is the way that I walk.
I can't dance, I can't sing
I'm just standing here selling

Oh and checking everything is in place
You never know who's looking on
A perfect body with a perfect face - uh-huh.

No, I can't dance, I can't talk.
The only thing about me is the way I walk.
No, I can't dance, I can't sing
I'm just standing here selling everything.

But I can walk.
No I can't dance.
No no no I can't dance
No I said I can't sing.
But I can walk.


Follow You Follow Me

Stay with me,
My love I hope you'll always be
Right here by my side if ever I need you
Oh my love

In your arms,
I feel so safe and so secure
Everyday is such a perfect day to spend
Alone with you

I will follow you will you follow me
All the days and nights that we know will be
I will stay with you will you stay with me
Just one single tear in each passing year

With the dark,
Oh I see so very clearly now
All my fears are drifting by me so slowly now
Fading away

I can say
The night is long but you are here
Close at hand, oh I'm better for the smile you give
And while I live

I will follow you will you follow me
All the days and nights that we know will be
I will stay with you will you stay with me
Just one single tear in each passing year there will be

I will follow you will you follow me
All the days and nights that we know will be
I will stay with you will you stay with me
Just one single tear in each passing year...


Hold On My Heart

Hold on my heart
just hold on to that feeling
we both know we've been here before
we both know what can happen

Hold on my heart
cos I'm looking over your shoulder
ooh please don't rush in this time
don't show her how you feel

Hold on my heart
throw me a lifeline
I'll keep a place for you
somewhere deep inside

So hold on my heart
please tell her to be patient
cos there has never been a time
that I wanted something more

If I can recall this feeling
and I know there's a chance
oh I will be there
yes I will be there
be there for you
whenever you want me to
whenever you call oh I will be there
Yes I will be there

Hold on my heart
don't let her see you crying
no matter where I go
she'll always be with me

So hold on my heart
just hold on to that feeling
we both know we've been here before
we both know what can happen
So hold on my heart...


Abacab

Look up on the wall, there on the floor,
Under the pillow, behind the door.
There's a crack in the mirror.
Somewhere there's a hole in a window-pane.
Do you think I'm to blame?
Tell me do you think I'm to blame?

(When they do it) you're never there.
(When they show it) you stop and stare.
(Abacab) He's in anywhere.
(Abacab)

If you're wrapping up the world
'Cos you've taken someone elses girl,
When they turn on the pillow,
Even when they answer the telephone,
Don't you think that by now,
Tell me, don't you think that by now.

(When they do it) you're never there.
(When they show it) you stop and stare.
(Abacab) He's in anywhere.
(Abacab) Doesn't really care.

you want it, you got it, you gotta go
you want it, you got it, now you know

It's an illusion, It's a game,
Or reflection of someone else's name.
When you wake in the morning,
Wake and find you're covered in cellophane.

Well, there's a hole in there somewhere.
Yeah, there's a hole in there somewhere.
Baby, there's a hole in there somewhere.
Now there's a hole in there somewhere.

(When they do it) you're never there.
(When they show it) you stop and stare.
(Abacab) he's in anywhere.
(Abacab)


I Know What I Like (In Your Wardrobe)

It's one o'clock and time for lunch,
When the sun beats down and I lie on the bench
I can always hear them talk.

There's always been Ethel:
"Jacob, wake up! You've got to tidy your room now."
And then Mister Lewis:
"Isn't it time that he was out on his own?"
Over the garden wall, two little lovebirds - cuckoo to you!
Keep them mowing blades sharp...

I know what I like, and I like what I know;
getting better in your wardrobe, stepping one beyond your show.

Sunday night, Mr Farmer called, said:
"Listen son, you're wasting your time; there's a future for you
in the fire escape trade. Come up to town!"
But I remebered a voice from the past;
"Gambling only pays when you're winning"
- I had to thank old Miss Mort for schooling a failure.
Keep them mowing blades sharp...

I know what I like, and I like what I know;
getting better in your wardrobe, stepping one beyond your show.

When the sun beats down and I lie on the bench,
I can always hear them talk.
Me, I'm just a lawnmower - you can tell me by the way I walk.


No Son Of Mine

Well the key to my survival
was never in much doubt
the question was how I could keep sane
trying to find a way out

Things were never easy for me
peace of mind was hard to fin
and I needed a place where I could hide
somewhere I could call mine

I didn't think much about it
til it started happening all the time
soon I was living with the fear everyday
of what might happen that night

I couldn't stand to hear the
crying of my mother
and I remember when
i swore that, that would be the
Last they'd see of me
And I never went home again

they say that time is a healer
and now my wounds are not the same
I rang the bell with my heart in my mouth
I had to hear what he'd say

He sat me down to talk to me
he looked me straight in the eyes

he said:

You're no son, you're no son of mine
You're no son, you're no son of mine
You walked out, you left us behind
and you're no son, no son of mine

oh, his words how they hurt me, I'll never forget it
and as the time, it went by, I lived to regret it

You're no son, you're no son of mine
but where should I go,
and what should I do
you're no son, you're no son of mine
but I came here for help, oh I came here for you

Well the years they passed so slowly
I thought about him everyday
what would I do, if we passed on the street
would I keep running away

in and out of hiding places
soon I'd have to face the facts
we'd have to sit down and talk it over
and that would mean going back

they say that time is a healer
and now my wounds are not the same
I rang that bell with my heart in my mouth
I had to hear what he'd say

He sat me down to talk to me
he looked me straight in the eyes

he said:

You're no son, you're no son of mine
You're no son, you're no son of mine
When you walked out, you left us behind
and you're no son, you're no son of mine

oh, his words how they hurt me, I'll never forget it
and as the time, it went by, I lived to regret it

You're no son, you're no son of mine
But where should I go and what should I do
You're no son, you're no son of mine
But I came here for help, oh I was looking for you
You're no son, you're no son of mine - oh
You're no son - ha yeah, ha yeah, ha yeah, ha yeah
You're no son, you're no son of mine - oh, oh...


Tonight, Tonight, Tonight

I'm coming down, coming down like a monkey, but it's alright
Like a load on your back that you can't see, ooh but it's alright
Try to shake it loose, cut it free, just let it go, get it away from me.

Cos tonight, tonight, tonight - oh, I'm gonna make it right
Tonight, tonight, tonight - oh.

I'm going down, going down, like a monkey, ooh but it's alright
Try to pick yourself up, carry that weight that you can't see,
Don't you know it's alright

It's like a helter skelter, going down and down, round and round
But just get it away from me - oh.

Because tonight, tonight, tonight - oh
We're gonna make it right
Tonight, tonight, tonight - oh.

I got some money in my pocket, about ready to burn
I don't remember where I got it, I gotta get it to you
So please answer the phone, cos I keep calling, but you're never home
What am I gonna do
Tonight, tonight, tonight - oh
I'm gonna make it right
Tonight, tonight, tonight - oh.

You keep telling me I've got everything, you say I've got everything I want
You keep telling me you're gonna help me, you're gonna help me, but you don't
But now I'm in too deep
You see it's got me so that I just can't sleep
Oh get me out of here, please get me out of here
Just help me I'll do anything, anything
If you'll just help me get out of here.

I'm coming down, coming down like a monkey, ooh but it's alright
It's like a load on your back that you can't see,
Ooh don't you know that it's alright
Just try to shake it loose, cut it free, let it go
But just get it away from me
Cos tonight, tonight, tonight - oh
Maybe we'll make it right
Tonight, tonight, tonight - oh.

Please get me out of here
Someone get me out of here
Just help me I'll do anything, anything
If you'll just help get me out of here
Tonight - oh, I'm gonna make it right
Tonight, tonight, tonight - oh.

Yes tonight, tonight, tonight - oh,
Yes I'm gonna make it right, tonight, tonight, tonight - oh...


In Too Deep

All that time I was searching, nowhere to run to, it started me thinking,
Wondering what I could make of my life, and who'd be waiting,
Asking all kinds of questions, to myself, but never finding the answers,
Crying at the top of my voice, and no one listening,
All this time, I still remember everything you said
There's so much you promised, how could I ever forget.

Listen, you know I love you, but I just can't take this,
You know I love you, but I'm playing for keeps,
Although I need you, I'm not gonna make this,
You know I want to, but I'm in too deep.

So listen, listen to me,
Ooh you must believe me,
I can feel your eyes go thru me,
But I don't know why.

Ooh I know you're going, but I can't believe
It's the way that you're leaving,
It's like we never knew each other at all, it may be my fault,
I gave you too many reasons, being alone, when I didn't want to
I thought you'd always be there, I almost believed you,
All this time, I still remember everything you said, oh
There's so much you promised, how could I ever forget.

Listen, you know I love you, but I just can't take this,
You know I love you, but I'm playing for keeps,
Although I need you, I'm not gonna make this,
You know I want to, but I'm in too deep.

So listen, listen to me,
I can feel your eyes go thru me

It seems I've spent too long
Only thinking about myself - oh
Now I want to spend my life
Just caring bout somebody else.

Listen, you know I love you, but I just can't take this,
You know I love you, but I'm playing for keeps,
Although I need you, I'm not gonna make this,
You know I want to, but I'm in too deep.

You know I love you, but I just can't take this,
You know I love you, but I'm playing for keeps,
Although I need you, I'm not gonna make this,
You know I want to, but I'm in too deep...


Congo

You say that I put chains on you
But I don't think that's really true
But if you want to be free from me
You gotta lose me in another world

Send me to the congo, I'm free to leave
There's always somewhere anybody can lead
Send me to the congo, you have to believe
You can do it if you wanna just do what you please

Like a soldier ant
I will wait for the signal to act
To take a walk right through the door
If you don't want me here anymore

Send me to the congo, I'm free to leave
There's always somewhere anybody can lead
Send me to the congo, you have to believe
You can do it if you wanna just do what you please

Into my heart you came and gave a whole new meaning to my life
Into my world you brought a light, I thought it never would go out

Send me to the congo, I'm free to leave
There's always somewhere anybody can lead
Send me to the congo, you have to believe
You can do it if you wanna just do what you please

You can send me to the congo, I'm free to leave
There's always somewhere anybody can lead
Yes you can send me to the congo, you have to believe
You can do it if you wanna just do what you please
 
I would never be the one to say you had no reason
To want me somewhere else far, far away
Someday you may understand, someday you will see
That someone who would die for you is all I've ever been
If that's how it's got to be, if that's what you want from me

I would never be the one to say you had no reason
To want me somewhere else far, far away
Someday you may understand, someday you will see...


Jesus He Knows Me

You see the face on the TV screen
coming at you every Sunday
see that face on the billboard
that man is me

On the cover of the magazine
there's no question why I'm smiling
you buy a piece of paradise
you buy a piece of me

I'll get you everything you wanted
I'll get you everything you need
don't need to believe in hereafter
just believe in me

Cos Jesus he knows me
and he knows I'm right
I've been talking to Jesus all my life
oh yes he knows me
and he knows I'm right
and he's been telling me
everything is alright

I believe in the family
with my ever loving wife beside me
but she don't know about my girlfriend
or the man I met last night

Do you believe in God
cos that's what I'm selling
and if you wanna get to heaven
I'll see you right

You won't even have to leave your house
or get outta your chair
you don't even have to touch that dial
cos I'm everywhere

And Jesus he knows me
and he knows I'm right
I've been talking to Jesus all my life
oh yes he knows me

and he knows I'm right
well he's been telling me
everything's gonna be alright

Won't find me practising what I'm preaching
won't find me making no sacrifice
but I can get you a pocketful of miracles
if you promise to be good, try to be nice
God will take good care of you
just do as I say, don't do as I do

I'm counting my blessings,
I've found true happiness
cos I'm getting richer, day by day
you can find me in the phone book,
just call my toll free number
you can do it anyway you want
just do it right away

There'll be no doubt in your mind
you'll believe everything I'm saying
if you wanna get closer to him
get on your knees and start paying

Cos Jesus he knows me
and he knows I'm right
I've been talking to Jesus all my life
oh yes he knows me
and he knows I'm right
well he's been telling me
everything's gonna be alright, alright

Jesus he knows me
Jesus he knows me, you know...


That's All

Just as I thought it was going alright
I find out I'm wrong, when I thought I was right
s'always the same, it's just a shame, that's all
I could say day, and you'd say night
tell it's black when I know that it's white
always the same, it's just a shame, that's all

I could leave but I won't go
though my heart might tell me so
I can't feel a thing from my head down to my toes
but why does it always seem to be
me looking at you, you looking at me
it's always the same, it's just a shame, that's all

Turning me on, turning me off,
making me feel like I want too much
living with you's just putting me through it all of the time
running around, staying out all night
taking it all instead of taking one bite
living with you's just putting me through it all of the time

I could leave but I won't go
well it'd be easier I know
I can't feel a thing from my head down to my toes
why does it always seem to be
me looking at you, you looking at me
it's always the same, it's just a shame, that's all

Truth is I love you
more than I wanted to
there's no point in trying to pretend
there's been no-one who
makes me feel like you do
say we'll be together till the end

I could leave but I won't go
it'd be easier I know
I can't feel a thing from my head down to my toes
so why does it always seem to be
me looking at you, you looking at me
it's always the same, it's just a shame, that's all

But I love you
more than I wanted to
there's no point in trying to pretend
there's been no-one who
makes me feel like you do
say we'll be together till the end

But just as I thought it was going alright
I find out I'm wrong when I thought I was right
it's always the same, it's just a shame, that's all
Well I could say day, and you'd say night
tell me it's black when I know that it's white
it's always the same, it's just a shame, that's all

That's all


Misunderstanding

There must be some misunderstanding
There must be some kind of mistake
I waited in the rain for hours
And you were late

Now it's not like me to say the right thing
But you could've called to let me know
I checked your number twice, don't understand it
So I went home

Well I'd been waiting for this weekend
I thought that maybe we could see a show
Never dreamed I'd have this feeling
Oh but seeing you is believing
That's why I don't know why
You didn't show up that night

There must be some misunderstanding
There must be some kind of mistake
I was waiting in the rain for hours
And you were late

Since then I've been running around trying to find you
I went to the places that we always go
I rang your home but got no answer
Jumped in my car, I went round there
Still don't believe it
He was just leaving

There must be some misunderstanding
There must be some kind of mistake...


Throwing It All Away

Need I say I love you
Need I say I care
Need I say that emotion's,
Something we don't share
I don't want to be sitting here
Trying to deceive you
Cos you know I know baby
That I don't wanna go.

We cannot live together
We cannot live apart
That's the situation
I've known it from the start
Every time that I look at you
I can see the future
Cos you know I know babe
That I don't wanna go.

Throwing it all away
Throwing it all away
Is there nothing that I can say
To make you change your mind
I watch the world go round and round
And see mine turning upside down
You're throwing it all away.

Now who will light up the darkness
Who will hold your hand
Who will find you the answers
When you don't understand
Why should I have to be the one
Who has to convince you
Cos you know I know baby
That I don't wanna go.

Someday you'll be sorry
Someday when you're free
Memories will remind you
That our love was meant to be
Late at night when you call my name
The only sound you'll hear
Is the sound of your voice calling
Calling after me.

Just throwing it all away
Throwing it all away
There's nothing I can say
We're throwing it all away
Yes we're throwing it all away...


The Carpet Crawlers

There is lambswool under my naked feet.
The wool is soft and warm,
- gives off some kind of heat.
A salamander scurries into flame to be destroyed.
Imaginary creatures are trapped in birth on celluloid.
The fleas cling to the golden fleece,
Hoping they'll find peace.
Each thought and gesture are caught in celluloid.
There's no hiding in my memory.
There's no room to avoid.

The crawlers cover the floor in the red ochre corridor.
For my second sight of people, they've more lifeblood than before.
They're moving in time to a heavy wooden door,
Where the needle's eye is winking, closing in on the poor.
The carpet crawlers heed their callers:
"We've got to get in to get out
We've got to get in to get out
we've got to get in to get out."

There's only one direction in the faces that I see;
It's upward to the ceiling, where the chamber's said to be.
Like the forest fight for sunlight, that takes root in every tree.
They are pulled up by the magnet, believing they're free.
The carpet crawlers heed their callers:
"We've got to get in to get out
We've got to get in to get out
We've got to get in to get out."

Mild mannered supermen are held in kryptonite,
And the wise and foolish virgins giggle with their bodies glowing bright.
Through a door a harvest feast is lit by candlelight;
It's the bottom of a staircase that spirals out of sight.
The carpet crawlers heed their callers:
"We've got to get in to get out
We've got to get in to get out
We've got to get in to get out."

 M P 3   S a m p l e s


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