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| Genesis Revisited | |
|---|---|
| Name | Genesis Revisited |
| Type | studio |
| Artist | John Wetton |
| Released | 1996 |
| Recorded | 1995–1996 |
| Genre | Progressive rock |
| Length | 72:03 |
| Label | Angel Air |
| Producer | John Wetton, Geoff Downes |
Genesis Revisited
Genesis Revisited is a 1996 studio album by John Wetton that presents reinterpretations of songs associated with the band Genesis (band) and related artists. The album situates Wetton within a lineage that includes Yes (band), King Crimson, Kingdom Come (band), Asia (band), and collaborators from the Progressive rock milieu. Featuring contributions from musicians linked to Steve Hackett, Phil Collins, Peter Gabriel, Tony Banks, and Mike Rutherford, the release engages with the catalogs of Genesis (band), Peter Gabriel (musician), Phil Collins, Ray Wilson, and other figures from the 1960s–1980s British rock scene.
Wetton's career trajectory intersected with key figures and institutions in British progressive rock, including tenures with Family (band), Roxy Music, King Crimson, UK (band), and Asia (band). By the mid-1990s, retrospectives and tribute projects involving material from Genesis (band), Camel (band), Gentle Giant, Emerson, Lake & Palmer, and Jethro Tull were prominent in catalog reappraisals promoted by labels such as Virgin Records, Charisma Records, and Mercury Records. The project emerged amid renewed interest sparked by reunions like Genesis (1998 reunion) and solo activity by Phil Collins and Peter Gabriel (musician), as well as archival releases connected to Tony Banks and Steve Hackett. Wetton's associations with producers and musicians—such as Geoff Downes, Eddie Jobson, John Lydon, Mick Jagger, Paul Rodgers—helped situate the album within networks that included Hewson (Bono), Island Records, and festival circuits like Isle of Wight Festival and Montreux Jazz Festival.
As a reinterpretive work rather than a narrative album like The Lamb Lies Down on Broadway or Supper's Ready, the record organizes its selections around themes common to Genesis-era songwriting: migration, identity, myth, and apocalypse as found in compositions linked to Peter Gabriel (musician), Phil Collins, Tony Banks, and Mike Rutherford. Wetton foregrounds vocal dramaticism associated with Peter Gabriel (musician) era performances and the melodic sensibilities tied to Phil Collins-era hooks. The arrangements reference textures familiar from albums such as Foxtrot (album), Selling England by the Pound, and A Trick of the Tail (album), while invoking performance practices from Live at the Rainbow 1973 and reimagined instrumental passages reminiscent of Wind & Wuthering and Seconds Out.
Sessions were recorded across studios comparable to facilities used by artists like Abbey Road Studios, Trident Studios, and Air Studios. Collaborators included musicians with pedigrees linked to Steve Hackett (musician), John Hackett, Francis Dunnery, Jakko Jakszyk, Billy Sherwood, Tony Levin, and session engineers who worked with Genesis (band), Yes (band), King Crimson, and Pink Floyd. Production techniques drew on practices associated with producers George Martin, Trevor Horn, Brian Eno, and David Lord, employing multitrack layering, analog synths from manufacturers like ARP (company), Moog Music, and Hammond organ timbres akin to those on Nursery Cryme. Arrangements integrated guitar work in the vein of Steve Hackett (musician) and bass approaches recalling Mike Rutherford and John Wetton's own history with King Crimson.
The album was issued by a label specializing in archival and niche progressive catalogs similar to Angel Air. Critical responses referenced comparisons to canonical Genesis releases and to contemporary reinterpretations by artists connected to Porcupine Tree, Marillion, Fish (singer), and Anathema (band). Coverage appeared in publications and outlets that regularly review progressive rock, including magazines like Q (magazine), Mojo (magazine), Kerrang!, and fan periodicals tied to festivals such as ProgFest and events like NEARfest. Commercial impact was modest relative to mainstream releases by Phil Collins and Peter Gabriel (musician), but the project found traction among collectors, specialist retailers, and international scenes in Japan, Germany, and the United States where catalog reissues and tribute albums had established markets.
The release contributed to a wave of reinterpretive and tribute projects that engaged with the legacies of Genesis (band), Peter Gabriel (musician), Phil Collins, and the progressive canon represented by Yes (band), King Crimson, and Emerson, Lake & Palmer. It influenced later covers and reinterpretations by artists linked to Steve Hackett (musician), Jakko Jakszyk, Nick Beggs, Steve Rothery, and tribute compilations curated by labels analogous to Esoteric Recordings and Cherry Red Records. The album is cited in discographies and bibliographies alongside reissues and archival projects involving Genesis (band), Tony Banks, Mike Rutherford, and solo catalogs, and it remains referenced in scholarship and fan historiography that traces reinterpretation practices from the 1990s through revivalist movements associated with festivals like Cruise to the Edge and conventions such as ProgPower USA.
Category:1996 albums Category:John Wetton albums Category:Tribute albums