We Rank The Top 5 Songs On Genesis’ Self-Titled Album

The line separating Genesis’ progressive rock roots and their pop sensibilities is often blurred. Even their mega-selling “Invisible Touch” album retained traces of prog.

But for a clear turning point towards catchy tunes, look no further than their 1983 self-titled record, also known as the Shapes album. This collection boasts their first US Top 10 hit, shorter song structures, and a collaborative writing approach from Tony Banks, Phil Collins, and Mike Rutherford.

With a near-flawless tracklist (except for a minor misstep), choosing just five favorites is no easy feat. But if you’re short on time and want the cream of the crop, keep reading to discover the must-hear songs from Genesis’ self-titled album.

5. “Home by the Sea”

“Home by the Sea” stands out as one of only three songs on the album with lyrics penned by keyboardist Tony Banks. Known for his more complex compositions, Banks opted for a simpler approach here, influenced by his solo album The Fugitive where he handled all vocals. This newfound focus on cleaner melodies resulted in one of Banks’ catchiest creations.

But the song truly shines when played alongside its seamless continuation, “Second Home by the Sea”. “Home by the Sea” establishes the song’s foundation with a strong hook and a narrative, while its mostly instrumental extension takes the story’s emotions to a whole new level. Listening to them together is an experience that elevates both parts.

4. “Mama”

“Mama”, the album’s opening track, is a complex beast. While the lyrical content, exploring a teenager’s unhealthy fixation on a sex worker, is undeniably unsettling, Genesis masterfully crafts a soundscape to match the narrative’s darkness.

The song is a quintessential 80s Genesis experience, featuring a hypnotic drum machine loop, gated drums, layers of synths, and a powerfully unsettling vocal performance by Phil Collins. This includes a guttural laugh, a clear homage to Grandmaster Flash and the Furious Five’s “The Message”.

However, the true brilliance of “Mama” lies in its masterful build-up. Dramatic tension steadily rises throughout the song, a technique Genesis and Collins have employed before. In “Mama”, though, the execution is flawless, ensuring the song retains its impact even after multiple listens.

3. “Just a Job to Do”

“Just a Job to Do”, while never released as a single, stands out as a prime example of Genesis’ pop songwriting prowess. It charted at No. 10 on Billboard‘s Mainstream Rock chart, showcasing its undeniable appeal. The song boasts a killer hook, a relentless groove, and a captivating vocal performance from Phil Collins.

Although the narrative paints a picture of a hitman on the job, the focus here is more on musicianship than atmosphere. The trio delivers a tight performance that highlights their impressive technical abilities. Mike Rutherford’s bass line, in particular, is a jaw-dropping display of virtuosity that elevates the entire track.

2. “It’s Gonna Get Better”

“It’s Gonna Get Better” marks a stark departure from Genesis’ usual album closers – sprawling prog epics. Here, they embrace a completely different atmosphere. The song opens with a hypnotic four-note cello sample, sourced from an Aram Khachaturian suite. Banks masterfully layers ethereal keyboards over this foundation, creating a mesmerizing soundscape that persists throughout the track.

While the song could easily captivate with its standard verse-chorus structure, Genesis throws in a delightful curveball. Just before the outro, they unleash what might be their most beautiful bridge section ever. This unexpected moment elevates the entire song to a new level of sophistication and emotional resonance.

1. “That’s All”

“That’s All”, the second track on the album, likely caused a stir among long-time Genesis fans. Its straightforward pop structure was a stark departure from their usual sound, even compared to earlier hits like “Follow You, Follow Me” and “Misunderstanding”. However, dismissing “That’s All” for its divergence from the band’s past is a mistake. The song is a triumph of pop songwriting.

Each member shines on this track. Collins and Rutherford weave intricate melodies that perfectly complement Banks’ gorgeous piano foundation. The middle section features a beautiful and understated organ solo by Banks himself, building on the piano chords he laid down earlier. 

But the true magic lies in the outro, where Banks and Rutherford intertwine their solos in a display of musical mastery. It’s a different kind of magic than their earlier, prog-infused works, but undeniably magical nonetheless.