Though you will see Till We Have Faces often mentioned as the first rock album to draw from world music influences, that's not quite true. Santana, John McLaughlin, Os Mutantes, the Police, Jade Warrior, and others were doing it long before. That said, the album was done before Paul Simon ushered it in as a trend with Graceland. Recorded in Rio de Janeiro and mixed in London, it's a step away from the progressive rock he'd become recognized for and is a mostly successful venture. A couterie of Latin percussionists flesh out the almost all Brazilian band that graces the album, adding layers of complex rhythms. These rhythms are the core of the album and make such songs as "A Doll That's Made in Japan" and "What's My Name" more exotic and interesting; they creatively juxtapose Oriental and South American styles…

In early 1973, Genesis allowed the taping of a couple of live shows for broadcast in America as part of the King Biscuit Flower Hour syndicated radio show – most of their current set, drawn from their albums up through 1972's Foxtrot, was represented. A few months later, Tony Stratton-Smith, the head of Charisma, to which the group was signed, approached them about allowing him to fill the extended gap between Foxtrot and their next album, Selling England by the Pound, by releasing a live album from this same taped performance. The bandmembers, who now say they were somewhat distracted at the time by their work on the new album, agreed to it.

2012 debut album from the Progressive Rock duo consisting of Chris Squire (Yes) and Steve Hackett (Genesis). With Progressive Rock (in its many forms) now seemingly more popular than ever, this collaboration from members of two of the godfathers of the genre is hugely exciting. Chris Squire has appeared on every Yes album since 1969 and is widely regarded as one of the most influential bass guitarists of all time. Now an established solo artist, Steve Hackett first came to prominence as the guitarist with Genesis. He was with the band from 1970 to 1977 and played on six studio albums and featured on three live albums before leaving to concentrate on his solo career. The two met when Chris Squire was working on a solo album and needed some guitar parts. Chris was put in touch with Steve and through these sessions the idea for Squackett was born.

Steve Hackett's solo rock albums have grown few and far between from the '90s onward. So the release of To Watch the Storms was surrounded by a lot of expectations from fans and they shouldn't be disappointed. This is a wonderful record, full of touching, intelligent songs, stellar guitar playing, and great production. It continues in the same direction Hackett has been pursuing since Guitar Noir, a blend of mature songwriting, thoughtful arrangements, and odd rock numbers with progressive rock elements. Nothing needs to be taken out of this album. "Circus of Becoming" adds another example of Hackett's infatuation with quirky circus-sounding tunes, but this one is much better than "The Ballad of the Decomposing Man" (from Spectral Mornings)…

Prog rock pioneer Steve Hackett is releasing "Premonitions - The Charisma Recordings 1975-1983", a comprehensive reissue project that includes his first 6 albums, together with a wealth of previously unavailable recordings as well as remixes by Steven Wilson. ‘Premonitions’ comes in a super deluxe box set featuring a total of 135 songs on 10 CDs and 4 DVDs, plus an extensive booklet. Also included in this version are 67 previously unreleased recordings between old and new tracks, live and remixes.

Anthony Phillips was one of the original founding members of Genesis featuring Peter Gabriel, Tony Banks, and Michael Rutherford. Following "Trespass", Genesis' second album, Phillips left (purportedly due to stage fright) and was replaced by Steve Hackett. Nothing was heard again from Anthony until 1977, when he favored us with his first solo, "The Geese and the Ghost". Much of this recording sounds like a lost Genesis album, understandable since Phil Collins does a lot of the singing, and Michael Rutherford is present on guitar, bass, and keyboards, and also shares composer credits with him on major parts of this album…

The Way We Walk, Volume One: The Shorts is the fourth live album by British band Genesis. Eight songs were recorded live on the 1992 We Can't Dance tour, with the remaining three recorded on the 1986–87 Invisible Touch tour. While the album centres on Genesis' shorter and commercial songs, a companion piece, The Way We Walk, Volume Two: The Longs focuses on their lengthier material. The shared title of the two releases refers to the phrase "the way I walk," which appears in the lyrics to two different songs, "I Can't Dance" on Volume One, and "I Know What I Like" on Volume Two.

Genesis' second double live LP set in less than four years was originally a kind of a hybrid work, and has appeared in several different editions. There was confusion from the start because, despite its title, Three Sides Live in its British version, as Charisma GE 2002, had four concert sides. The U.S. version, which determined the title, was made up of ten live cuts recorded on-stage in Germany in 1981, with Daryl Stuermer and Chester Thompson in the group's lineup, doing the leaner, more pop-oriented repertory that constituted the group's sound by the early '80s, off of the albums Abacab and Duke. The resulting album offered lean, crisp, and generally bracing accounts of the group's then-current sound - a mix of pop/rock highlighted by some prodigious musicianship - and a four-minute glimpse of its progressive rock past in the guise of the "In the Cage Medley," containing "Cinema Show" from Selling England by the Pound…