Songs that Changed Music: Genesis - Turn It On Again

➡️➡️Learn more about "Turn It On Again" by Genesis here: https://producelikeapro.com/blog/turn-it-on-again-and-the-remarkable-transformation-of-genesis/

By the time Genesis had come together to record Duke, the band had nine albums and over a decade of experience under their belt. In the early seventies, Genesis had earned a reputation, and a cult following, for writing long and complex compositions with progressive sounds and theatrics. Gabriel’s departure in 1975, and guitarist Steve Hackett’s in 1977 certainly affected the band’s dynamic and sound, as they shifted towards a more pop oriented style. The band’s commercial success only grew with this shift and Collins on the mic; 1978’s …And Then There Were Three (Genesis’ first album after Hackett left the band) produced the band’s first UK top ten single, “Follow You, Follow Me”. While the band achieved remarkable success – the album hit number 3 in the UK and number 14 in the US – the band members have often described it as a difficult album for them both creatively and dynamically.

In the midst of recording Duke, Banks told Sounds in October 1979, “I think a lot of it is down to not having worked together for a while…Good ideas are coming out in rehearsals which hasn’t happened for some time.”

“Turn it On Again” is a phenomenal example of what could come out of this time of working and writing together. It evolved out of various pieces of material that the band had developed for other projects. In 2009, Banks explained:

“Mike wrote the main riff on ‘Turn It On Again’, which is really what is best about the song. We kind of put that bit – the bit he didn’t use on Smallcreep’s Day, curiously enough – with the bit I didn’t use on A Curious Feeling, and put these two together. We made it much more rocky, both bits became much more rocky, my bit was a bit more epic, and Mike’s bit was a bit slower and a bit more heavy-metal. And then Phil gave it a much more straightforward drum part (perhaps neither of us would ever have thought that we would want that on that bit) and it made it into something much better, I think.”

Rutherford’s infectious riff is the first deceptively simple element of the song. Its driving pulse hides a complex rhythmic structure. Rutherford explained that he only realized the hidden complexity, when Phil suggested that he play the riff at a faster speed: “…and then he said to me, ‘Do you realize it’s 13/8?’ and I said, ‘What do you mean it’s in 13? It’s in 4/4, isn’t it? ‘No, it’s in 13.” There’s a few ways to interpret the meter, but it comes down to a constant and smooth shift between alternating groupings of 4, 5, 6 and 7. And yet, Collins’ seemingly straightforward drum part completely masks the challenge of these tricky changes.

Collins’ vocal melody and performance also perfectly compliment the instrumentals’ dynamic drive, making the uneven phrasing seem natural and balanced. His passionate performance draws out Rutherford’s philosophical lyrics, telling the story of a man raised on television who is unable to distinguish the technological medium from reality.

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