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Genesis

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Genesis - The Lamb Lies Down On Broadway [Atco SD 2-401] (1974)

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Artist:

Genesis

Title:

The Lamb Lies Down On Broadway

Released: 1974
Label: Atco
Catalog: SD 2-401
Genre: Progressive Rock
Note: 2 LPs on 2 CDs


T R A C K L I S T:

Disc 1

01 The Lamb Lies Down On Broadway
02 Fly On A Windshield
03 Broadway Melody Of 1974
04 Cuckoo Cocoon
05 In The Cage
06 The Grand Parade Of Lifeless Packaging
07 Back In N.Y.C.
08 Hairless Heart
09 Counting Out Time
10 The Carpet Crawlers
11 The Chamber Of 32 Doors

Disc 2

01 Lilywhite Lilith
02 The Waiting Room
03 Anyway
04 The Supernatural Anaesthetist
05 The Lamia
06 Silent Sorrow In Empty Boats
07 The Colony Of Slippermen:
(i)The Arrival
(ii) A Visit To The Doktor
(iii)The Raven
08 Ravine
09 The Light Dies Down On Broadway
10 Riding The Scree
11 In The Rapids
12 It
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Album Review

The Lamb Lies Down on Broadway is the sixth studio album by the English rock band Genesis, released as a double album on 18 November 1974 on Charisma Records. It is their last album recorded with Peter Gabriel as the lead singer before his departure from the group in May 1975. Its concept centres around a Puerto Rican youth in New York City named Rael and his spiritual journey of self-discovery and the characters he meets on the way. Recording was met with several incidents, including Gabriel's temporary absences and his insistence on writing its lyrics, which put strains on the group.

The Lamb Lies Down on Broadway was released to initial mixed critical reception, though it has since been met with critical acclaim. It peaked at No. 10 on the UK Album Chart and No. 41 on the US Billboard 200. Two singles were released, ''Counting Out Time'' and ''The Carpet Crawlers''. Genesis toured the album in North America and Europe, playing the album in its entirety across 102 dates. The album continued to sell, and reached Gold certification by the Recording Industry Association of America for sales over 500,000 copies in 1990. [wikipedia.org]


Genesis - Wind & Wuthering [Atco SD 36-144] (1976)

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Artist:

Genesis

Title:

Wind & Wuthering

Released: 1976
Label: Atco
Catalog: SD 36-144
Genre: Progressive Rock
NOTE: US Release Jan. 7, 1977
T R A C K L I S T:
01 Eleventh Earl Of Mar
02 One For The Vine
03 Your Own Special Way
04 Wot Gorilla?
05 All In A Mouse's Night
06 Blood On The Rooftops
07 a. 'Unquiet Slumbers For The Sleepers...
07 b. ...In That Quiet Earth'
08 Afterglow
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Album Review

Stephen Thomas Erlewine [allmusic.com]

Wind & Wuthering followed quickly on the heels of A Trick of the Tail and they're very much cut from the same cloth, working the same English eccentric ground that was the group's stock in trade since Trespass. But if A Trick of the Tail played like Genesis' attempt at crafting a great Genesis record without Peter Gabriel, as a way of finding their footing as a quartet, Wind & Wuthering finds Genesis tentatively figuring out what their identity will be in this new phase of their career. The most obvious indication of this is Mike Rutherford's "Your Own Special Way," which is both the poppiest tune the group had cut and also the first that could qualify as a love song. It stands out on a record that is, apart from that, a standard Genesis record, but quite a good one in that regard.


Genesis - Abacab (Atlantic SD 19313) (1981)

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Artist:

Genesis

Title:

Abacab

Released: 1981
Label: Atlantic
Catalog: SD 19313
Genre: Rock
T R A C K L I S T:
01 Abacab
02 No Reply At All
03 Me And Sarah Jane
04 Keep It Dark
05 Dodo / Lurker
06 Who Dunnit
07 Man On The Corner
08 Like It Or Not
09 Another Record
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Album Review

by Stephen Thomas Erlewine [allmusic.com]

Duke showcased a new Genesis -- a sleek, hard, stylish trio that truly sounded like a different band from its first incarnation -- but Abacab was where this new incarnation of the band came into its own. Working with producer Hugh Padgham, the group escalated the innovations of Duke, increasing the pop hooks, working them seamlessly into the artiest rock here. And even if the brash, glorious pop of "No Reply at All" -- powered by the percolating horns of Earth, Wind & Fire, yet polished into a precise piece of nearly new wave pop by Padgham -- suggests otherwise, this is still art rock at its core, or at least album-oriented rock, as the band works serious syncopations and instrumental forays into a sound that's as bright, bold, and jagged as the modernist artwork on the cover. They dabble in other genres, lacing "Me and Sarah Jane" with a reggae beat, for instance, which often adds dimension to their sound, as when "Dodo" rides a hard funk beat and greasy organ synths yet doesn't become obvious; it turns inward, requiring active listening. Truly, only "No Reply at All," the rampaging title track (possibly their hardest-rocarole_king song to date), and the sleek and spooky "Man on the Corner" (which hides a real melancholy heart underneath its glistening surface) are immediate and accessible -- although the Mockney jokes of "Who Dunnit?" could count, it's too much of a geeky novelty to be pop. The rest of Abacab is truly modern art rock, their last album that could bear that tag comfortably.


Genesis - Three Sides Live [Atlantic SD 2-2000] (1982)

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Artist:

Genesis

Title:

Three Sides Live

Released: 1982
Label: Atlantic
Catalog: SD 2-2000
Genre: Rock / Progressive Rock
T R A C K L I S T:
01 Turn It On Again
02 Dodo (including "Lurker")
03 Abacab
04 Behind the Lines
05 Duchess
06 Me & Sarah Jane
07 Follow You Follow Me
08 Misunderstanding
09 In the Cage Medley ("In the Cage" / "The Cinema Show" / "The Colony of Slippermen")
10 Afterglow
11 Paperlate
12 You Might Recall
13 Me and Virgil
14 Evidence of Autumn
15 Open Door
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Album Review

William Ruhlmann [allmusic.com]

Genesis' second double live LP set in less than four years was originally a kind of a hybrid work, and has alan_parsonseared 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. Phil Collins is in good voice throughout and the playing is often impressive, achieving some excitement and intimacy despite the arena-sized audiences to which the group was now playing. The original U.S. version filled out the hour's worth of live 1981 material (ending with "Afterglow") with the Top 40 hit "Paperlate" (which had alan_parsonseared in England on the EP 3 X 3) and other recent single/EP cuts. Those sides were eliminated when the album was remastered for CD reissue in 1994. Curiously, neither Three Sides Live nor Seconds Out had found room for a live version of the hit single "Your Own Special Way."


Genesis 1983 Genesis (Atlantic 80116-1)

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Artist:

Genesis

Title:

Genesis

Released: 1983
Label: Atlantic
Catalog: 80116-1
Genre: Rock / Pop
T R A C K L I S T:
01 Mama
02 That's All
03 Home By The Sea
04 Second Home By The Sea
05 Illegal Alien
06 Taking It All Too Hard
07 Just A Job To Do
08 Silver Rainbow
09 It's Gonna Get Better
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Album Reveiw

by Stephen Thomas Erlewine [allmusic.com]

Moments of Genesis are as spooky and arty as those on Abacab -- in particular, there's the tortured howl of "Mama," uncannily reminiscent of Phil Collins' Face Value, and the two-part "Second Home by the Sea" -- but this eponymous 1983 album is indeed a rebirth, as so many self-titled albums delivered in the thick of a band's career often are. Here the art rock functions as coloring to the pop songs, unlike on Abacab and Duke, where the reverse is true. Some of this may be covering their bets -- to ensure that the longtime fans didn't jump ship, they gave them a bit of art -- some of it may be that the band just couldn't leave prog behind, but the end result is the same: as of this record, Genesis was now primarily a pop band. Anybody who paid attention to "Misunderstanding" and "No Reply at All" could tell that this was a good pop band, primarily thanks to the rapidly escalating confidence of Phil Collins, but Genesis illustrates just how good they could be, by balancing such sleek, pulsating pop tunes as "That's All" with a newfound touch for aching ballads, as on "Taking It All Too Hard." They still rocked -- "Just a Job to Do" has an almost nasty edge to its propulsion -- and they could still get too silly as on "Illegal Alien," where Phil's Speedy Gonzalez accident is an outright embarrassment (although in some ways it's not all that far removed from his Artful Dodger accent on the previous album's "Who Dunnit?"), and that's why the album doesn't quite gel. It has a little bit too much of everything -- too much pop, too much art, too much silliness -- so it doesn't pull together, but if taken individually, most of these moments are very strong, testaments to the increasing confidence and pop power of the trio, even if it's not quite what longtime fans might care to hear.


Genesis 1986 Invisible Touch (Atlantic 81641-1-E)

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Artist:

Genesis

Title:

Invisible Touch

Released: 1986
Label: Atlantic
Catalog: 81641-1-E
Genre: Rock / Pop
T R A C K L I S T:
01 Invisible Touch
02 Tonight, Tonight, Tonight
03 Land Of Confusion
04 In Too Deep
05 Anything She Does
06 Domino
07 Throwing It All Away
08 The Brazilian
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Album Reveiw

by Stephen Thomas Erlewine [allmusic.com]

Delivered in the wake of Phil Collins' massive success as a solo star, Invisible Touch was seen at the time as a bit of a Phil Collins solo album disguised as a Genesis album, and it's not hard to see why. Invisible Touch is, without a doubt, Genesis' poppiest album, a sleek, streamlined affair built on electronic percussion and dressed in synths that somehow seem to be programmed, not played by Tony Banks. In that sense, it does seem a bit like No Jacket Required, and the heavy emphasis on pop tunes does serve the singer, not the band, but it's not quite fair to call this a Collins album, and not just because there are two arty tunes that could have fit on its predecessor, Genesis. There is a difference between Collins and Genesis -- on his own, Phil was lighter, and Genesis was often a bit chillier. Of course, the title track is the frothiest thing the band ever did, while "In Too Deep" and "Throwing It All Away" are power ballads that could be seen as Phil projects, but "Land of Confusion" was a protest tune and "Tonight, Tonight, Tonight" was a stark, scary tale of scoring dope (which made its inclusion in a Michelob campaign in the '80s almost as odd as recovering alcoholic Eric Clapton shilling for the brewery). But those songs had big hooks that excused their coldness, and the arty moments sank to the bottom, obscured by the big, bold pop hooks here -- pop that was the sound of the mainstream in the late '80s, pop that still effortlessly evokes its time.

Genesis' Biography

by Bruce Eder [allmusic.com]

Genesis started life as a progressive rock band, in the manner of Yes and King Crimson, before a series of membership changes brought about a transformation in their sound, into one of the most successful pop/rock bands of the 1980s and 1990s. In addition, the group has provided a launching pad for the superstardom of members Peter Gabriel and Phil Collins, and star solo careers for members Tony Banks, Michael Rutherford, and Steve Hackett. Their roots go back to 1965 and a pair of rival groups, the Garden Wall and the Anon, formed by students at the Charterhouse School in Godalming, Surrey. They merged, with the result that 15-year-olds Peter Gabriel, Tony Banks, and Michael Rutherford joined with 14-year-old Anthony Phillips, calling themselves the New Anon and recording a six-song demo featuring songs primarily written by Rutherford and Phillips.

Charterhouse alumnus, recording artist, and producer Jonathan King heard the tape and arranged for the group to continue working in the studio, and it was also King who renamed the band Genesis. In December of 1967 they cut their debut single, "The Silent Sun," a very deliberate Bee Gees-style pastiche -- it was released in February of 1968 without attracting much notice from the public, and a second single, "A Winter's Tale," followed with similar neglect. They also ran through a couple of drummers during this period, Chris Stewart and John Silver. At this time, the group's music was a form of lyrical folk-based progressive pop, built on lush melodies primarily carried on acoustic guitar and piano, with lyrics that tended toward the florid and trippy -- psychedelia was in vogue, and Genesis showed an exceptional facility with poetic content as well as gorgeous melodies. Their debut album, From Genesis to Revelation -- which the group has all but disowned in the decades since -- was released in March of 1969, and passed without too much notice from the music press or the public. The members began thinking about getting on with their lives outside of music, and especially attending college. But they felt strongly enough about their work to try making it as a professional band. The re-formed in 1969 and got their first paying gig in September of that year, and spent the next several months working out new material, with new drummer John Mayhew aboard.

Genesis soon became one of the first groups signed to the fledgling Charisma label, founded by Tony Stratton-Smith, and they recorded their second album, Trespass. That record, released in October of 1970, showed the first signs of the band that Genesis would become. The music was still folk-based, some of the songs couldn't quite carry their length, and they had some way to go in terms of vocal and instrumental finesse, but it had reach if not grasp -- most of the album was comprised of extended pieces, sung with dramatic intensity, and with complex parts for all of the instruments.

Genesis then lost two members. Mayhew left over the unhalan_parsonsiness with aspects of his playing, and was replaced by Phil Collins, a former child actor turned drummer who had previously played with Flaming Youth -- he also added an occasional additional lead vocal to their sound. Much more unsettling was the departure of guitarist Anthony Phillips, who had developed crippling stage fright. For some time afterward, Genesis worked as a four-piece with the guitar parts covered by Banks' keyboards. Finally, just prior to Genesis beginning work on their next album, their lineup was completed with the addition of guitarist Steve Hackett, a former member of Quiet World. The band's next album, Nursery Cryme, was recorded so close to his arrival that Hackett hardly played on it -- most of the guitar parts were written and played by Michael Rutherford, and the centerpiece of the new album, "The Musical Box," used material that Phillips had composed. There was hardly a weak moment on the record, and the music was far more exciting -- and witty -- than most of the progressive rock of the period. The heart of the record was "The Musical Box," a song telling a Victorian-era story of children, murder, and ghostly alan_parsonsaritions that was worthy of the classic horror film Dead of Night. And while it might not have become a pop culture phenomenon, the album and the song did find an audience among collegiate listeners. The theatrical attributes of Gabriel's singing fit in well with the group's live performances during this period as he began to make ever more extensive use of masks, makeup, and props in concert, telling the framing stories in order to set up their increasingly complicated songs. Part of the reason for the stories was practical -- it gave the others, especially Hackett, a chance to retune their instruments. When presented amid the group's very strong playing, this aspect of Gabriel's work turned Genesis' performances into multimedia events. And word soon began to spread about Genesis being an act that was worth hearing and, even more so, worth seeing in concert.

Foxtrot, issued in the fall of 1972, was the flash point in Genesis' history. The writing, especially on "Supper's Ready" -- a conceptual piece taking up an entire side of the LP -- was as sophisticated as anything in progressive rock, and the lyrics were complex and clever, but the record was never boring, or even less than bracing. It became their first to chart in England, reaching number 12. Genesis' live performances by now were practically legend. Rock music had always contained a theatrical element, which had reached new levels in the late '60s. But Peter Gabriel, with his growing array of costume changes and acting out of roles, far transcended anything seen on a rock stage -- it was true rock theater, and an intense listening experience.

In early 1973, the band allowed a group of performances to be taped for American radio, and with a live tape on hand and a gap to fill between studio albums, Stratton-Smith convinced the band to let him issue that same performance, in edited form, as the group's first concert album. Genesis Live featured songs from across three of their albums, including "The Knife," "The Musical Box," and "Watcher of the Skies," presented in their most recent and dramatic incarnations. The group's next release, Selling England by the Pound (1973), was also their biggest seller to date, reaching number three in England and number 70 in America. They were still a cult band in the United States, but thanks to a lot more FM radio play, their music was getting heard beyond the ranks of the cultists, and finding new listeners by the thousands, especially on college campuses.

The release in late 1974 of The Lamb Lies Down on Broadway also marked the culmination of the group's early history. A concept album with a very involved story and a large cast of characters, its composition had been difficult, involving a story outlined and written (along with most of the lyrics) exclusively by Gabriel. A creative split developed between him and the others, however, and the division grew worse during the tour that followed. In May of 1975, Gabriel announced that he was leaving Genesis, at what seemed the very moment of their commercial breakthrough. The Lamb Lies Down on Broadway had been a breakthrough as well, played heavily on progressive FM stations and selling in far greater numbers than anyone expected of a double LP by this group -- it just missed the Top 40 in the United States, while in England it got to number ten.

The group tried auditioning potential replacements, but it became clear that the remaining members all preferred that Phil Collins -- who had provided some vocals on the group's three prior albums -- take over as lead singer. Genesis returned to the studio as a quartet in October of 1975 to work on their new album, and the resulting Trick of the Tail was not a huge departure from their earlier work -- there were still musically challenging progressive songs on the album. The latter were reined in a bit, however, and there was some effort to make the album and the music as accessible as possible. And it worked, the album reaching number three in England and number 31 in America, their best chart showing up to that time.

Their 1977 album Wind & Wuthering contained a genuinely alan_parsonsealing pop song, "Your Own Special Way," which helped to loft it to number three in the U.K. and number 26 in the United States. Soon after, Hackett announced that he, too, was leaving -- he was replaced on subsequent concert tours by Daryl Stuermer, but there was no permanent replacement in the studio; instead, Rutherford played all of the guitar parts on their subsequent recordings. In 1978, Genesis released the alan_parsonsropriately titled And Then There Were Three -- with sales driven by the hit single "Follow You, Follow Me," the album got the group its first gold record award. By this time, the group had become a pure pop outfit, and its subsequent albums Duke (1980) and Abacab (1981) both topped the charts in England while brushing near or reaching the Top Ten in America.

In 1983, the band regrouped for the self-titled Genesis, which furthered the group's record of British chart-toppers and American Top Ten hits, becoming their second million-selling U.S. album. Two years later, the group outdid itself with the release of its most commercially successful album to date, Invisible Touch, which -- driven by a quintet of Top Ten U.S. singles, including a number one chart placement for the title song -- went platinum several times over in America.

It was seven years before the band released its next album, We Can't Dance, which debuted at number one in England and got to number four in America. During that time off, each of the members had done extensive solo work, and Collins had already become a superstar in his own right. We Can't Dance was Collins' last album with the group, and with him they also lost Chester Thompson and Daryl Stuermer from the touring band. Calling All Stations (1997), featuring new vocalist Ray Wilson, seemed to please neither critics nor fans, and Wilson left the group at the conclusion of the accompanying tour. The group was on hiatus for most of the next decade, which saw the release of a pair of box sets, Genesis Archives, Vol. 1 and Genesis Archives, Vol. 2, covering the Gabriel and Collins eras, respectively. Banks, Rutherford, Hackett, Collins, and Gabriel regrouped for a one-off re-recording of "The Carpet Crawlers" for inclusion on the compilation Turn It on Again: The Hits.

Genesis were hardly heard from except in an archival capacity for most of the first decade of the 21st century. A 2007 reunion tour featuring Collins, Banks, and Rutherford got decidedly mixed critical reviews, and yielded a lackluster live CD/DVD set. But it coincided with a wave of upgraded, double-disc reissues of most of Genesis' catalog and a quartet of box sets covering their history from Trespass forward -- including a complete issue of a legendary 1973 Rainbow Theatre performance -- which have rendered them among the most thoroughly documented groups of their generation.
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