"Abacab" is the eleventh studio album by English rock band Genesis, released on 18 September 1981 in the United Kingdom by Charisma Records and 24 September 1981 in the United States by Atlantic Records. After their 1980 tour in support of their previous album Duke, the band took a break before they reconvened in 1981 to write and record a new album. Abacab is the first Genesis album recorded at The Farm, a recording studio bought by the group in Chiddingfold, Surrey. It marked the band's development from their progressive roots into more accessible and pop-oriented songs, and their conscious decision to write songs unlike their previous albums. "Abacab" received a mostly positive reception from critics and was a commercial success for the band, reaching #1 on the UK Albums Chart and #7 on the US Billboard 200.
Genesis 1970-1975 is a box set of five studio albums by Genesis featuring Peter Gabriel. The 7CD/6DVD box set includes newly remixed versions of the albums Trespass, Nursery Cryme, Foxtrot, Selling England by the Pound and The Lamb Lies Down on Broadway. The band's 1969 debut album, From Genesis to Revelation, was excluded because of the band losing the rights to it. The fifth pair of discs includes B-side songs, 3 rare songs from BBC Sessions in 1970 and the never-before-released Genesis Plays Jackson soundtrack. Each bonus DVD features audio versions of the albums in 5.1 surround sound, as well as videos from each album's corresponding tour, new interviews, and photo galleries.
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…
Even though Franz Joseph Haydn is widely credited as the father of the string quartet, the Casal Quartet makes a startling claim that the honor may belong to Franz Xaver Richter, whose seven String Quartets, Op. 5, seem to have determined the character of the genre, from their first performance by Carl Ditters von Dittersdorf's quartet in 1757. Richter's quartets preceded Haydn's and Boccherini's earliest efforts by several years, suggesting that they were likely influential. Furthermore, the sophistication and polish of his Op. 5 suggests that he may well have composed other such quartets, though if he did, they are lost.
The Invisible Touch Tour, Genesis' biggest ever, coincided with the release of that album, which went on to be certified 6 x platinum by the RIAA. With a string of sold-out arena shows, the band was cast into the same league as concert stalwarts like the Rolling Stones and Grateful Dead.
Quickly released a few months after Genesis' reunion tour of the summer of 2007, Live Over Europe 2007 is a 21-track collection that finds Phil Collins, Mike Rutherford, and Tony Banks sampling from every era of the band's career, giving equal emphasis to pop hits and extended prog pieces…
What happens when you take a master of progressive rock and an accomplished Nashville producer engineer, and put them together with a host of top-flight Nashville session players to reinterpret one of the most revered 70s prog double-albums? In the case of Spock s Beard drummer Nick D'Virgilio and producer engineer Mark Hornsby, you get Rewiring Genesis A Tribute To The Lamb Lies Down on Broadway, and it's fantastic. While the original featured layers of classic synthesizers (ARP, Mellotron, etc.), there's none of that fake string or choir stuff going on here. Besides rock guitar, bass, and Nick's great drumming (and tasteful lead vocal work), The Lamb is filled with real strings, huge vocal arrangements, horn sections, and even some accordion! Clearly, it's not attempting to simply re-record the classic, it's a fresh and beautiful sounding reinterpretation.
More Than 90 Minutes Of The Spectacular Show Of The Genesis Of The Great Frame Knebworth. This opened THE TOUR OF THE "WE CAN NOT DANCE".