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* 1986 - ''Invisible Touch'' (contains "Music/LandOfConfusion", which has its own page)

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* 1986 - ''Invisible Touch'' ''Music/InvisibleTouch'' (contains "Music/LandOfConfusion", which has its own page)


* DenserAndWackier: The band's songwriting got more surreal toward the end of Gabriel's tenure, culminating in ''Music/TheLambLiesDownOnBroadway''. Even Gabriel seemed to think the bizarre concepts had gotten excessive, as he reverted to simpler story songs in his solo career.

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* DenserAndWackier: The band's songwriting and Gabriel's costumes got more surreal toward the end of Gabriel's tenure, culminating in ''Music/TheLambLiesDownOnBroadway''. [[EveryoneHasStandards Even Gabriel Gabriel]] seemed to think the bizarre concepts theatrics had gotten excessive, as he reverted to simpler story songs in toned them down his solo career.


After fumbling to find a new direction, Genesis released ''...And Then There Were Three...'' in 1978, followed by ''Duke'' in 1980, which marked the start of the band's third era, as they broke into the mainstream with a slicker ArenaRock sound, again to Collins' initial hesitation. The band gradually recreated itself as one of the most successful pop/rock bands of the era, performing to massive audiences, topping the charts several times, and selling albums by the truckload. Most people were introduced to Genesis during this time, and they are most likely remembered for a string of sleek poppy radio hits released between 1983 and 1986, like "That's All", "Invisible Touch", "In Too Deep" and "Music/LandOfConfusion", the latter of which even got an iconic music video by the ''Series/SpittingImage'' staff.[[note]]It is, however, important to note that, despite the band's chart success as a pop/rock band, they continued releasing ProgressiveRock songs as album tracks during this period, though these were somewhat less complicated than the band's earlier material. Arguably, even some of the band's hit singles qualify as prog in their unedited album versions, such as "Tonight, Tonight, Tonight", "Home by the Sea", "Abacab", and possibly "No Son of Mine" and "Mama".[[/note]] Phil Collins also had a successful solo career during the time that Genesis was having hits, and his continued solo success eventually led to him leaving Genesis in good terms in 1996, as he wanted more free time to work on his own projects. Unfortunately, the next album following Collins' departure, 1997's ''Calling All Stations'', was not well-reviewed, and disappointing sales (prompting the band to cancel a planned US tour) put the band on hiatus as a result.

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After fumbling to find a new direction, Genesis released ''...And Then There Were Three...'' in 1978, followed by ''Duke'' in 1980, which marked the start of the band's third era, as they broke into the mainstream with a slicker ArenaRock sound, again to Collins' initial hesitation. The band gradually recreated itself as one of the most successful pop/rock bands of the era, performing to massive audiences, topping the charts several times, and selling albums by the truckload. [[NewbieBoom Most people were introduced to Genesis during this time, time]], and they are most likely remembered for a string of sleek poppy radio hits released between 1983 and 1986, like "That's All", "Invisible Touch", "In Too Deep" and "Music/LandOfConfusion", the latter of which even got an iconic music video by the ''Series/SpittingImage'' staff.[[note]]It is, however, important to note that, despite the band's chart success as a pop/rock band, they continued releasing ProgressiveRock songs as album tracks during this period, though these were somewhat less complicated than the band's earlier material. Arguably, even some of the band's hit singles qualify as prog in their unedited album versions, such as "Tonight, Tonight, Tonight", "Home by the Sea", "Abacab", and possibly "No Son of Mine" and "Mama".[[/note]] Phil Collins also had a successful solo career during the time that Genesis was having hits, and his continued solo success eventually led to him leaving Genesis in good terms in 1996, as he wanted more free time to work on his own projects. Unfortunately, the next album following Collins' departure, 1997's ''Calling All Stations'', was not well-reviewed, and disappointing sales (prompting the band to cancel a planned US tour) put the band on hiatus as a result.

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* DenserAndWackier: The band's songwriting got more surreal toward the end of Gabriel's tenure, culminating in ''Music/TheLambLiesDownOnBroadway''. Even Gabriel seemed to think the bizarre concepts had gotten excessive, as he reverted to simpler story songs in his solo career.


** Notably, they continued providing examples of this trope even after allegedly becoming a pop/rock band. The self-titled album has a two-song suite that reaches eleven minutes, while one song on ''Invisible Touch'' and two on ''We Can't Dance'' break the ten-minute mark. The ''Invisible Touch'' hit "Tonight, Tonight, Tonight" is nearly nine minutes long on the album, but was cut down to a more radio friendly four and a half minutes for its single release. ''Invisible Touch'' also includes the two-part epic, nearly eleven minute long "Domino".

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** Notably, they continued providing examples of this trope even after allegedly becoming a pop/rock pop rock band. The self-titled album has a two-song suite that reaches eleven minutes, while one song on ''Invisible Touch'' and two on ''We Can't Dance'' break the ten-minute mark. The ''Invisible Touch'' hit "Tonight, Tonight, Tonight" is nearly nine minutes long on the album, but was cut down to a more radio friendly four and a half minutes for its single release. ''Invisible Touch'' also includes the two-part epic, nearly eleven minute long "Domino".


* BadassLongcoat: Phil Collins appears to be channeling this trope in the very, ''very'' Film/BladeRunner-esque music video for the song [[http://www.dailymotion.com/video/x1flft_genesis-tonight-tonight-tonight-198_music "Tonight, Tonight, Tonight"]], which were both filmed [[http://en.wikipedia.org/wiki/Bradbury_Building at the same location]]. Later, Mike Rutherford and Tony Banks [[IncrediblyLamePun tried it on]] for the "Congo" music video.

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* BadassLongcoat: Phil Collins appears to be channeling this trope in the very, ''very'' Film/BladeRunner-esque music video for the song [[http://www.dailymotion.com/video/x1flft_genesis-tonight-tonight-tonight-198_music [[https://www.youtube.com/watch?v=E3xbLcTj_bs "Tonight, Tonight, Tonight"]], which were both filmed [[http://en.wikipedia.org/wiki/Bradbury_Building at the same location]]. Later, Mike Rutherford and Tony Banks [[IncrediblyLamePun tried it on]] for the "Congo" music video.


** Music/TheFlamingLips could be one to Gabriel era of the band with their stage theatrics.

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** Music/TheFlamingLips could be one to the Gabriel era of the band with their stage theatrics.


* RockOpera: "Supper's Ready," ''The Lamb Lies Down on Broadway'', and the suite from ''Duke'' (see "Concept Album" above) are the band's most extended forays into this trope, but they never really stopped doing it - see "Driving the Last Spike" and "Dreaming While You Sleep" on ''We Can't Dance'' for latter-day examples of mini-rock operas.

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* RockOpera: "Supper's Ready," ''The Lamb Lies Down on Broadway'', and the suite from ''Duke'' (see "Concept Album" above) are the band's most extended forays into this trope, but they never really stopped doing it - see "Driving the Last Spike" and "Dreaming While You Sleep" on ''We Can't Dance'' for latter-day examples of mini-rock operas. "Get 'Em Out By Friday", being structured like a play, also can be thought of as one.


->''"And it's 'Hello, babe', with you guardian eyes so blue\\

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->''"And it's 'Hello, babe', with you your guardian eyes so blue\\


->''"Looking for someone?\\
I guess I'm doing that..."''
-->--"Looking for Someone"

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->''"Looking for someone?\\
I guess I'm doing that..."''
-->--"Looking for Someone"
->''"And it's 'Hello, babe', with you guardian eyes so blue\\
'Hey my baby, don't you know our love is true?'"''
-->--"Music/SuppersReady"


** In "Jesus He Knows Me": "I believe in the family / With my ever-loving wife beside me / But she don't know about my girlfriend / Or the man I met last night...."

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** In "Jesus He Knows Me": "I believe in the family / With my ever-loving wife beside me / But she don't know about my girlfriend / [[BiTheWay Or the man I met last night....night]]...."


* SpiritualSuccessor: Music/TheFlamingLips could be one to Gabriel era of the band with their stage theatrics.

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* SpiritualSuccessor: Several candidates have popped up over the years, most of them in regards to the Gabriel era:
**
Music/TheFlamingLips could be one to Gabriel era of the band with their stage theatrics.theatrics.
** Music/{{Marillion}} are well-known for the amount of comparisons they garner to Gabriel-era Genesis, on account of their similar musical and performance styles. These comparisons were so common that when lead singer Fish left the band and embarked on his own solo career a-la Gabriel, he was stuck with the task of proving to everyone that he wasn't just a clone of Genesis' first frontman.
** Music/TalkingHeads have also received a number of comparisons to Gabriel-era Genesis, on account of their artsier music style compared to most PostPunk bands as well as frontman Music/DavidByrne sharing Gabriel's love of theatrical live performances in thematic costumes (most notably in Talking Heads' concert film ''Film/StopMakingSense''). Byrne also garners comparisons to Gabriel for his social consciousness and affinity for experimental WorldMusic.

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** In "Jesus He Knows Me": "I believe in the family / With my ever-loving wife beside me / But she don't know about my girlfriend / Or the man I met last night...."

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* FullCircleRevolution:
** "The Knife" is about how violent revolutions just lead to the entrenchment of a new dictator.
** "One for the Vine" combines this with a StableTimeLoop: the narrator [[spoiler:eventually becomes the dictator he started the song fighting against]].

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