Recorded January 31., 1998 at Spodek Arena - Katowice, Poland

Tony Banks - keyboards, vocal
Ray Wilson - vocal
Mike Rutherford - bass, vocal
Anthony Drennan - guitar
Nir Zidkyahu - drums

Recorded January 31., 1998 at Spodek Arena - Katowice, Poland

Tony Banks - keyboards, vocal
Ray Wilson - vocal
Mike Rutherford - bass, vocal
Anthony Drennan - guitar
Nir Zidkyahu - drums

Phil Collins - lead vocals, percussion, drums
Tony Banks - keyboards, vocals, background vocals
Mike Rutherford - bass, guitar, background vocals

Additional musicians
Daryl Stuermer - bass, guitar
Chester Thompson - percussion, drums

Phil Collins - lead vocals, percussion, drums
Tony Banks - keyboards, vocals, background vocals
Mike Rutherford - bass, guitar, background vocals

Additional musicians
Daryl Stuermer - bass, guitar
Chester Thompson - percussion, drums

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.
Stephen Thomas Erlewine

Phil Collins – drums, percussion, vocals
Tony Banks – keyboards
Mike Rutherford – guitars, bass guitar

"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 once again 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-rocking 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."
Stephen Thomas Erlewine

Phil Collins – drums, percussion, vocals
Tony Banks – keyboards
Mike Rutherford – bass, guitars

Acoustic Guitar [12-string], Guitar [Lead], Dulcimer, Vocals – Anthony Phillips
Bass, Bass [12 String], Cello, Vocals – Michael Rutherford*
Directed By [Music Director] – Arthur Greenslade
Drums, Percussion – John Silver (2)
Lead Vocals, Flute, Accordion, Tambourine – Peter Gabriel
Organ, Piano, Keyboards [Mellotron], Guitar, Voice – Anthony Banks*

"After Peter Gabriel departed for a solo career, Genesis embarked on a long journey to find a replacement, only to wind back around to their drummer, Phil Collins, as a replacement. With Collins as their new frontman, the band decided not to pursue the stylish, jagged postmodernism of The Lamb Lies Down on Broadway -- a move that Gabriel would do in his solo career -- and instead returned to the English eccentricity of Selling England by the Pound for its next effort, A Trick of the Tail. In almost every respect, this feels like a truer sequel to Selling England by the Pound than Lamb; after all, that double album was obsessed with modernity and nightmare, whereas this album returns the group to the fanciful fairy tale nature of its earlier records. Also, Genesis were moving away from the barbed pop of the first LP and returning to elastic numbers that showcased their instrumental prowess, and they sounded more forceful and unified as a band than they had since Foxtrot. Not that this album is quite as memorable as Foxtrot or Selling England, largely because its songs aren't as immediate or memorable: apart from "Dance on a Volcano," this is about the sound of the band playing, not individual songs, and it succeeds on that level quite wildly -- to the extent that it proved to longtime fans that Genesis could possibly thrive without its former leader in tow."
Stephen Thomas Erlewine

Phil Collins – vocals, background vocals, percussion, drums
Steve Hackett – electric guitar, 12-string guitars
Tony Banks – organ, synthesizers, pianos, background vocals, 12-string guitar, mellotron
Mike Rutherford – bass guitar, 12-string guitar, bass pedals

Essentially a live best-of with one glaring omission, Live was issued in America nearly a year after it reached the Top Ten in England. A well-recorded showcase of the early group's concert sound, much of what is here actually works better than the studio versions of the same songs — "The Musical Box," "The Knife," "Return of the Giant Hogweed," and "Watcher of the Skies" are heard in livelier, tighter versions than their excellent originals.
Bruce Eder

Peter Gabriel – vocals, flute, bass drum, tambourine
Steve Hackett – lead guitar
Tony Banks – Hammond organ, Mellotron, Hohner pianet, 12-string guitar, backing vocals
Mike Rutherford – bass, bass pedals, 12-string guitar, backing vocals
Phil Collins – drums, backing vocals

Peter Gabriel – voice, percussion
Anthony Phillips – guitar, vocal
Tony Banks – keyboards, guitar, vocal
Mike Rutherford – bass, guitar, vocal
John Silver – drums, percussion, vocal
Chris Stewart – drums, percussion