Генезис: История альбома 1983 года

Genesis is the twelfth studio album by English rock band Genesis, released on 3 October 1983 by Charisma and Virgin Records in the UK and by Atlantic Records in the US and Canada. Following the band's tour in support of their 1982 live album Three Sides Live, Genesis took an eight month break before they regrouped in the spring of 1983 to record a new album. It is their first written and recorded in its entirety at their studio named The Farm in Chiddingfold, Surrey, and the songs were developed through jam sessions in the studio with nothing written beforehand. Hugh Padgham returned as their engineer. Genesis was the group's greatest commercial success at the time of release, becoming the band's third straight album to reach on the UK Albums Chart. It also reached No. 9 on the US Billboard 200, where it sold over 4 million copies. Five singles were released between 1983 and 1984; "Mama" was the lead single and remains the highest charting Genesis single in the UK, reaching While "Mama" stalled on the US charts, follow up single "That's All" reached there and became the band's first US top 10 hit. The band toured the album in 1983 and 1984, recordings from which formed the concert video Genesis Live: The Mama Tour. In 1985, the album received a Grammy Award nomination for Best Rock Performance by a Duo or Group with Vocal and "Second Home by the Sea" was nominated for Best Rock Instrumental Performance. In 2007, the album was re released with new stereo and 5.1 surround sound mixes.

In October 1982, the Genesis line up of drummer/singer Phil Collins, keyboardist Tony Banks, and guitarist/bassist Mike Rutherford, with live drummer Chester Thompson and live guitarist Daryl Stuermer, wrapped their two month tour of North America and Europe in support of the band's third live album, Three Sides Live. They had also performed a one off gig titled Six of the Best with original Genesis frontman and singer Peter Gabriel and former guitarist Steve Hackett to raise funds for Gabriel's world music festival WOMAD after it ran into financial trouble. Genesis then entered a period of inactivity, during which the band pursued their solo projects.

In the spring of 1983, the band reconvened at their studio, named The Farm in Chiddingfold, Surrey, to start work on a new studio album, their first since Abacab (1981). Genesis became their first album written, recorded, and mixed in its entirety at the studio room; previously they had to write in an adjoining space. Banks explained the album was the result of the group's decision to "write an album and record it in one go, from start to finish". The group considered their strongest material had been put together collectively, so they decided to make an entire album in such a way as opposed to developing someone's pre arranged ideas. The main keyboards that Banks used on the album are the Prophet 10, Synclavier, an E mu Emulator, a Yamaha CP 70 electric grand piano, and an ARP Quadra on "Mama". Collins plays on a Simmons electronic drum kit.

Genesis displays the group moving towards shorter, more straightforward, and radio friendly songs. Rutherford said that the band had gone as far as they could with their progressive and art rock direction that they had adopted since the early 1970s and wanted to write and record in a more relaxed approach as previously, the band were more driven to present what they had to offer.

"Mama" originated during a group jam session where Rutherford was experimenting with a Linn LM 1 electronic drum machine fed through a gated reverb and a Mesa Boogie amplifier, and "turned up incredibly loud" to the point of amplifiers jumping off the studio floor. Collins was influenced to go for a vocal that resembled John Lennon's style on his cover of "Be Bop a Lula" on the song's verses. His laugh was influenced by the 1982 song "The Message" by hip hop band Grandmaster Flash and the Furious Five, which features a similar sound. Padgham had brought the single to the band and upon hearing it, Collins did the laugh during the subsequent improvisation session for "Mama", which the band liked and wished to use in the song. The group had doubts as to whether Collins could recreate the laugh on stage, but he had no problems. "Home by the Sea" tells the story of a burglar who breaks into a house only to find it is haunted by ghosts, who capture him and then force him to listen to their life stories. Collins had repeated the phrase "home by the sea" while putting down dummy vocals at a time when Banks was writing lyrical ideas, and used the phrase to conjure up the story. The song originated with the band playing along to their Linn drum machine, during which Banks and Rutherford devised a guide theme on the keyboard and guitar, respectively, and Collins a vocal outline. With the guide parts laid out, the band then had a format as to its mood and how the song would take shape and developed it into a complete track. When the three were happy with what came out from it, they re recorded the song individually onto tape with Collins replacing the Linn drum tracks with his own. The former track segues into "Second Home by the Sea", a mostly instrumental piece developed from a group improvisation that began with Collins playing a drum riff which Banks and Rutherford liked and joined in. The working title was "Heavy Simmonds", a reference to Collins' playing. Collins aimed for a more adventurous style of drumming and went through a number of different styles, noting what he ended up playing was perhaps more than what the song called for. The chosen style was "that basic rock and roll part two and four on the snare, one and three on the bass. That's what made the tune work". Its working title was "Adam" because it had a rhythm that the group felt resembled something by singer Adam Ant, and the band thought a lyric that matched the "juvenile" music would fit it best. The album peaked at No. 9 on the Billboard 200 during a 49 week stay. In the United Kingdom, the album reached Gold certification by the British Phonographic Industry on the day of release for shipment of 200,000 copies. In December 1983, the album reached Platinum certification and, in October 1987 reached double Platinum, the latter for selling 600,000 copies.

In his feature article on the band and the album in a September 1983 edition of Sounds, writer Bill Black described Genesis as "an at times frustrating cocktail of the sassy songwriting" that Collins' solo albums apparently brought into the band's songs, "spiced with tantalizing reminders" of the band's more progressive and art rock past. He was critical of "It's Gonna Get Better", summarising it as "pure formula" and compared its backtracked keyboard sound to "cosmic Elgar", but rated "Mama" as "savage as you're likely to get with post Gabriel Genesis" and a notable departure from their earlier songs. The Kerrang! reviewer determined that for this album Genesis "have traded technical complexity and ingenuity for an altogether more stunning simplicity", making "a Genesis album for people who normally hate Genesis" and "great music for the masses". In his retrospective review for AllMusic, Stephen Thomas Erlewine criticised the album for lacking coherency, but found that a majority of the tracks are outstanding, "balancing such sleek, pulsating pop tunes as 'That's All' with a newfound touch for aching ballads." He also praised the band completely redefining themselves as a pop group.

All music written by Tony Banks, Phil Collins, and Mike Rutherford. "It's Gonna Get Better" contains a sample of the opening cello part of a ballet suite written by Aram Khachaturian.