If you play Genesis’ 1981 LP Abacab alongside Gabriel’s third solo LP, from 1980, they exist on a similar spectrum of the time’s futuristic synth-rock, just on different points in that spectrum. Their trajectories aren’t all that divergent in reality.
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You still have fans who worship the Gabriel years and swear off anything that happened after you have people who only know and love the hits you have people who regard it all as unredeemable cheese and excess of various breeds. Even in an era of no guilty pleasures, of revivals and reappraisals of all that was popular then unhip, Genesis’ legacy is a murky one. His career began, of course, as the frontman of Genesis, but he left years before they became ’80s pop monoliths, then led by Phil Collins, his old bandmate who remained his collaborator outside of Genesis. He’s a few-hit wonder who’s also a beloved legacy artist. His name is well-known, while a lot of his work is not. Along the way, he’s existed as a paradox. After all, it’s hard to even make sense of his arc: This is a guy who went from ’70s prog to an art-rock tinged with ’80s new wave and post-punk to experimental pop auteurism to becoming an elder statesman who goes a decade or more without releasing much in the way of new music.
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In the history of classic rock, few big names have had a career quite like Peter Gabriel’s.