|Single by Genesis|
|from the album Duke|
|Released||10 May 1980 (U.S.)|
5 September 1980 (UK)
|Length||3:11 (album version)|
3:04 (single version/video - sped up)
4:01 (Three Sides Live version)
|Label|| Charisma/Phonogram (UK)|
|Producer(s)||David Hentschel and Genesis|
|Genesis singles chronology|
"Misunderstanding" is a song by English rock band Genesis, released on their 1980 album Duke . It reached No. 14 in the U.S. and No. 42 in the UK.Its highest charting was in Canada, where it reached No. 1 and is ranked as the seventh biggest Canadian hit of 1980. It was also featured on the band's 1982 double-album Three Sides Live , where it led off side three.
Originally written by Phil Collins during the production of his debut solo album Face Value , the song ended up being donated (along with "Please Don't Ask") for Duke. According to Collins, the song was modeled after The Beach Boys' "Sail On, Sailor", Sly and the Family Stone's "Hot Fun in the Summertime" and Toto's "Hold the Line". Tony Banks said of the song: "All three of us were fans of The Beach Boys, so when Phil brought the song to the writing sessions, we thought it would be a fun one to work on. It has a California, summertime, surfer vibe to it that was unlike anything else we'd worked on in the past."
A music video, directed by Stuart Orme, was made for the song, featuring Tony Banks and Mike Rutherford playing their instruments (piano and electric guitar respectively) on the back of a truck, with a bearded Collins driving a 1950s model Ford convertible making stops at various locations around Los Angeles (the Capitol Records Tower can be seen in the background and street signs for Hollywood Boulevard are present) looking for his girlfriend (played by Max Factor spokesperson Linda Kendall).
Two different cuts of the video exist: one version featured alternate shots of Collins, as well as alternate shots of his girlfriend peppered throughout (including a shot of her at Griffith Park Observatory).This version was not used on any of the Genesis Music Video collections. Filming took place on location in Los Angeles from 24–27 May 1980 during concerts for the band's Duke tour there. Further evidence of the filming dates for the video are the billboards seen throughout, advertising The Hollywood Knights and The Nude Bomb , both films released in May 1980.
The song was featured on the U.S. leg of the Duke Tour of 1980, and was also featured on tours to promote future albums Abacab and Genesis . Despite its commercial success, it was dropped from the setlists of all the later tours. However a verse was sung sometimes in the We Can't Dance Tour's "Old Medley." Collins also played the song in its entirety with a horn section in the U.S. during his First Final Farewell Tour in 2004.[ citation needed ]
Duke is the tenth studio album by English rock band Genesis, released in March 1980 on Charisma Records. The album followed a period of inactivity for the band in early 1979. Phil Collins moved to Vancouver, Canada, in an effort to salvage his failing first marriage, while Tony Banks and Mike Rutherford recorded solo albums. Collins returned to the UK after his marriage ended and wrote a significant amount of material, some of which was used for Duke and some was later reworked for his first solo album, Face Value. Duke contained a mix of individually-written songs and tracks that evolved from jam sessions in mid-1979, while recording took place at the end of the year. The break in activity rejuvenated the band, and they found the album an easy one to work on.
Abacab is the eleventh studio album by English rock band Genesis, released on 18 September 1981 by Charisma Records. After their 1980 tour in support of their previous album, Duke (1980), 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.
"Too Busy Thinking About My Baby" is a Motown song written by Norman Whitfield, Barrett Strong, and Janie Bradford. The song was first recorded by The Temptations as a track on their 1966 album Gettin' Ready. Eddie Kendricks sings lead on the recording, which was produced by Whitfield. Jimmy Ruffin also recorded a version with The Temptations providing background vocals in 1966. It remained unreleased until 1997.
"Hot Fun in the Summertime" is a 1969 song recorded by Sly and the Family Stone. The single was released in the wake of the band's high-profile performance at Woodstock, which greatly expanded their fanbase. The song peaked at number 2 on the U.S. Billboard Hot 100 pop singles chart, kept out of the number 1 spot by "I Can't Get Next to You" by The Temptations. "Hot Fun in the Summertime" also peaked at number 3 on the U.S. Billboard soul singles chart in autumn 1969. It is ranked as the seventh biggest U.S. hit of 1969, and the 65th in Canada.
Turn It On Again: The Hits is a greatest hits album by British progressive rock/pop-rock band Genesis. The album was originally released as a single album on 26 October 1999 by Virgin Records in the UK and by Atlantic Records in the US.
"Jesus He Knows Me" is the second track on the 1991 Genesis album We Can't Dance and its fourth single. The song is a satire of televangelism, released in a period when several televangelists such as Jimmy Swaggart, Robert Tilton and Jim Bakker were under investigation for promising financial success to their listeners, provided they sent money to them. The song reached No. 10 in Canada, No. 20 in the United Kingdom and No. 23 in the United States.
"In Too Deep" is the fourth track on the 1986 Genesis album Invisible Touch. It was released as the second single from the LP in the UK and the fifth single in the US. The single was a success in America during the summer of 1987; it reached the No. 3 spot on the US Billboard Hot 100 chart, and the No. 1 spot on the Adult Contemporary chart. The song was only performed live during the 1986 North American legs during the Genesis 1986/1987 Invisible Touch world tour. An October 1986 performance of the song was included on the 1992 live album The Shorts.
"I Can't Dance" is the fourth track from the Genesis album We Can't Dance and was the second single from the album. The lyrics were written by drummer Phil Collins and the music was written by the whole band. The song peaked at number seven on both the US Billboard Hot 100 and the UK Singles Chart and received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals in 1993. The song also reached number one in Belgium and the Netherlands while peaking within the top five in Austria, Canada, Germany, and Portugal.
"No Son of Mine" is a song by British rock group Genesis, released as the lead single from their 1991 album, We Can't Dance. It reached No. 6 on the UK Singles Chart and No. 12 on the US Billboard Hot 100. It was also a top-10 hit in several European countries and peaked atop Canada's RPM Top Singles chart for five weeks.
"Driving the Last Spike" is the third track on the Genesis album We Can't Dance, released in 1991.
"I Missed Again" is a song from Phil Collins's debut solo album, Face Value. This song is the seventh song on the CD and the first song on the second side on the record. The song features a tenor sax solo from British jazz musician Ronnie Scott.
"Invisible Touch" is the title track and first single from the 1986 album of the same name by the English rock band Genesis. The song is a group composition which featured lyrics written by drummer and singer Phil Collins.
The discography of the British band Genesis contains 15 studio albums, six live albums, three compilation albums, and a variety of box sets. They have sold over 100 million albums worldwide, including around 21.5 million RIAA-certified albums in the United States
"Follow You Follow Me" is a love song written and recorded by English rock band Genesis. It was released in February 1978 as the first single from their ninth studio album, ...And Then There Were Three... (1978). The music was composed by the band, and the lyrics were written by bassist and guitarist Mike Rutherford.
"Throwing It All Away" is the seventh track on the 1986 album Invisible Touch by Genesis. It was the second single from the album in 1986, reaching No. 4 on the Billboard Hot 100 and No. 22 in Britain, where it was released as the last single of the album in 1987. In the U.S., it also went to No. 1 on Billboard's Adult Contemporary chart in October 1986 and the Album Rock Tracks chart in August 1986. The working title was "Zephyr and Zeppo".
"Tonight, Tonight, Tonight" is the second track on the 1986 album Invisible Touch by Genesis, released on 23 March 1987 as the fourth single from the album. It peaked at No. 3 in the US and No. 18 in the UK. The working title was "Monkey, Zulu".
"That's All" is a song by English rock band Genesis. It is a group composition and appears as the second track on their 1983 album Genesis. It was the album's second single after "Mama".
"No Reply at All" is a song by British band Genesis, released as the lead single in the US from their 1981 album Abacab. It was not released in the UK, where Abacab was the first single.
"Abacab" is a song by the British rock band Genesis, released on 14 August 1981. It was produced by Genesis and distributed in the United States by Atlantic Records and Warner Music Group. The song, written by Tony Banks, Phil Collins, and Mike Rutherford, was featured on Genesis' album of the same name and was a top 10 hit on the British pop chart, where it peaked at No. 9. The song was the second single from the album in the US, where it peaked at No. 26 on the Billboard Hot 100 chart in early 1982. It stayed in the Top 40 for six weeks.
"Turn It On Again" is a single by the English rock band Genesis, from their 1980 album Duke. It reached number 8 in the UK Singles Chart, becoming the band's second top 10 hit. The lyrics, by Mike Rutherford, concern a man who does nothing more than watch television. He becomes obsessed with the people he watches on it, believing them to be his friends.