Patrick Bateman, the iconic serial killer from American Psycho, had this to say about Genesis’ masterful 10th LP, moments before filming two prostitutes have kinky sex: “Do you like Phil Collins? I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn’t understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins’ presence became more apparent.”

That’s one rock-smart psychopath. Indeed, Duke marks a new Genesis era, introducing Collins as a formidable pop songwriter. Following his 1979 divorce, the heartbroken frontman-drummer casually started work on a solo album (1981’s Face Value), but bits of this material — including the “ooh-ooh” anthem “Misunderstanding” — slipped onto Duke. Collins sounds newly invigorated as a singer, especially singing words he’d written himself. But, much like Abcabab after it, this album is the work of a unified group, with many of the tracks (the groovy “Behind The Lines,” the instrumental showcase “Duke’s Travels”) resulting from full-band jams. That spirit is contagious.