A TRICK OF THE TAIL

1. "Dance on a Volcano" opens with a bizarre wistle in time to the drums, but the guitar riff (mixed with liberal bits of synth) keeps the listener interested. Phil Collin's morally-tinged vocals are actually very good, and not as nasal as many people profess them to be. Keyboards are likely the strongest parts, and Steve Hackett works well with Tony Banks to supplement with his guitar. Overall, this track is not a highlight: it meanders, like many late '70s progressive rock albums, but retains a bit of power in the vocals and synthesizers.

2. "Entangled" is a true comedy in the vein of parts of "Supper's Ready" and "Get 'Em Out by Friday" from Genesis' previous album, Foxtrot. It begins in a minor key, with some rather sad guitar riffs and high register keyboard effects to highlight the farytale feeling. This piece of music seems to... float across rooftops in the dead of night, as the vocals describe. After a minute and a half, piano comes in, and Genesis' newly polished harmonic singing comes in for the melodic line. The song tells of hospitals raking up the bill after kindly helping someone back to their health. "Entangled" is an improvement on "Dance on a Volcano", and ranks slightly higher on my list. There are orchestra-hit-like mellotron pieces springled around as well, with choir-tron concluding the piece, making for better feelings toward this album on my side.

3. "Squonk" is an almost generic mid-to-late 1970's piece of prog, with surprisingly strong vocals, and excellent/warm synthesizer pads. Our drummer friend Mr. Collins works so very well in making the rhythm section work, falling away with a few tempo changes. The singing is a tad muddled, and not that exciting but for a few crescendos. The bass, guitar, and keyboards work together to form that Rutherford/Hackett/Banks balance which makes a long-time reviewer feel fuzzy inside. A decent piece of music!

4. "Mad Man Moon", considered experimental for 1976, has a contingent involving piano and vocals that change around in tempo. Mellotron, flute, drums, and bass work together to create a sorrowfully beautiful ballad of rather epic makeup. It creates a feeling of melancholy, almost inducing tears if a person is in the correct mood. Hackett's tortured guitar works well with the harmonic, echoed vocals, and Banks' signature mellotron/organ combo offers an immensely strong backing. Piano does not stand out as it did in 1973's "Firth of Fifth", staying mostly rhythmic, but it becomes much more melodic toward the second half of the piece. Non-Western percussion is added in, and synthesizers augment the piano's drifting, pastoral theme.. almost as if the moon is rising over a rapidly flowing river at night. Beautiful!

5. "Robbery, Assault & Battery" is one of my favourite pieces of music, period. The music is full of whimsey, sarcasm, and irony. If Gabriel had been present to sing on this song, I believe Collins would have done it more justice. Telling of a bank robbery, jail, and various happenings in court rooms, the song is exemplary for Collins' use of different pitch in his vocals to illustrate different characters. There is a short, yet frantic, bit of synthesizer solo in the middle section, augmenting the uptempo drums, all adding a bit of irony to the vocals, which tell of failure. Great drums, as well!

6. "Ripples" is almost throw away, except for the drums, piano, and bass. The power and beauty (dare I say glory, as well?), once the song actually gets going, rival much of 1972's Foxtrot and 1973's Selling England by the Pound. Whatever Banks did to practice piano, I want to take that lesson or meet that teacher, for his playing here is excellent. Synth horn adds a noble air to the proceedings, and the drums augment Collin's voice... overall, a grandiose experience.

7. "A Trick of the Tail", the centrepiece of the concept and of the album, is a story of an odd creature leaving its home, being found by humans, and leading humans there. It is strong, very strong, and attempts to show the world from the point of view of creatures which aren't human. Musically, it takes a backseat to the storyline and vocals, which are key to understanding and liking the song. However, the piano again comes up and makes everything else seem inconsequencial.

8. "Los Endos" begins with strong synth playing, excellent bongo/tom tom drumming, and an overall feeling of frantic desparation. I will not leave a structural description of this piece, as it is absolutely my favourite on this entire album, and needs to be heard by each in his or her own way. It is beautiful, and contains an end-of-the-album "goodbye" to Peter Gabriel... listen closely, and enjoy this one; it's a gem.

"A Trick of the Tail" does not retain the cohesiveness retained throughout "Trespass", "Nursery Cryme", "Foxtrot", and "Selling England...", but it is a strong prog album when standing alone. I would recommend this album heartily to anyone who loves prog, but to a newcomer to Genesis, find one of the earlier outings.

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