A TRICK OF THE TAIL

Circa March of 1977, on their 'Wind and Wuthering' tour, Genesis made a stop at New Orleans' old Municipal Auditorium. With Chester Thompson on the drums to facilitate Phil Collins' relatively new position as lead vocalist, the band (fortunately also with Steve Hackett) delivered an entirely convincing performance. In this connection, I refer one to the album 'Seconds Out.'

After the show, one of our group responded, 'Peter who . . . ?'

In addition to the recently released 'Wind and Wuthering,' Phil and 'company' were touring 'A Trick of the Tail.' Released in early 1976, this album decidedly answered the question, could Banks, Collins, Hackett, and Rutherford carry on without 'Peter who . . .?' Although not explicitly a 'concept' album, 'A Trick of the Tail' bears affinity to a Twentieth Century phenomenon known as 'magic realism.'

In the world of literature, Gabriel Garcia Marquez' 'One Hundred Years of Solitude' and Gunter Grass', 'The Flounder' are prime examples of this tradition in literary expression in which 'the ordinary becomes extraordinary' and the 'extraordinary becomes ordinary.'

A modicum of investigation on the Internet has led me to the novel, 'The Inheritors' by William Golding, the final chapter of which is the source of inspiration for Tony Banks' song, 'A Trick of the Tail.' In 'The Inheritors,' Golding delves into the lives of a group of Neanderthals from the perspective of these individuals, who live in an 'eternal present' broken only by the passage of the seasons. Golding is concerned with the origins of religion, culture, sacrifice, and war. In this work's final chapter, the focus is on the perspective of the modern humans (homo sapiens sapiens) who coexist with the Neanderthals (homo sapiens neanderthalensis). Both groups treat each other with fear and suspicion.

In the song 'A Trick of the Tail,' Banks has kept the perspective of the curiosity of the one group for the other, but no longer maintains Golding's exploration of the Neanderthal by the modern human, rather presents the reaction of modern humans to the presence of one 'Bored of the life in the/city of gold . . . In search of another/to share his life.' Banks has transferred Golding's Neanderthal to the character of one who possesses 'horns' and a 'tail.'

And so, the album is an invitation to the listener to enter Banks, Collins, Hackett, and Rutherford's world of 'magic realism.' And, throughout, 'A Trick of the Tail' displays some of Genesis most potent instrumental prowess.

In any other work, 'Los Endos' could function as a fanfare, announcing all of the themes to follow. Here, the themes are stated in retrospect. In considering 'Los Endos,' I like to think of the Who's 'Overture' to 'Tommy.'

At this juncture, I'd like to mention that, during the mid-seventies as I became familiar with Genesis' music, I needed repeated listening to appreciate the virtuosity of Steve Hackett. As we enter 'A Trick of the Tail,' through 'Dance on a Volcano,' Hackett's guitar is considerably overt. In 'Entangled,' we encounter 'Freudian slumber empty of sound' replete with mesmerizing guitar and one of Tony Banks' truly towering final synthesizer solos.

Hackett's 'trademark' is his use of the volume peddle. The guitar work in 'Ripples' exemplifies his mastery of this device. To my '1976' ears, many of Hackett's performances initially registered as synthesizers. Simultaneously, Hackett delivers an exemplary 'rhythm guitar' performance in 'Squonk.' And employing the rubric 'less is more' during Bank's keyboard solo in 'Robbery, Assault, and Battery,' Hackett sustains a single note in an arc that transcends the proceedings.

On an individual level, I must state that 'A Trick of the Tail' holds a critical place in my appreciation of Genesis' music. With 'Selling England by the Pound,' 'A Trick of the Tail' ensured my readiness to approach 'Supper's Ready' and 'The Lamb Lies Down on Broadway.'

I suppose Banks, Collins, Hackett, and Rutherford send an 'acknowledgment' of esteem to 'Peter who' in the ending of 'Los Endos,' when Collins, referring to Rev 19:17 and 'Suppers Ready,' sings 'There's an Angel Standing in the Sun . . . .'

In reference to 'magic realism,' what more authoritative source could there be than the Book of Revelation?