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Genesis - A Trick of the Tail CD (album) cover

A TRICK OF THE TAIL

Genesis

 

Symphonic Prog

4.27 | 1751 ratings

From Progarchives.com, the ultimate progressive rock music website

Per Köhler
5 stars From the stylish pen of Anthony Banks is the first solo composition on Trick taken. I knew about A Trick of the Tail before I heard Mad Man Moon, simply because it didn't find room on the cassette A side(45 min) I had from a friend and I wasn't even informed about its existence. Not until I had another cassette from the same guy, I became enlightened on the subject. Is Mad Man Moon an important song on Trick? Well, all tunes carry a hallmark of importance you may suggest and that is probably indisputable, but some are even more relevant than others. To use the language of Isaac Newton; the centre of gravity rests on this celestial body. If this genius of a scientist was given the chance to define Moon, he would probably call it the centre point of the record. Besides, also while he's observing the sunbeam pass through the spectrum in his darkened room, seized the opportunity and just relished the waves of the great music. Mad Man Moon is a tremendously essential part of Trick; it solidifies the quartet's integrity and potential. Had last track on side A failed, then the skeptics(they were frequent as flies) had exulted and cut the quartet in pieces. No matter how good other parts of the album had sounded. Luckily they never got the opportunity, the most recalcitrant antagonist rather had to accept the new formation of Genesis, without reservation. At least the bulk of them.

An acquaintance of mine, he considered Tony Banks the finest composer in the world. If you pay attention to Moon you will soon find out what a scholarly is already well-informed on. The feeling of musical is obvious; an open, large and airy approach rules. Had Mozart(more historical figures, as we are narrowed and limited today) descended from his paradisiacal position and joined a collaborative band at the present day, probably he would have learnt the song by heart just as fast as a damsel changes object for her innermost love. But he should not really surpass the uppermost Mad Man Moon compositionally. The tune is the logical continuation of earlier flagship Firth of Fifth; it displays rich and mellow piano parts, keyboard strings and flute like synthesizer. In the absence of ex-singer/flutist Gabriel, Banks does his best to imitate the woodwind instrument. Bearing the circumstances in mind, the try is acceptable. What's lacking is the human vibrato and intonation, which is nearly impossible to copy on an electronic device. But it's unsure if one really misses its inclusion here. It is appealing to fantasize about the presence of a full orchestra but on the other hand it may have sounded detached, compared to the composers own integrated and single-minded playing. The chorus is unbeatable, if your eyes weren't wet during the verses they will guaranteed become at the peak of this exquisitely carved composition. You have never before been so carried away by a melody belonging to contemporary music, and most likely you will not later either. The extensive instrumental section sweeps through the centuries and isn't really set in any specific era. Had Tony Banks gone the other way, back in time, it would have echoed in the lofty music chamber from the pearlescent cembalo. Key changes as in 'In the Cage', another highlight from Banks, had been expressed on the ivories with unequivocal finery. If you listen carefully to the subsequent vocal section you may detect a unique b. vox from Banks himself. Tony Banks is the only member of the band who has spent 100% of his energy on Genesis. Everybody else has been away on various projects from time to time but the keyboardist took his oath of allegiance to the group. We are thankful for this measure and partake of Mad Man Moon on a shining silver plate, comfortably perched on the regal throne.

Why did Phil Collins become the new lead vocalist of Genesis? Who could imagine a top-ranked world class drummer leaving his drum stool for a standing position at the microphone? Even if Collins was a competent songster he's still a better drummer. Hadn't the band recorded the backing tracks in advance there was at least one strong candidate, but the pre-recorded tapes didn't suit his voice. All well documented in the history books. Not even after the record was completed Genesis gave up their search, but as we know, in vain. There's still a big question mark hanging in the air. How did Banks/Rutherford find vocalists Kim Beacon/Noel McCalla on their respective debut solo albums? Any of them could, technically seen, have joined the band as well. Above all Banks' singer has a resemblance to Collins' moderate and dampened style. They were both first- or second choice and not competing with hundreds of others. The participant of the large squad Alan Parsons Project? We're talking mid-seventies and the progressive movement is at its peak, the international scene is crowded with promising names. Despite a slight accent, a thinkable solution...Didn't ELP(or what became ELP) pluck a talent from a rivaling top-act..? Let's stop here. If a honey jar attracts the peckish bee, then Genesis must be a smorgasbord for a singer. An established and highly desirable act ought to have a variety of possibilities, but a directing hand from above had obviously defined the future for Genesis and settled the new line-up. Or were there other reasons involved? Perhaps the quartet deep down didn't want to bring in an untrustworthy outsider, in fear of future collisions and dissension(there were some in the past). After all it's easier to handle four than five wills. Also more space and preferably more paying. The question is interesting, when Hackett left there was no doubt about it. Not even the most splendid, fitting and obliging guitarist on the planet bothered! The guitar shoes belonging to the famed S. Hackett were deliberately left empty.

Still there's an Entangled and it's one of Hackett's highlights during his sojourn. As you can read yourself the writing credit says 'Hackett/Banks', and why bother bout that? Tony Banks is credited on every single track on 'Trick' even if his input differs highly from title to title. Hackett wrote both great achievements Voyage/Please Don't Touch by and large himself, so why didn't he succeed in at least one during the four-piece era? Pure coincidence perhaps but still worth noticing. However, the second song on Trick is unique in a number of ways. Collins creates single-handed a Crosby/Stills/Nash display of phenomenal standard. He takes their multi layered vocals and transfers them into progressive land; hats off to the music god who gave us eardrums and an astute mind adapted to clever listening. The choruses are richer and gentler than everything imaginable, even for your own symph heroes Genesis. Like taken directly from the flowery landscape witnessed from the porch of a remote country-house. You are indeed surrounded by loose and soothing mould. It has to be the most 12-string dominated recording ever from Genesis. Played by Hackett, Rutherford and Banks, that is by now ¾ of the band. The minor portions of electric guitar feel almost out of sight. The lyric is inspired by a painting from Brazilian artist Kim Poor, likewise known as better half of Steve. The couple was newly wedded at the time and it's a most impossible task to find out why Hackett's inspiration shouldn't be seething with fervour. Mrs. Poor, one can't neither disregard her art/moving paintings nor her own exotic charisma. The mild and unconcerned Atlantic winds blowing along the sandy strands of Brazil had an impact on the Victorian A Trick of the Tail. Back in the puritan old world, folks got their breakfast tea down the wrong way by the unconstrained and unbridled beauty of Entangled. It is Steve Hackett's debut not musically but lyrically on the album and no one will have this undone.

Let's regard it from the peculiar and confounding state right in between dream/awakening. Here you are alert enough to be aware of your inexplicable sights but still incapable of escaping your horrors. Next to the heart-rending love songs, the dream state is about the most worn out lyric choice. To catch the attention of the listener you have to come up with a try to something fresh. Hackett really does here, actually Entangled is a sterling counterpoint to 'Counting Out Time' in its field. It's subtle and earnest. We need more exploratory lyrics on this subject. Bearing both For Absent Friends and More Fool Me in mind, even if a fifth member had been brought in we would rightly have heard Collins sing here, not least because he's jobless on the drums, but just as much on account of his timely strength and authority. Entangled is on the stronger side of the vocal feats on Trick, and there are more to be proved. The almighty keyboard final turns the average church organ equipment into a toy instrument. The whole canopy and its underlying universe seem to be a vital part of this primeval force. If there's over intelligent life in the Andromeda galaxy, then they probably have located at least some parts of Tail and accordingly invented a brand new genre; Universal Music. More facts, Entangled is the first song that Hackett introduced on stage. The sitting guitarist stood up and finally made his voice heard live. Not entirely without problem, he stopped short and had to start all over again, slightly embarrassed. Anyhow, the ice was broken. Steve was even heard doing one of the vocal parts as his confidence rose.

As demonstrated, much happened in a year after Gabriel had left. The extra five percent of room he offered each and every remaining comrade were utilized to the breaking-point. Though never calculated mathematically, it became a true to life equation. If Entangled was erudition in the art of 12-string acoustic then Dance on a Volcano is an eruption of the equivalent electric. In other words, the upper half of Rutherford's double-neck. The weight of the song is equivalent to the hostile surroundings on this gruesome mountain. Possibly the heaviest and smokiest Genesis composition regulated from an adjacent control room. The volcano is actually just as big a threat, or even worse, than the comet from outer space. We all know 'bout the extinction of the dinosaurs but long before that, there are theories about a sinister volcano which annihilated about 90% of all living species on mother earth. Or at least greatly contributed to it. The small percentage that trod on and finally led to the human race can justly be said to have chosen the right steps in their pre-historic dance. Music is also a vital part here, the raw and thunderous 12-string has been mentioned. Volcano is the song where its dimensions come to life. Together with monumental Achilles Last Stand(both recorded late 75 and released 76), Volcano owns the most refined effects of the underused instrument. The Old Norse Tor defies Greek deity Atlas in a trial of strength. Rutherford, Banks and Collins began rehearsing as Hackett was belated by his solo, or pre-Genesis project. It's only question about a couple of days, but even this limited period was telling. Would Volcano have behaved differently if Hackett had been present from minute one? Not impossible as it was entirely set up in the heat of the moment. In any case, the finished product doesn't ask for any restructuring. The scorching mid section is very tough indeed, both in tone and wording. Hackett's influence and writing are apparent in last part of the title. For some inexplicable(or explicable) reason it was sacrificed live, it became a dual drum solo and a medley linked to Los Endos. The drum performance notwithstanding, how would the full version have developed on stage? The playful half speed sound distortions are also to be found on Please Don't touch, which indicates whose behind this invention.

Who said that the wind instrument danced out with the departure of Gabriel? They have probably missed out the whistle just before the five min. mark. Slightly more monotonous in the long run than the flute though. The gimmick didn't recur. Volcano contains, as you count out, the obligatory 7/8 time signature. A prog album with self-esteem shan't lack a portion of it. 4/4 will is for the slick pop listener, the prog nature is striving for the oddities. Dance on a Volcano is hardened and steadfast in build, but indefinable in its potency. Beethoven's 5th might be more inclusive when it comes to length and the actual number of participants, but who says that even the top three- composer could create the amount of Con Fuoco in just six flying minutes? Grieg's 'In the Hall of the Mountain King' would definitely be put to the test against this lava spouting massif!! Squonk is another title that false-started with the three-piece line-up. Similar instrumentation, 12-string electric/bass-pedals, keyboards and the accompanying drums. If you listen to the remastered version in a first-class sound setting, you will be fully aware of the quadrangular nature of Squonk's edifice. Is this a clear sign of the new Genesis? Some people may claim this and say that the quartet have become a more straightforward and linear affair. It's allowed to assert the opposite as well; they didn't become anything at all, what happened was that they lost one member, and what was left acted in the same manner as they used to. Or at least would have done in a similar situation. Gabriel was given to the odd costume, the acrobatic vocal style with its surreal lyric, the outlandish sound source...Banks/Rutherford are both inclined to more basic strategies, which saw the light of day on Trick. There are improvements, the drum sound on Squonk, to say nothing of the rest of Trick, is blatant. In an environment with frequent and extended drum breaks, the ace Collins deserves to be noticed when he's playing. From now on, and even more accentuated in the eighties, there's no chance to limit his uplifted position. Squonk intensifies without any solos or real instrumental outbreaks. Rutherford's pounding bass(he switches there and back on pedals/guitar) shortly after 2.30 is a rise in temperature. Tony Banks distinguishes himself with an exclusive synth part, a song within a song. The end section kneels down in a psalm like manner and fades out ceremonially. Some may see this as an anti-climax in an otherwise forceful composition, others as a solemn part of a thoroughly good song. On the live version there's an additional end section.

To study the instrumentation list is an everyday experience for the temporary listener. For the qualified it's a fundamental part, and the biggest experts even notice the invisible. Regarding the order of the musicians, if you turn it upside down you will find Hackett's name on top. Is it alphabetical order? In order of appearance/contribution? Is it a coincidence? Had the outside activities of the guitarist a vital role here? On 'Selling England' Steve played 'electric/6-string acoustic'. On Trick it's 'electric/12-string', so if there wasn't any 12-str. there, why isn't there any 6-str. here? The philosopher will point his index in the air and summon his disciples under the tree of knowledge. Trick is the only album without nylon guitar, if you exclude early Nursery Cryme(which is more comprehensible). Gone are the instruments handled by the ex-vocalist, and now also one of the obligatory guitars. So why this drastic measure? There was no need/room for it, you may suggest. That is true, but there's no need for any instrument; you create a need. If it's not created means it's not wanted. Compare the plural form on Rutherford's '12-string guitars, basses' to Hackett's singular. Pianos etc... Even if it mirrors the reality it's still demonstrative. Michael plays both 12-string acoustic/electric, Stephen only acoustic, he never touched the electric(unlike namesake Howe the equilibrist on Awaken). The question is, where could and should, the six-string acoustic have found its proper place? If you listen to the architectonic Hierophant from Voyage, there's 6/12- string on the chorus which is highly effective. Hackett's part on Ripples could, at least partly, have been transcribed or even doubled in the same manner and given the song yet more lustre. Just like the electrified on Volcano. The Lovers could easily have found its way to Trick as well, and become the new Horizons of the mid seventies! So how do we evaluate a course of events like this? Is it a conscious neglect of one of the group's own members? It is hard to find another explanation, but at the same time there are specific reasons behind. The 'all titles done by all' led to some indistinctness.

All fuss and commotion with Gabriel's defection followed by a five star solo recording after that. Hackett's issue was the first ever from the Genesis camp to indicate one single name as composer. A cynic might suggest that he too could've given some sort of credit to the rest of the band as a gesture for earlier apportionments. If Steve has a share in 'The Lamia', then why doesn't Tony own the ring finger in 'Hands of the Priestess'? Again, why weren't at least parts of the sublime Acolyte-material used by the band? This is a never ending maze where no one is really guilty, it just happened to result in this artistic dispute. Art has to spread its wings, it beats us sometimes how. So what about T. Banks keyboards on Trick? The self-evident piano/organ are in company with an increasingly active synthesizer. There are reasons for this; as mentioned before, in the absence of Gabriel the synth has a greater role to put on. A flute connoisseur could've longed for a guest flutist on one or two tracks(brother John?). As we know, there are no guest artists on Genesis bandstand, but it's a conceivable illusion. The development of the synthesizer(Arp Pro Soloist) is blatant, and so is Banks' playing technique. The result is much more satisfying here than on all previous efforts. There's hardly one single track on this highly esteemed album without its presence. That's not a disadvantage, but a concentrate so to say. The next track is exactly what we're looking for. If you never experienced Banks in prestissimo you will right here, on Robbery, Assault & Battery. Vast, supersonic synth/organ outbursts from the composer, possibly his most virtuoso attempt in this trade. Not without success, solos on The Lamb sound primordial in comparison. Banks, normally more stuck to melody & verse rather than showing off his dexterity and technical prowess, proves that he's not behind his colleagues in Yes/ELP. The organ part is so smooth and well-executed, almost liked filtered through sequencer.

The mellotron isn't the '69 version of the same. The instrument is similar but does a 'relic' flourish in a high-tech surrounding? If you're in possession of the yellow album(Selling England), whether you're a native born Englishman or not, you're still capable of listening to the non-U(non-Upper Class) poetry. Both Robbery and Epping Forest basically deal with the same subject. There are, in fact, a few similarities, or even copied straight off. Collins, who co-wrote Robbery, carries out his role with an insight just as strong as Gabriel mustered during his time. Phil's high spirits are reflected in his optimistic drumming as well. Add the early and tentative video of the song, and you may wonder why the child actor didn't pursue his talents in front of the camera. In fact, his predecessor on the post once had similar ambitions. If the keyboards are high-lighted, then the guitar is halfway buried. Or even treated past recognition! It was partly caught up on stage, as proven on the stout testament Seconds Out, but you can't really call Robbery fully developed in the guitar compartment. Isn't Hackett interesting enough to be noticed in the mix? The reason for its defensive position is rather a result of the album structure than the song itself, what's low here is high elsewhere. We will return to the final judgement regarding the production side. Trick entered an era of a short-lived quartet format, and there were other successful bands of this size. A decade earlier there was at least one. So it may be a bright idea to open the new chapter in the band's career with some sort of connection to the greatest upheaval ever in the music calendar.

Why did title song 'A Trick of the Tail' crop up here and not before? If there was any hesitation it wasn't due to lack of quality, then it wouldn't be found here either. Didn't Trick strike P. Gabriel's fancy or is there a 'hidden' message involved? Or was the band just awaiting its right opportunity? As we are aware of it's an amalgam of two separate song ideas from T. Banks. Written during a period when The Fab Four still were prosperous, a few years before the turn of the decade. If the lyric has the same date-line is unclear, but both story and rhymes are of highest calibre. Fans were rightly astonished by the enchantment in Tony Banks sharp writing. Is this as close as you will ever get to the undeveloped story of 'The Little Prince'? The Fable lies Down in Bedfordshire... The keyboard player has uttered that he'll be more flattered by a comparison to The Beatles rather than the contemporary big six. This is an indelible fact, you can sing along to it - Penny Lane is in my ears and in my eyes, grabbed a creature by the scruff of the neck pointing out. A compliment rather than a degradation, every seventies group has juridical authorization to redo at least one tune from this unavoidable source of inspiration. Is it a coincidence that 'Excuse Me' from the ex-vocalists solo debut sounds, with a little free fantasy, like a major version of Yesterday? Or is it just a trick of the ear? Phil Collins doesn't falter on the vocal harmonies on title song, but the tune A Trick of the Tail remained intramural, while the barber shop singing of Excuse Me sounded throughout the concert halls. In common with the strophe of 'Moonlit Knight', Ripples is immediately likeable, or why not loveable? Both boast with vocals from first second, although the latter is in company with the 12-string.

The sentiment of Ripples is strongly connected to Selling England but the question remains; is there a more visionary, romantic or moving moment to be found? Rutherford is not credited for any solo composition on the record but this feels like his achievement. His bass playing is very chary, but the few tones included are weighed on a scale of gold. During the interims, the tranquil void, you are free to fill out your own course of events. And this is your mission, the empty space is just as explanatory as the composed. The difference is that it's yourself that becomes author and writer. As its gentleness feels staked out, all you have to do is to saunter in optional direction. Ripples is vanilla cream for your taste buds and layers of limitless meadow land beneath your naked feet. A vague but approaching scent of eternal stillness and carefreeness. Only you who is called upon to tread the perpetual road carven out by the angelic voices of Ripples. A special song, Ripples was my first favourite Genesis track. The light classical piano playing, and the most Hackett-defining moment you will encounter on electric. Steve is not playing along to it, he's circling around it! The swallow in the summer sky has no other intention! The longest offering on Trick, the instrumental section is clearly extended and not filled to the brim with twists and turns. Could perhaps have benefitted from a minutes reduction. The final section is performed with piano chords in contrast to the initial brittle tones. What has the painting technique sfumato in common with the wondrous Ripples? The idea is to obtain a smooth, boundless transition where two separate colours(pieces) meet. It's called seamlessness in popular speech, but not in the higher school. A reality at the opening of the mid-section, this is composed passepartout, or just as well drawn composition.

Regarding Collins vocal on Ripples(and the whole album), it would be inhuman to expect an all ready top feat from first to last note. What we are offered is exactly what one could foresee; from full-fledged to a little less full-fledged. From the impeccable and highly personal, to reading aloud from the pre-printed libretto. The drummer's background as second vocalist during a number of years secures a decent level, but his maximum didn't show up here. Not either on the following album but let's move forward and land on the Duke tour. Listen to the version of Ripples on the 80' tour and compare with current, there are bootlegs around with sufficient quality. For the comfortable and idle, chose YouTube. Then started the multi-million selling solo career and an added dimension, but that's another story. When I heard Trick for the very first time I couldn't even pronounce the name of the genre. I was misinformed and told that the lead vocalist was a Peter Gabriel who quit after this album and was replaced by the group's own drummer. My informant was highly of British descent and had a considerable amount of records with an overseas band called Genesis. We can leave out the reason for this bewilderment, but more relevant is if I was convinced or not. I wasn't. When I heard [the vocals] I immediately said to myself that this sounds like Phil Collins. It took some 24 hours or so to verify the correctness in my prophecies. Directly from the decade known as the seventies, when the unrealizable was possible.

For the novice, Los Endos sounds exotic and Mediterranean but it's rather Spanglish than Spanish. The ends are near, the one and only instrumental starts with extracts from 'It's Yourself', on initiative from Collins. Hackett returns to the writing credit for the first time since Entangled, but it's unfailingly the rhythm section that unleashes and worth your attention. If Collins is bringing the open and direct attitude from his side project Brand X, it happens here. It would've been a breach of duty if he didn't. Not everyone is aware of the diversity of the Genesis employed. Once I conversed with a drummer in the absolute world elite, I happened to mention Phil Collins and the immediate reaction was "the pop artist?". I kept quiet. Rutherford is keeping up with his peer, it seems like the bass man has been equally inspired by the inflow of new waves from the outside. You don't have to grasp the bass yourself to relish in his punchy style. The faultless but lesser known congregation Brand X is something to use as a gauge of one's own standing. Hackett/Banks share the same passage, much like another termination called 'It'. The trumpet sounding synth is a clear indication of the fiery senorita and her belonging castanets. It all comes to a halt, and the familiar Volcano intro is laid upon thou once again. You didn't know how stately the backing track to Squonk sounded before you listened to Los Endos. The band had time to study its potential in between auditions. It is by no means inferior to the vocal version, or is it even more impressive? Transporting the album to the fade out, and a few, but unwritten, words are included. The origin of the words is to be found in two different situations. Quite obviously Magnum Opus Supper's Ready, less glaring from Solsbury Hill.

Both Collins/Rutherford(Fripp guitar, Ant Phillips piano) played on the demos to Gabriel 1. As a contrast to the cheeky lyrics of Squonk one can assume that the instrumental Squonk serves as equalization. All in all six songs within a song. If 'Larks' Tongues in Aspic 1' squeezed out the maximum of a short lived line-up of King Crimson, then Los Endos did the same for Genesis. It may be in reduced version, but as Bill Bruford put it; - Genesis is a song based band, and quite lightweight at that too. Isn't the Queen Mab lightweight in her misty twilight dance? She lacks the vigour of the Viking yes but makes up this with an enchanting and yet unchristened symphony of movements. Her sonata is imperishable, and her dull day unclouded. Not only a major change in the line-up, Trick also saw the arrival of new producer David Hentschel. Not entirely new, he had previously worked as engineer on Nursery Cryme. Hentschel was to stay till the decade was ended; four studio- a double live plus two twin solo albums. The spell was broken when Collins rocketed into fame as solo artist with his self-produced Face Value. If the drummer could run his own recording successfully it would of course have been a defeat for the trio to rely on an outside force. Otherwise who knows, he may have remained even longer. What made the band stick to this unaltered state for such a long period? No earlier producer came even close to his superior record. Regarding current album, it is harder to pass a fair judgement on Hentschel since the band is indicated as co-producers. If success is readable in sales figures, then Trick outshone all quintet recordings by far. When Genesis went into the studio to perpetuate Trick of the Tail they were heavily indebted, and it is more than understandable that radio play is just as appealing as a ricercar(complex polyphonic baroque work).

It's not that Tail has put Genesis in the mainstream category, but the many admirers of 10 cc, Supertramp and ELO doubtlessly had a more realistic chance to melt this topical edition than earlier. All songs within the length of 6-8 min. create a sort of conformity. The drums are as mentioned put in a superior position. Like an indication of what to expect from the following decade. If the '75 recording became step one in the development of the drum department, then step two occurred during the making of P.G. 3, with its scientific definition gated reverb. Quite a few listened and took note; the whole world ended up in echo-drenched throbbing, but lacking the feeling and proficiency of its instigators. Hentschel isn't lost as musician himself even if he's not a drummer. His skill in the synthesizer field, and as key. player in general, is clearly reflected in the flowing and winning keyboard textures throughout the album. This doesn't mean that the other components are neglected or forsaken, but let's affirm that the guitar is at least a split millimetre behind. The production on Trick is modernized, up to date, and departs expressly and consciously from the bygone early seventies. To some extent experimental and striving for go-ahead spirit, which is a risk taking. I've heard a few people comment on this particular era asserting that a meek, soft and at times blur sound picture took form. A note reading Segovia versed, who also has a vague knowledge about the capacity of the Gibson Les Paul, would ogle at the austere and severe production of Voyage of the Acolyte. D. Hentschel's contribution to the new unproved Genesis is tantamount to P. Collins voices; top-notch, and occasionally a little less top-notch. Perfection is a passing cloud in the air. There are considerations to be taken; Genesis survived, thrived, kept on touring and recording. Also sold one or two single-records. Far from every band, no matter how gifted, succeeded in this trick. The computation meant that you were able to hear an old medley as late as in the nineties. So the outcome was nothing but remarkable.

It's a mark of favour for the foremost bands to obtain the most creative artwork. Or is it just illusive, is it the music that turns the artwork into a striking object? The museological, but resurrected Lp and its cover/inner-sleeve can be seen as an inspirational source for deepened art explorations. Once you know the coalition with the music it'll shine with translucent light. In due order, there's a lot more to be fascinated by on the LP than the stunted cd. The cd freak will never understand. The short lived quartet was never portrayed on a studio record. At least one of the both heritage they left behind could have been adorned with photos. Not only owing to identification, but just as much or even more as an artistic infusion. You who are in possession of the Long-player Foxtrot know exactly what's on the carpet. You didn't see a band photo before Abacab was released in '81; it covered an entire side of the record cover, at the expense of a lyric sheet! Needless to say, Abacab was the follow-up to the pioneering Face Value. The premier cd issue of Trick is to prefer. The remastered package is perhaps a good choice sound-wise, but please listen with both eyes closed. The dandelion yellow has turned into grainy mustard. Where in the history of art rock belongs A Trick of the Tail? A threefold group consisting of Going for the One, Animals and Trick are a pleasing way to initiate the second half of the decade. I was lucky, or foresight, to stumble across the exclusive selection before anything else existed. Genesis, now reduced to a Pink Floyd numerical, didn't seem to suffer from the changes. Why not a singing drummer just like a (,) bassist/guitarist? There's nothing speaking against it.

So what prevented the multi-talented band member from singing/playing at the same time on stage? Recall Geddy Lee and his utterly demanding bass lines added to Peart's intricate language. Moreover the keyboard parts on his agenda! Couldn't Collins have done a similar showpiece? Supposedly he could've, but it is more a matter of visuality rather than lack of prowess. After all, how many drumming lead vocalists have you witnessed live? Even Floyd was increased with a fifth musician live. All three mentioned albums emit a phenomenally strong spirit, like an urge to express something of very keen nature. Had the assertion from Robert Fripp, PhD been followed to the letter, had neither A Trick of the Tail nor the other titles even seen the light of day! Crimso disbanded and choose to stay in the morning dew of the early seventies, by order of the leadership. Did Fripp's academic but well considered decision send signals that there were still things to approve? A while later, Fripp himself turned down an offering to become ally with Chester Thompson et al on the upcoming world tour. Understandably, he was more benevolent when P. Gabriel knocked at the door and begged for assistance. The former band vocalist jumped ship in the wake of the ex-mellotronist. As I heard on an analytical radio program once, they claimed that the post-Gabriel era just became a reiteration of just the first half of the decade. That's a simplified and stereotyped way to contemplate the matter. Instead, how many entities can brag with the ability to move from the depths of detached rock theatre to hegemony in the secular pop charts? The singles off present album came in due order, there wasn't yet any Turn It On Again or No Reply at All though. It's unclear whether they ameliorated the total sales, but there are a few noteworthy things.

An Italian release defined as promo single contained the title track plus Hackett's A Tower Struck Down on the flipside. This is an astonishment for the veteran fan. In the absence of a covetable band b-side, it must be taken down as a major anecdote. On the Progarchives you will find Trick at about top 50 in the readers' poll. It's a ranking that seems admissible, a conspicuous amount of fans would establish it as the refinement of the second wave Genesis. If it had been the solitary release of Genesis it would have fared much higher. Any four-piece combination of earlier line-up had turned Tail into a consummate sound work-shop. But what about the essence of the belonging lyrics? There's most likely no knowledgeable supporter of the group who favour any later try than fantasy tinged Trick. All lyrics are good, better or nearly outstanding! They are, unconditionally, placed above their challengers on Drama and A Momentary Lapse of Reason(to be illustrative; the loss of heavy-weights Anderson, Waters, Gabriel). Despite the general high standard, Gabriel's linguistic litheness and agility on Harold the Barrel/Willow Farm is not within reach for all gods' children. His buddies are aware of this fact, while they surely surpass themselves in an energetic measure. The new chief lyricists Banks and Rutherford are more difficult to separate from each other, they cling together and are equally talented. L'ange Gabriel's shadow is hanging over the locale, had he remained wing-commander on Trick his contribution would make up 50%. As it happens, Los Endos is an instrumental; whereby the exact apportionment is written in the stars.

Per Köhler | 5/5 |

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