TRESPASS

This second album by Genesis (perhaps their first respectable release as a progressive rock act) gives an indication of where they would be going musically, but had this been their only album, they might have been comfortably a part of the progressive folk category. It is my opinion that Anthony Phillips would have been a highly suitable guitarist for this up-and-coming band, even though his replacement was more than worthy. John Mayhew likewise served the band well from behind the kit (in fact, in spite of the band's displeasure with him, I would be prepared to argue that Mayhew would have been better suited on Nursery Cryme than Phil Collins). The more permanent members are excellent in their respective performances, even if they outshine themselves many times over on future albums.

"Looking for Someone" Peter Gabriel's voice is the instrument of note here, and he sounds just as mature as he ever would, and immediately he demonstrates the prowess of his pipes. The musicians do not long tarry in showing their abilities either, even if a couple of them were not long for the world of Genesis.

"White Mountain" The guitars are very prominent here, as is Gabriel's aged-sounding voice. The lyrics here show the narrative-driven direction Genesis songs would take. Layers of guitars and organ dominate the impressive instrumental middle section. The names of the wolves come from Jack London's White Fang, but the stories have no resemblances otherwise. The title of the album is also taken from this song.

"Vision of Angels" Six-string acoustic guitar and soft vocals make up the verses, but the chorus is more potent. The lyrics seem to move between lovely optimism and angry pessimism.

"Stagnation" This blends progressive folk music with the Genesis sound more so than any song on this album. The acoustic guitar parts are beautiful, even if the vocals clip a time or two. The climactic ending is close to where Genesis would be- powerful and moving, with a flute and acoustic guitar section easing everything up- until the rest of the band enters.

"Dusk" As with many of the previous pieces, "Dusk" employs acoustic guitars and minimal percussion. The vocals on this song are some of my favorite from Genesis, both the lead and backup. The flute is spirited, as are the guitars. All in all, I find this to be one of the bands most overlooked tracks.

"The Knife" The crowning track of the album is heavier than everything that came before, eschewing the folk aspects and donning a robe of vigor. Tony Banks churns out some respectable organ playing. Mike Rutherford's bass thuds along and he throws in quite a few fills to make the music even more interesting. Gabriel's vocals are rather menacing, cloaked in effects as they are. Phillips keeps on the conservative side, even during his solo. Mayhew's drumming is probably at its best here. Overall, this is a sinister track (particularly right in the middle), but does give a slightly better idea of the direction early Genesis was taking.