GENESIS

I got attached to this second Archives series quite heavily after I bought it and heard the material from 1976-1981 with numerous prog-rock and melancholy material. The material with Steve Hackett should fulfill the highest Genesis criteria to any progressive listener. I love the Genesis romantic period which ended some time in 1981/2 after "You might recall" These pieces are less progressive but carry poignant emotions, great Collins' vocal and tasty keyboard arrangements. Most 80's pop tracks played live and B-sides are alright, the early 90's stuff is a hit or miss. Remixes are letdown and few listeners will listen to them more than once.

After two romantic Genesis albums, the 80's started with the most melancholic and broken-hearted Genesis album - Duke. Duke retains very strong progressive rock elements for the last time ever but unabashed radio-friendly pop takes more place on the surface. The Duke's suite adheres to the highest Genesis standards (with the exception of "Duchess" which is a good experiment but a bit repetitive). "Duke's travels" is an astonishing journey by Banks and Collins that could have blown away almost any other prog-rock band in the 1980. Banks comes with two well though-out mini epics "Heathaze" and "Cul-de-sac" with great synth/grand piano background instrumentation. Semi-prog "Man of our times" is clearly heavy on bass tones and penned by Rutherford, well heavy drummed by Collins. The rest of the material corresponds to good pop/rock songs, mostly with feelings of sadness and ever improving Collins singing abilities with great harmonies and emotional depth. My only complaint is "Misunderstanding" which should have been left to a solo Collins album and is a bit of disgrace for Genesis. I listened to this album heavily along with ATTWT and Wind and Wuthering when I emotionally felt the same mood. Recommended to fans of accessible prog-rock and intelligent pop.

Review Nº 765

"14 From Our Past" is a compilation of Genesis that was released in 2007. As its name indicates, it features fourteen songs from the band which aim to be representative of the whole history of Genesis. So, practically all studio albums of the group are represented with one song except their debut and third studio albums "From Genesis To Revelation" and "Nursery Cryme". It has also a song "Happy The Man" that was never put on any official studio album at the time. However, it was recorded and released at the same time of "Nursery Cryme" and so it became the song representative of it. It's also interesting to note that all the songs on "14 From Our Past" were put strictly in the chronological order.

Thus, "14 From Our Past", like its name indicates, is a compilation album with fourteen tracks. The tracks chosen to be part of this compilation album are the following: "The Knife" from "Trespass", "Happy The Man" which is a non-album's track, "Watcher Of The Skies" from "Foxtrot", "I Know What I Like (In Your Wardrobe)" from "Selling England By The Pound", "The Lamb Lies Down On Broadway" from "The Lamb Lies Down On Broadway", "Squonk" from "A Trick Of The Tail", "Your Own Special Way" from "Wind And Wuthering", "Follow You, Follow Me" from "...And Then There Were Three...", "Turn It On Again" from "Duke", "Abacab" from "Abacab", "That's All" from "Genesis", "Land Of Confusion" from "Invisible Touch", "Hold On My Heart" from "We Can't Dance" and "Congo" from "Calling All Stations".

"The Knife" is a composition unusually aggressive for the band and pronounced, in a certain way, the path the band would follow up on their next albums. It's the most famous song on "Trespass" and is the heaviest track of Genesis. "Happy The Man" is a song that was never released on any studio album of the band. It was released only as a single, in a few countries, as the A side of it and with "Seven Stones" as the B side. It was later put on several compilation albums, some with slightly different versions. The song was originally recorded in 1972. It was released almost simultaneously with the "Foxtrot" album. It's a good song, but one that wouldn't have fit very well on that album. "Watcher Of The Skies" is one of the most popular and beloved songs by their fans, and one of the most played live by the band. It's a great song that gives a sense of majesty and power. "I Know What I Like (In Your Wardrobe)" is a funny song with some characteristics of a pop song. Still, it's a great song. It was the first charting single of the band. "The Lamb Lies Down On Broadway" is one of the most accessible songs on the entire early Genesis' catalogue. It revolves around piano, synthesizer and Mellotron tunes, with the traditional rock instruments accompanying. It has some great lyrics too. "Squonk" is a very simple song with great choral work. It has a great memorable opening and a remarkable fantastic drumming work of Collins. "Your Own Special Way" is a straight forward pop song with excellent melody. It has very good 12 string guitars, and some superb keyboard arrangements by Banks, plus some autoharp by Hackett. "Follow You, Follow Me" is a song released for a single with the intention to be a hit that achieved the top sales. It's a good pop song that should never have been recorded by Genesis, but recorded by Collins on one of his solo albums. "Turn It On Again" is a good pop rock song, one of their greatest successes and one of their most played live songs. "Invisible Touch" is a typical pure pop song made to be a greatest hit. As a pop song, it's a great song. Still, it has nothing to do with prog. "Abacab" is a very good song that I like very much. I really think that we are in presence of one of the best songs on "Abacab" album. It's a song with a simple structure that progresses in a modern way. "That's All" is a simple song with a catchy tune that remains nice to hear from the beginning to its ending. It's a Collins' song with all the ingredients to be a successful pop song. "Land Of Confusion" became a Genesis' classic song with a catchy rhythm and a beautiful melody, very nice and pleasant to hear. Of course this isn't exactly a progressive song but it's good enough to be remembered. "Hold On My Heart" is a song that never should be part of a Genesis' album. It's a good song, but it really belongs to a Collins' solo work. "Congo" marked the debut of Ray Wilson as the vocalist of Genesis. It's a song with a pop tune with an African style drum beat. It isn't bad, but it sounds too much to a pop song.

Conclusion: "14 From Our Past" is an interesting and strange compilation. We can't say that we are in presence of a bad compilation because almost all their studio albums are represented. The only exceptions are "From Genesis To Revelation" and "Nursery Cryme". About "From Genesis To Revelation" is comprehensive and expected because, in a certain way, it's an outsider album in their discography. But, "Nursery Cryme" is unexpected and less comprehensive. In relation to the choice of the tracks, there was the concern of selecting short tracks. The overall quality of the compilation is good. Half of it is progressive. But of course it has some weak tracks like "Follow You Follow Me", "Hold On My Heart" and "Congo". So, "14 From Our Past" is a good compilation which runs almost their entire career. Still, it serves only those who are beginners with the band or those who aren't familiar with the entire band's musical career.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review #3: Genesis - Foxtrot

When most people think of Phil Collins they think of "In the Air Tonight," I think of "Apocalypse in 9/8." Genesis has an extensive collection of great albums which makes it difficult to choose a favorite from their catalog. For me, "Foxtrot" represents the band's peak of progression and diversity. While it shares similarities with their preceding album, "Nursery Cryme," its distinguishing features lies in the production quality and the epic track concluding the album (which I'll touch a bit more on later). Each musician can shine with their own moment, showcasing some of their finest work.

The album features Peter Gabriel on vocals, Steve Hackett on guitar, Phil Collins on drums, Tony Banks on keyboards, and Mike Rutherford on bass. The band would record Foxtrot in London's Island Studios in August and September 1972. Initially planning to work with producer John Anthony, disagreements over costs led to a search for a new producer. After failed attempts with numerous producers, they went with co-producer David Hitchcock who produced albums for band's such as Mellow Candle and Caravan at the time. Foxtrot would ultimately receive high praise, with Charisma Records' owner predicting it would define their career. Banks particularly praised the album, believing it contained no weak tracks.

The album opens with "Watcher of the Skies" which borrows its title from John Keats' 1817 poem "On First Looking into Chapman's Homer." This track stands out for its complex musicality, unconventional time signatures, and intriguing lyrics, making it one of the tracks I find myself returning to the most from the band. Notably, it features a stunning mellotron introduction. Interestingly, this mellotron was purchased from King Crimson before the recording of the album. "Time Table" showcases a more delicate side of the band, highlighted by Banks' skillful piano playing. On the other hand, "Get 'em Out by Friday" and "Can-Utility and the Coastliners" delve deeper into a progressive and theatrical direction, showcasing intricate songwriting that exemplifies the best of progressive rock. "Horizons" provides a gentle interlude, allowing Hackett to deliver a beautifully executed acoustic piece which he composed. The album culminates with the monumental "Supper's Ready," comprised of seven distinct sections with recurring motifs. Personally, I regard "Supper's Ready" not only as the band's crowning achievement but also as one of the genre's finest tracks. Banks himself acknowledged the latter parts as "probably our peak."

In essence, "Foxtrot" stands as a testament to Genesis's artistic prowess and musical innovation. It represents the pinnacle of their career, showcasing their ability to seamlessly blend complex instrumentation with thought- provoking lyrical content. Ultimately, this album remains a shining example of the band's surviving legacy in the realm of progressive music. If you are reading this review, I would hope that you've already heard the album, if not, do yourself a favor and listen to it as soon as possible.

Favorite Track: Supper's Ready (22:53)

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?

Review Nº 759

"The Last Domino?" is a compilation of Genesis that was released in 2021. "The Last Domino?" has tracks from nine of their fifteen studio albums. So it has four tracks from "Selling England By The Pound" released in 1973, two tracks from "The Lamb Lies Down On Broadway" released in 1974, one track from "Wind And Wuthering" released in 1976, three tracks from "Duke" released in 1980, one track from "Abacab" released in 1981, three tracks from "Genesis" released in 1983, six tracks from "Invisible Touch" released in 1986 and five tracks from "We Can't Dance" released in 1991.

So, "The Last Domino?" has twenty-seven tracks. From "Selling England By The Pound" we have "The Cinema Show", "Firth Of Fifth", "I Know What I Like (In Your Wardrobe)" and "Dancing with The Moonlit Knight". "The Cinema Show" is one of the best and lengthiest epic tracks of Genesis. "Firth Of Fifth" is one of their best tracks and one of their most representative progressive tracks too. "I Know What I Like (In Your Wardrobe)" is a fun track with characteristics of a pop song. "Dancing with The Moonlit Knight" begins with Gabriel's voice very calm and that progressively gets louder and more upbeat. This is a powerful track. From "The Lamb Lies Down On Broadway" we have "The Lamb Lies Down On Broadway" and "The Carpet Crawlers". "The Lamb Lies Down On Broadway" is an accessible track with great lyrics that gives a nice introduction to the story of that conceptual album. It became a landmark for Genesis. "The Carpet Crawlers" is a beautiful track, very solid and with a fantastic melody. It's smooth and relaxing with a great keyboard work. From "Wind And Wuthering" we have "Afterglow". It's one of the most majestic tracks of Banks. It's one of the most atmospheric, relaxing and magical moments of Genesis. From "...And Then There Were Three..." we have "Follow You Follow Me". It's a good pop song that should never have been part of Genesis. It suits better on a Collins' solo album. From "Duke" we have "Duke's End", "Turn It On Again" and "Duchess". "Duke's End" is the second part of "Duke's" suite with "Duke's Travels" as the first part. It's a great progressive track, almost instrumental, which reminds me the good old Genesis's sound. "Turn It On Again" is a pop/rock song, a great success of them. This is a good song. "Duchess" is basically a pop song with some progressive influences. It's a good track, an interesting attempt to merge prog with pop. From "Abacab" we have "Abacab". It's a song with a simple structure but those progresses in a modern way. This is an edited version. From "Genesis" we have "Mama", "Home By The Sea", "Second Home By The Sea" and "That's All". "Mama" is a great song with quality to be considered one of the highlights of that album. "Home By The Sea" and "Second Home By The Sea" is a suite of two songs. It's a great suite, in the same line of "Duke's Travels" and "Duke's End" of "Duke" and "Dodo/Lurker" of "Abacab". "That's All" is a simple song with a very simple melody. It has a catchy tune and it's nice to hear. From "Invisible Touch" we have "Land Of Confusion", "In Too Deep", "Domino Medley", "Throwing It All Away", "Tonight, Tonight, Tonight" and "Invisible Touch". "Land Of Confusion" is a song with a catchy rhythm and a beautiful melody, nice and pleasant to hear. "In Too Deep" is a good pop song, beautiful, mellow and sweet. "Domino Medley" is divided into two parts, "In The Glow Of The Night" and "The Last Domino". It's a great suite in the same vein of "Duke's Travels" and "Duke's End" from "Duke", "Dodo/Lurker" from "Abacab" and "Home By The Sea" and "Second Home By The Sea" from "Genesis". "Throwing It All Away" is a soft rock ballad around the guitar riff of Rutherford. It's a decent song with nothing progressive on it. "Tonight, Tonight, Tonight" is a good song with some progressive lines. It's nice and atmospheric with interesting passages. "Invisible Touch" is pop song. As a pop song it's good. Still, it has nothing to do with prog music. From "We Can't Dance" we have "Fading Lights", "Hold On My Heart", "Jesus He Knows Me", "No Son Of Mine" and "I Can't Dance". "Fading Lights" has a great atmosphere with a true remarkable work by all band's members. "Hold On My Heart" is a good song. But it belongs to a Collins' solo work. "Jesus He Knows Me" is clearly the type of songs made by Collins. It's good but never was a favourite of mine. "No Son Of Mine" is a great and remarkable song, with great feeling and clearly influenced by Collins. "I Can't Dance" is influenced by Collins' style written to be a commercial hit. It's a good song but with nothing new and exciting to offer.

Conclusion: "The Last Domino?" has an interesting name. To be the last one it would have to cover the band's entire career, which isn't true. As I mentioned above, "The Last Domino?" only covers nine of the fifteen studio albums of Genesis. It's very hard to understand the criterion of the choice of tracks. It's true that "The Last Domino?" has tracks from their most progressive phase as well tracks from their most pop/rock phase. However, I can't understand it. Three albums that belong to Gabriel's era weren't included, "Trespass", "Nursery Cryme" and "Foxtrot" and one album of Hackett's phase wasn't included too, "A Trick Of The Tail". Of course I'm discarding "From Genesis To Revelation" and "Calling All Stations". However, "The Last Domino?" remains as a good and interesting compilation album of Genesis.

Prog is my Ferrari. Jem Godfrey (Frost*)

ONE OF THE BEST SYMPHONIC ROCK ALBUMS OF ALL TIME!

Late 1975 I became a Genesis fan, after listening to Genesis Live, soon I bought all the gems between 1970 and 1975. Looking back I consider Foxtrot as their most captivating album but I am also very much into The Lamb Lies Down On Broadway (apart from the lacklustre side 4). In 1976 'new' Genesis stunned the musical world with Phil Collins as the lead singer on their first non-Peter Gabriel album. I was pleased with A Trick Of The Tail, no more or less. For me Wind & Wuthering, the second non-Peter Gabriel album, is the best Genesis album with Phil Collins as the lead singer. Although it contains less rock and less adventurous musical ideas than my Genesis #1 album Foxtrot, it is such a 24- carat symphonic rock beauty, for me way more captivating than ATOTT, that sounds like the precursor of ATTWT, both obviously embracing a more song-oriented musical approach.

The elements that make W&W such a symphonic rock masterpiece are many, from the variety, tension and dynamics to the lush instrumentation and elaborate construction of the compositions.

Eleventh Earl Of Mar : Intro with moving electric guitar and majestic Mellotron layers, than a catchy beat with strong Collins vocals, accompanied by the distinctive Hammond organ. This is the 'new' Genesis, between sumptuous symphonic rock and lush melodic rock, embellished with wonderful work on guitar (Hackett solo is already shaping) and keyboards, fuelled by a dynamic rhythm-section, and topped with Phil Collins his strong vocals. Halfway a beautiful mellow interlude, then a bombastic eruption and finally again that catchy beat in the second part, it emphasizes the strong dynamics on this album.

One For The Vine : First a mellow atmosphere with dreamy vocals, Mellotron and piano, gradually more intense vocals by Phil, and inventive keyboard work. It's a prelude to a sensational break, with propulsive drums and sparkling piano runs, culminating into a compelling and bombastic symphonic rock sound, wow. The conclusion delivers strong interplay between Hackett and Banks, top notch 'new' Genesis!

Your Own Special Way : A ballad with emotional vocals, twanging guitars and subtle keyboard work.

Wot Gorilla : "And now for something completely different", an instrumental featuring fiery guitar, bass pedals, spectacular synthesizer flights, subtle conga beats, and an excellent rhythm-section. The interplay is awesome and the dynamics great, what a contrast with the former mellow track.

All In A Mouse's Night : Another composition that alternates between sumptuous symphonic rock and elaborate melodic rock. The funny lyrics are sung very well, and lots of shifting moods, in the end first Mellotron choirs and then sensitive guitar runs with volume pedal, Hackett trademark.

Blood On The Rooftops : One of my favorite songs, also because I love the warm classical guitar sound, what a beautiful intro, goose bumps. Tender vocals and inventive keyboard work join, in a melancholical climate. Then the music alternates between dreamy and bombastic outbursts, coloured with the unsurpassed Mellotron, twanging guitar and emotional vocals.

Unquiet Slumbers For The Sleepers : A hypnotizing instrumental with spacy synthesizer flights.

... In That Quiet Earth : Bombastic symphonic rock with fiery guitar leads by an unleashed Hackett, accompanied by deep bass runs and powerful drum beats. In the second part the spacy synthesizer flights from Unquiet Slumbers For The Sleepers return, turning into flashy synthesizer soli, fuelled by fat rock guitar riffs, Hackett and Banks shine, wow!

Afterglow : After all those bombastic and spectacular moments in track #7 and 8, this album concludes with a compelling ballad featuring wonderful vocals, lush Mellotron and twanging guitars. The build-up is great, and Phil Collins delivers another strong vocal contribution on this album, very inspired, topped with majestic Mellotron choirs.

It's a pity that on the legendary double live LP Seconds Out the emphasis is on ATOTT (4 songs, only 1 from W&W), I miss a serie of wonderful tracks from W&W. But Hackett told the band before Seconds Out that he was leaving so we have to rely on bootlegs, like from the BBC Radio1977. But early July 2024 Steve Hackett will deliver a serie of 3 gigs in the Dutch prog venue De Boerderij (sold out within 2 months), I am looking forward to see him. Like all those progheads who left Genesis since 1978 and embraced Steve Hackett as a solo artist. He will play the best compositions from 70-77 Genesis, and his solo work, I am sure these concerts will be superior to Seconds Out, a big hand for Steve!

Archive albums often have a difficult position of balancing music quality with historical relevance. Fortunately, on this one, it's the first that wins. We have a rich 4-CD collection which goes rather backwards, starting with a 1975 full Lamb Lies Down on Broadway and finishing with 1967's demos on disc 4.

Genesis' excellent era started with 1970's Trespass and to the most paranoid fans, lasted till Gabriel departed. at minimum. So we have many prerequisites for this to rate this archive 5 stars. However. 1.) Listening to the highly satisfying first two live CDs is not fully authentic due to Gabriel's added vocals and Hackett's added guitar. 0.5 star down. 2.) The fourth disc is historically important, no doubt about it. Nevertheless, it's music quality and importance is mediocre. Genesis, till 1970, were lightning miles away from being a major and potential rock band. Another 0.5 star down. We're down to the solid 4 stars.

The Lamb Lies Down on Broadway is in my TOP 6 most popular Genesis albums and my TOP 2 from the Peter Gabriel era. Never have Genesis been so eclectic and ambitious to create such a diversified masterpiece. Playing is top-notch, in particular Banks and Collins are in command. Hackett plays not worse but doesn't have the same exposure, unfortunately. Peter Gabriel is the dominating the album and I must say that his sometimes over-theatrical vocal is an acquired taste (I prefer Collins' vocals in general). Fortunately, there are plenty of good instrumental moments and normal Gabriel vocals to compensate.

95% of the material is very strong. To me, the longest tracks are the prime highlights - "In the cage", "The colony of slippermen" followed by instrumental numbers like "Follow the scree". On the second disc, we have 5% of fillers with repeated motives and 2 ambient numbers. For crossover fans, there are also quite accessible tracks like "Carpet crawlers". I rate it with 4.5 star

This is a stunning album! I have both versions of it on vinyl which come out every so often. By the time that Genesis had commenced The Duke Tour in 1980, Collins had finally found the true emotion and power of his voice. He was really at the top of his game at that time and this continued during the ABACAB and Three Sides Live tours. Rutherford had also immeasurably improved in his musicianship and along with the mastery of Banks and the highly skilled Thompson and Stuermer, Genesis had become the most accomplished live band of their time. All of this is reflected on the 1981 and 1982 recordings that made it onto the Three Sides Live album. There's no doubt that the previous live album, Seconds Out, is a perfect snapshot of where the band was in 1976 and 1977, just after Peter Gabriel had departed and it's still regarded as one of the finest of live albums that any band has ever released. Then five years later, Three Sides Live magnificently showcases a band that is within transition mode, while remaining at the summit of Progressive Rock and Art Rock while moving smoothly to include Pop Rock and Soft Pop into their repertoire. No other band had done that before, nor since. I'm not getting into writing about each and every track on either version of the album here in this review. However I will give a few special mentions to some of the tracks, in no particular order - In The Cage medley, Me And Sarah Jane, ABACAB, Fountain Of Salmacis (1976 recording), Evidence of Autumn..... I've made this a 4 star review only because 5 star ratings are extremely rare and precious things. However I have no hesitation in recommending this album to anybody who wants to hear a band just about to arrive at their second peak.