Retro Reviews: Genesis: A Trick Of The Tail

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. This is part three of three. This is a three-part living tribute to Mr. Collins, in light of his growing health issues, and possible RNRHOF attention. 

Genesis – A Trick Of The Tail (1976)

****1/4

Producers: Genesis, David Hentschel

Musicians: Tony Banks, Phil Collins, Steve Hackett, Mike Rutherford

Songs and Music: Dance On A Volcano, Entangled, Squonk, Mad Men Moon, Robbery Assault and Battery, Ripples…, A Trick Of The Tail, Los Endos

Reviewed By Matthew Anthony Allair

    Genesis has launched a new album with a new mission statement, after the departure of singer Peter Gabriel there was a lot of questions and false assumptions, but the band has just proven they can move forward., in spite of the speculation about who would replace Gabriel, the bend decided to stay within and drummer, Phil Collins stepped up for the role as singer. This was a wise decision. Phil had been singing background on prior albums and he had already taken a lead vocal on a prior track. Genesis was always the sum of it’s part and Gabriel was not just the sole visionary for the band, a point I had made before.

    Phil has managed to pull off not only the softer material vocally, but heavier material as well, and this development is quite welcome. There aren’t many singers who could understand the sensibility of Genesis as well as Mr. Collins. But the real focus is on guitars on the album, Steve, Mike, and Tony play a lot of guitar on here, with Banks keyboards acting as coloring on a few numbers. But the line between the keyboards and guitars blend together on various numbers, it all gets a little blurred with that issue.

    Phil’s drumming remains exceptional, only a month earlier the band Brand X had debuted, for any doubters, Phil’s work remains quite high and he is gifted with the skins. Hackett remains one of the marvels of the band, his range is surprising. Bass player, and 2^nd guitarist Rutherford is a key member as a player and writer, and one has the impression that Banks helps to drive the direction of the band. Hentschel’s production is different from John Burns, there’s a different sheen to it. This album is captivating from beginning to end.

    The opener “Dance On A Volcano” is a mission statement with a clever set of time signatures of 7/8, then jumps to different meters, I just point this out to demonstrate how adept Phil is as a player, the main body of the song is powerful instrumentally, the song has a few surprising shifts. “Entangled” takes things down with a dreamy acoustic number, pensive, there’s added coloring for Tony’s keyboards, while the lyrics are a little dark, this is a lovely and rich number. The up-tempo ‘Squonk” is a fantasy, but with some rich 12-string playing, probably one of the more straight forward numbers on the album, but with a memorable and lifting section, you will see it when you hear it. “Mad Men Moon” has a quieter slow burn in the first half, the classic blend of Tony’s string mellotron and Steve’s ambience helps the progression of the number. The life of the tracks section nearly harkens back to “Firth Of Fifth”. Overall, side one is uniformly string, which leaves one guessing if they can manage with the rest, the happy answer is yet. 

     The lively opener of the second half, “Robbery, Assault & Battery” has a playful, complicated, pop sheen, a narrative number that allows Hackett some room, and a little swing with Phil’s drumming. Some good organ work from Tony as well. Rutherford’s bass work is also liberated. “Ripples…” is the other acoustic ballad and the longest number, the chorus has a ascending quality to it. Phil’s instincts as a vocal storyteller might even be better than Gabriel in certain respects. Tony thankfully shifts gears in the second half to keep this compelling, and Hackett offers up some disjointed moods with his playing. This is some well-crafted work. 

    The title track is the most overt pop number on the album and has the greatest Beatles quality, with another vivid narrative that drives it. The closer is self-explanatory, “Los Endos” summarizes several of the main themes of the album, like a closing statement of a Broadway musical, Mike and Steve’s guitars with Tony’s keyboard makes a compelling statement before quotes from “Volcano’ and ‘Squonk’, there’s some impressive percussion work from Collins on this instrumental. Rumor has it that Gabriel visited the sessions and was supportive of what he heard. 

    This album should settle any doubts if Genesis will continue – they will indeed. 

 

Retro Reviews: Brand X: Unorthodox Behavior

   I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album. This is part two of three. This is a three-part living tribute to Mr. Collins, in light of his growing health issues, and possible RNRHOF attention. 

Brand X – Unorthodox Behavior (1976)

****

Producers: Brand X, Dennis Mackay

Musicians: Phil Collins, Robin Lumley, John Goodsall, Percy Jones, with Jack Lancaster

Music: Nuclear Burn, Euthanasia Waltz, Born Ugly, Smacks of Euphoric Hysteria, Unorthodox Behavior, Running On Three, Touch Wood

Reviewed By Mathew Anthony Allair

    This is an impressive jazz fusion debut, co-founded by Genesis drummer Phil Collins, as far as the rest of the group -  the Keyboard player, Robin Lumley had already worked with David Bowie, guitarist John Goodsall had already worked with Atomic Rooster before he joined this band. Percy Jones had already briefly worked with Soft Machine before he joined this project. What has resulted is a strong sum of its parts. Much of this material is similar to Mahavishnu Orchestra’s work, but they offer their own fresh stamp to the genre. All of the players are equal to the others, something that you need to work in the fusion field, the quality offsets any doubts one might have.

    Phil’s work here is exceptional, but that is no surprise for Genesis fans. Collins heads off the effort with his drumming on “Nuclear Burn’, but John Goodsall sets up the standard with playing that has a hint of Steve Hacket while also retaining something original, Jones and Lumley hold up their end as well. Things settle back a little with “Euthanasia Waltz”, the track manages to build to a slow burn where Jones is allowed a showcase. “Born Ugly” is a lively funk excursion that showcases Lumley and the piece takes several interesting turns. The second half has a free form open tone before the fiery build back that even manages to hint at early 70s Miles Davis. The more mid tempo “Smacks of Euphoric Hysteria” has a slight blues shuffle, and some outside lead guitar from Goodsall. Phil’s playing makes him almost on par with Buddy Rich, which is saying a great deal.

    The second half opens with the title track, a number with a slow, moody groove that eases into itself with little hints of funk, its keyboard lead has a staccato feeling, there’s a playful hint of Marimba that drops in here, this very much feels like interplay is essential to the number, and while Robin isn’t Tony Banks, he can channel a little of that feeling. “Running On Three” quickly morphs into a fast tempo with Lumley and Goodsall stating the melody, in what might be one of the more satisfying moments with Goodsall pulling off his best McLaughlin flavored lead. “Touch Wood” is a slow burn as an album closer, with impressionistic acoustic guitar and a supportive saxophone from Jack Lancaster, Phil role is sit back on this. A fitting, yet odd closer, this leaves you pondering questions. Overall, quite a good release to start off 1976 and leave one hopeful about the year. Recommended.