1965

The beginnings of Genesis began in 1965 at the Charterhouse School in Surrey, London, the place where Anthony Phillips, Tony Banks, Peter Gabriel and Mike Rutherford studied. Tony and Peter began a group known as The Garden Wall. Anthony and Mike began a rival band known as Anon. When Anon disbanded, Mike, Anthony, and Chris Stewart, the drummer joined The Garden Wall and they created several demos, one of which was handed on to Jonathan King. King took a risk and signed the band to Decca Records and while doing so decided to rename the band Genesis.

The original Genesis line-up in 1967, with http://en.wikipedia.org/wiki/Anthony_Phillips" rel="nofollow - , http://en.wikipedia.org/wiki/Mike_Rutherford" rel="nofollow - , http://en.wikipedia.org/wiki/Tony_Banks_%28musician%29" rel="nofollow - , http://en.wikipedia.org/wiki/Peter_Gabriel" rel="nofollow - and http://en.wikipedia.org/wiki/Chris_Stewart_%28author%29" rel="nofollow - .

Genesis's original line-up consisted of http://en.wikipedia.org/wiki/Peter_Gabriel" rel="nofollow - - Peter Gabriel , vocals, http://en.wikipedia.org/wiki/Anthony_Phillips" rel="nofollow - - Anthony Phillips , guitar, http://en.wikipedia.org/wiki/Tony_Banks_%28musician%29" rel="nofollow - - Tony Banks , keyboards, http://en.wikipedia.org/wiki/Mike_Rutherford" rel="nofollow - - Mike Rutherford , bass & guitar, and http://en.wikipedia.org/wiki/Chris_Stewart_%28author%29" rel="nofollow - - Chris Stewart , drums. Genesis began as a songwriting partnership and wanted only to write songs rather than perform as some members were stage shy. However, nobody wanted to record their music so they hit the studios to record one of their first singles. http://en.wikipedia.org/wiki/Jonathan_King" rel="nofollow - - Jonathan King had discovered them at a concert at Charterhouse in 1968, the school the band attended and after the concert he was given a tape by a student that the band had recorded and thus a contract was formed.

Armed with their second drummer, John Silver, Genesis released their debut album "From Genesis To Revelation" in March 1969.

 

In the UK the initial sales were around 650 Albums.

 

In the US the album entered the US charts on 12-Oct-1974. It reached a debut position of #170 on 12-Oct-1974. It spent 4 weeks in the charts.

It was only when the band began achieving worldwide success, that the album hit the charts in 1974, peaking at #170.

The band’s name was omitted from the sleeve because Decca had discovered an obscure American act also calling itself Genesis, so they requested that the band consider changing its name so as to alleviate confusion, but King refused.

Genesis split from both Decca and Jonathan King, because they wanted to strike out on their own musical terms.

The band became a more professional unit in the autumn of 1969, and they replaced John Silver with John Mayhew on drums.

 

John Mayhew

 

 

So the obvious question comes to mind - WHY am I giving this album a 4-star rating??!!! Because beneath all of the superficial weaknesses lie two of Genesis' strengths, in just as full of force now as they would be later - incredible songwriting and incredible vocals from Peter. I don't know if I'm just listening to different songs than the rest of y'all, but almost a dozen of the songs on here (and yes, I'm counting the singles on the reissue, more on those later) are, at least in one aspect in each of them, absolute pop perfection. "Am I Very Wrong?," for instance, may have a slightly awkward and Disney-sounding chorus, but how about that vocal melody in the verses?! And the rest ... man. Man. Where "The Sour Turns To Sweet" (I know it's technically a bonus track, but it's impossible for me to think of this album and not consider this a prelude to the rest) is beautiful, "In The Beginning" has one of the most awesome vocal hooks I've ever heard, and "Fireside Song" is EVEN BETTER. Are you going to tell me that the chorus of that song isn't one of the most perfectly constructed tunes you've ever heard??!! And don't forget "In Hiding" or "Window," no sirree, the former with another perfect sing-songey melody and the latter yet another beautiful ballad.

And that sure as heck isn't all. "In The Wilderness" is a whee bit flacid in the verses, but that chorus ... "Music, all I hear is music, guaranteed to please ...". Guaranteed to please is right, dang it. And neither "The Conqueror" nor "One Day" fall short of the standard, the former a great energetic rocker and the latter one of the most perfect love songs I've ever heard.

Oh, and don't forget the bonus tracks. The single version of "The Silent Sun" is only slightly better than the album one (and that one's really dull, actually), but the other three are all highly recommendable. "That's Me" is, as usual, catchy as all get out, a great anthem of misogyny, while "A Winter's Tale" has yet another incredible chorus melody, while "One Eyed Hound" has great interaction between the piano melody and Peter's vocals.

Oh, I was going to tell you about Peter's vocals on this album, wasn't I. Now, at first glance, it would seem that Peter fails miserably in trying to vocalize the early chapters of Genesis, the logic being that since he's singing about such a profound part of Christianity, he should sound booming and authoritative to match the profundity. Well, quite honestly, I think that's bunk. How do you really think Adam would have been upon his placement on the earth - authoritative and patriarchal, ready to assume his place as the biological father of all of Man? Bull. He would have been filled with wide-eyed awe at all of the creations around him - his own body, the animals in the garden, not to mention Eve and this new, strange emotion called 'love'. And in THAT way, Peter pulls off the album to an absolute tee. The lyrics (which, btw, are NOT bad - they are youthful and naive in their feel, but naive does not necessarily mean bad or sloppy) and vocals on this album combine in such a way as to perfectly convey the 'story behind the story' with Adam.

In case you haven't been able to tell, I really like this album. If you dislike it, well, it's your own choice, but dismissing it so easily just based on the lack of competent instrumentation and stupid orchestration seems no less than a fatal mistake to me.

"Trespass" is the first album from Genesis since they parted with Jonathan King and Decca labels to pursue a more distinct sound, that of the 'pastoral English idyll'. The album features some of the first use of Multi-tracked 12-string acoustic guitars that are blended with folky vocal harmonies, quiet flute, acoustic piano, and gentle keyboard pads on the Hammond and mellotron. It begins with an isolated secluded atmosphere in the form of 'Looking For Someone' that is certainly not a sound the band would return to on subsequent albums. The band were very unsure at times of their sound Anthony Phillips holds back on guitar preferring an acoustic approach, John Mayhew gently touched his drums, Peter Gabriel is quiet and calm, Mike Rutherford maintains simple basslines, Tony Banks prefers a subtle keyboard motif - all this of course is transformed into glorious prog chaos on the last track.

'White Mountain' is a Gabriel driven storytelling work with lyrics that would typify the Gabriel-era Genesis; "Thin hung the web like a trap in a cage, The fox lay asleep in his lair. Fangs frantic paws told the tale of his sin, Far off the chase shrieked revenge. Outcast he trespassed where no wolf may tread, The last sacred haunt of the dead. He learnt of a truth which only one wolf may know, The sceptre and crown of a king. Howling for blood, one-eye leads on the pack, Plunging through forest and snowstorm." Gabriel was perhaps inspired by Rudyard Kipling in this quirky tale of two wolves battling for a mystical crown. The music peaks at the end of each verse and slows into the pastoral English feel, Gabriel's voice is even fed through a machine echo effect at one point. The rhythm is maintained during the verse, with Gabriel part of the rhythm. The quieter moments of the song are characterised by flute and acoustic flourishes. The mellotron builds a cathedral atmosphere in the break. A wonderful song from the album characterising a new sound akin to Canterbury but still distinctive.

'Visions of Angels' is a softer track with some staccato moments and grinding organ and angel harmonies. The softer moments of the track are almost like a fairy tale and then there is a darker razor edge to the music with some ethereal piano and mellotron. The flute lends it's folky pastoral quality to the piece. Gabriel has a phased effect on his voice in one section, abut he is master of the storyteller style and once again he dominates the track: "Visions of angels all around, Dance in the sky, Leaving me here, Forever goodbye."

'Stagnation' is acoustically driven and has a soft Gabriel vocal and a lilting melody that goes nowhere and is a folk soaked passage of estranged lyrics and atmospherics. The guitar is well executed here picking style and a chiming keyboard adds a mystical quality with descending shapes and chilling notes pulled down the scale almost ghostly. The other worldly sound builds with an electrifying instrumental passage capitalising on organ and a quick tempo beat with basslines and drums adding the metrical pattern. The flute shines on this when Gabriel sings gently: "Wait, there still is time for washing in the pool, Wash away the past. Moon, my long-lost friend is smiling from above, Smiling at my tears. Come well walk the path to take us to my home, Keep outside the night. The ice-cold knife has come to decorate the dead, Somehow. And each will find a home, And there will still be time, For loving my friend, you are there..." It even sounds like The Moody Blues at one point. The rhythm builds again and Gabriel ad libs all sorts of nonsense to end this, "I want a drink, I want a drink, To wash out the filth that is deep in my guts, I want a drink." The flute returns over a clean guitar sound that has that distinct pastoral quality. Once again an underrated track from this horrendously underrated album.

'Dusk' is a very gentle calming track with some strange harmonies that remind me of early Pink Floyd or The Moody Blues. The lyrics are as whimsical as ever; "Once Jesus suffered, Heaven could not see him. And now my ship is sinking, The captain stands alone. A pawn on a chessboard, A false move by God will now destroy me, But wait, on the horizon, A new dawn seems to be rising, Never to recall this passerby, born to die."

There are bell chimes and a loaded flute that is played beautifully by Gabriel, adding a unique atmosphere, very tranquil and dreamy. The acoustic is once again a main factor and there are heavy crashes of piano. Not too bad but only a shadow of the next track which is a bonafide classic.

'The Knife' is a real fish out of water here, the most famous track on the album beginning with a staccato Hammond worthy of Emerson and in fact Keith was impressed with the sound and let the band know it. Gabriel was quite attracted with The Nice and the song 'Rondo' and in trying to capture this sound came up with a track that would typify the Genesis sound on their next album "Nursery Cryme". The Hammond and one note fuzz bass intro this excellent prog exploration.

The lyrics are a real point of interest and Gabriel frighteningly sneers his way through them with utter conviction; "Stand up and fight, for you know we are right, We will strike at the lies, That have spread like disease through our minds. Soon we'll have won and we'll treasure this worth, With our winnings and kindness To all who our love now deserve, Some of you are going to die, Martyrs, of course, to the freedom I will provide." The song's lyrics focus on Gabriel's reflections on violent revolutions, and the lyrics determine to explore how those who use violence all in the name of freedom are often the ones who actually establish their own dictatorship.

In the mid section the dark Hammond sound ceases and a bass booms with a violining guitar created by volume swells, and then a lilting haunting flute, subtle cymbal clangs on the ride cymbal and a beautiful keyboard pad providing a dark ambience. Then a fuzzed electric guitar is heard with Rutherford's fuzz bass, an off kilter chord structure, and phased vocals chant with a tape loop of screaming and voices, the birth pangs of prog are right here. The guitars have a chance to launch into flight with some of the best work from Anthony Phillips.

After you have been lulled to sleep by all the gentle pastoralness of the previous tracks with their one note bass passages and dreamscape instrumentals you are suddenly jolted back to life with 'The Knife'. After the quiet breeze there is a hailstorm of chaotic drums, a thunderclap of stormy distorted organ and soaring guitar solos, with an injection of venomous, sniping vocals. It is not for nothing that this song closed the Genesis set for years after and is the only track fans want to talk about from 'Trespass'. The song in fact trespasses across the green fields and sets fire to them. The firestorm is a mixture of chemicals fuelled by psychedelic guitar passages, crunching fuzz bass, and blazing Hammond.

The dynamic nuances are augmented by psychotic lyrics; "I'll give you the names of those you must kill, Then have all burned and quickly, Cover them up in Trafalgar square, Hurry to see, you'll see them dead In this ugly world, Ready to fight for your freedom, Now, when I give a word, Hang 'em on high, let the blood flow..." The disturbing lyrics are enhanced by massive stabs of Hammond and gut wrenching guitar riffs but the fuzz bass is so entrenched upon the sound that it is as heavy as the band would get. An absolute masterpiece of prog.

In conclusion it would be unrealistic that I rate this anything more than 3 stars as the greatness of Genesis was yet to come. But this is still a solid slice of early prog and 'The Knife' is an outstanding track, one of the essential blasts of creativity from the Gabriel era. The knife stabbed in the album cover signifies that the band are slicing their ties with commercialism and dragging across a blade to usher in a new progressive sound that would become symphonic prog. It is interesting to note that the album cover has a pastoral feel with religious overtones, a couple stare lovingly out the arch toward the distant horizon and a cupid creature dances merrily in the foreground, but the knife stabbed in the back gatefold is like the stab in the heart of the pastoral idyll, the way 'The Knife' stabs in at the end of the album, infiltrating the quiet atmosphere, almost tacked on as an afterthought is intriguing; it is one thing to swim against the flow but here the goldfish has jumped out of the bowl. Perhaps the band were experimenting, and trying to ascertain what would happen if they pulled out all the stops and attempted a 'Rondo'. The result was a success and opened the floodgates for a prog sound like no other in the years to come. Overall, the album is a genuine curio showing the birth of a band that is ready to catapult into the progosphere with their next adventure, the awesome "Nursery Cryme".

1. The Knife
2. The Knife - Part 2

When John Mayhew and Anthony Phillips left Genesis the band almost broke up. Phil Collins was introduced to the group by Tony Stratton-Smith, who was the head of Charisma Records and Collins was able to instantly bring stability to the rhythm section. The band played for a while with a new guitarist Mick Barnard, but it wasn’t long before they discovered an extraordinary guitarist that would catapult the group to stardom, Steve Hackett.

Although not a success upon release in their homeland, "Nursery Cryme" had become an unlikely hit in Italy peaking at number 4 in the Italian LP charts. This Italian success story developed into a European tour. The album eventually hit #39 in the UK charts for one week in May 1974, with the re-issue taking the #68 spot for one week in March 1984.

 

The band purchased their own Mellotron Mark II from King Crimson to employ a symphonic sound like three violins used to great effect in "The Fountain Of Salmacis" and "Seven Stones", whilst the climax of "The Return of the Giant Hogweed" used fuzzed Mk. II "combined brass". Rutherford utilised an electronic bass pedal unit Dewtron "Mister Bassman". The infusion of a semi-classical structural sensibility was more prevalent. The balladic style or folk song was given a minimum treatment and were substituted driving classical-rock epics that were chock full of sweeping Mellotron and riffing fuzzed guitars. The sound occasionally recalls the type of instrumental track that was produced by Keith Emerson of the Nice, especially in Tony Banks's organ musicianship.

 

 

Track Listing:

Side one

1.	"The Musical Box"	10:24
2.	"For Absent Friends"	1:44
3.	"The Return of the Giant Hogweed"	8:09
Side two
1.	"Seven Stones"	5:08
2.	"Harold the Barrel"	2:59
3.	"Harlequin"	2:53
4.	"The Fountain of Salmacis"

 

The album reached #4 in 1972 in Italy. In the UK it was released in November 1971 and entered the UK charts on 11-May-1974 peaking at #39. It spent 1 week in the charts. It was reissued and entered the UK charts 31-Mar-1984, then reissued and reached #68 on 31-Mar-1984 to spent 1 week in the charts.  

The lyrical content was completely absorbed with a number of Lewis Carroll style fairy tales with overtones of horror and dark themes.  

It begins with ‘The Musical Box’, that began as an instrumental piece written by Anthony Phillips, though he never received credit for writing. The story is a Victorian fairy tale that explored themes of reincarnation, death and lust. The story told of two small children who lived in a country house, and Cynthia, the youngest murders the boy Henry by removing his head with a croquet mallet. The album cover depicts this as a quirky Nursery Rhyme, illustrated style. The albums' artwork, was painted by Paul Whitehead who was also the creative genius behind “Trespass” and “Foxtrot” albums.

The lyrics of ‘The Musical Box’ begin at the moment when Cynthia discovers Henry's Musical Box that plays “Old King Cole” the second she opens it. Henry's soul instantly returns in a restored body as the music plays, but Henry begins to rapidly age whilst retaining the mind of a child. His life flashes before his eyes, a life he will never experience. Henry attempts to have Cynthia pursue his desires in a romantic sense, but his nurse overhears the noise and ventures into the nursery to investigate. She hurls the musical box at the child who has become elderly-looking, and this action annihilates both of them.

When the song is performed on a live stage Gabriel wore an old man mask as he sung the final verse, and unzipped the chest section of this black jumpsuit and the elderly man would die in a dramatic scene.  

“THE MUSICAL BOX” (excerpt)

Play me old king cole
That I may join with you,
All your hearts now seem so far from me
It hardly seems to matter now.

And the nurse will tell you lies
Of a kingdom beyond the skies.
But I am lost within this half-world,
It hardly seems to matter now.

Play me my song.
Here it comes again.
Play me my song.
Here it comes again.

‘For Absent Friends’ is a folk song about two people who attend church to pray for their deceased loved ones. This song is the first to feature Phil Collins as lead vocalist, and was first to be written by the newest members Collins and Hackett.

 

Collins and Gabriel in early 70s, best friends.

‘The Return of the Giant Hogweed’ is an apocalyptic tale of a rampaging hogweed brought from by a Victorian explorer to the Royal Garden as Kew. It is planted by country gentlemen but the hogweeds become sentient spreading their seed throughout England in order to prepare for the carnage of the human race. An idea that may be inspired by “Day of the Triffids” or “Invasion of the Body Snatchers” sci fi classic movies. The locals plan to fight back against the hogweeds by using herbicide however it appears that the plant are immune to its effect. There is a short instrumental called ‘The Dance of the Giant Hogweed’ signifying that the hogweeds are celebrating over the subjugation of the human race. The song is inspired by the phototoxic weed Heracleum Mantegazzianum which is a threat to the UK and other countries.

“THE RETURN OF THE GIANT HOGWEED” (excerpt)

Turn and run,

Nothing can stop them,

Around every river and canal their power is growing.

Stamp them out,

We must destroy them.

They infiltrate each city with their thick dark warning odour

... Waste no time,

They are approaching.

Hurry now,

we must protect ourselves and find some shelter,

Strike by night,

They are defenceless.

‘Seven Stones’ depicts a story concerning a mischievous miserly old man who, like Ebenezer Scrooge laughs at the worlds' despair and robs a farmer blind. Now it is up to ‘chance’ to guide the farmer. This may have references to karma or reincarnation, though it is vague.

“SEVEN STONES”

Farmer, who knows not when to sow,
Consults the old man clutching money in his hand,
And with a shrug,
The old man smiled,
Took the money, left the farmer wild.
And the changes of no consequence will pick up the reins from nowhere.

Despair that tires the world, brings the old man laughter,
The laughter of the world only grieves him,
believe him,
The old man's guide is chance. http://lyrics.rockmagic.net/lyrics/genesis/nursery_cryme_1971.html#top" rel="nofollow - http://lyrics.rockmagic.net/lyrics/genesis/nursery_cryme_1971.html#top" rel="nofollow - - http://lyrics.rockmagic.net/lyrics/genesis/nursery_cryme_1971.html#top" rel="nofollow -

UK:

Released May 1972

A tribute band dedicates it's live show to the entire album with members even dressing up as Gabriel. The band is ReGenesis:

 

 

 

 

 

 

The artwork for the album, along with “Trespass” and “Nursery Cryme” is the visionary genius of Paul Whitehead. His imagery has become synonymous with Genesis and indeed classic prog. The female in the red dress with a fox's head developed into one of Gabriel's earliest stage costumes.

 

 

 

 

 

 

The artwork features a number of fish dancing around the ‘foxy lady’ who is balancing on a slate of ice. The ice is bound to evaporate in the sun and the fox will either drown or be at the mercy of the hounds of the foxhunters. In the distance is the croquet lawn and players from the "Nursery Cryme" artwork. A submarine is lurking in the waters and a distinct English flavour in the costuming is prevalent.  

 

 

The tracks on the album are book-ended by "Watcher of the Skies" and features a side long epic the 23-minute “Supper’s Ready”. Rutherford uses primarily bass pedals, and Banks' uses mellotron with his introduction to "Watcher of the Skies" known as one of the best examples of the instrument.

 

 

The songs were still full of imagery of the fanciful and whimsical. "Watcher of the Skies" focuses on alien invasion.

 

 

Creatures shaped this planet's soil,
Now their reign has come to an end,
Has life again destroyed life,
Do they play elsewhere, or do the know
more than their childhood games ?
Maybe the lizard's shed it's tail,
This is the end of man's union with Earth.

 

 

"Time Table" has a medieval flavour and may be based on the Round Table of King Arthur.

 

 

A carved oak table,
Tells a tale
Of times when Kings and queens sipped wine from goblets gold,
And the brave would lead their ladies from out the room
to arbours cool.
A time of valour, and legends born
A time when honour meant much more to a man than life
And the days knew only strife to tell right from wrong
Through lance and sword.
 

 

 

 

 

 

 

 

 

"Get 'em out By Friday" features a host of characters and stereotypes that Gabriel mocks in various voices and tells of characters who are evicted for being too short; a mockery of prejudice.

 

 

After all this time they ask us to leave,
And I told them we could pay double the rent.
I don't know why it seemed so funny,
Seeing as how they'd take more money.
The winkler called again, he came here this morning,
With four hundred pounds, and a photograph of the place he has found.
A block of flats with central heating.
I think we're going to find it hard 

 

 

 

"Can-Utility and the Coastliners" is loosely based on the legend of King Canute who commanded the seas to retreat to taunt the smooth talk of his followers.

 

 

They told of one who tired of all singing,
Praise him, praise him.
We heed not flatters he cried,
By our command, waters retreat,
Show my power, halt at my feet,
But the cause was lost,
Now cold wings blow.

 

The album was recorded in Leicester England at De Montfort Hall on February 25, 1973. There was one exception being  (1973-02-25) "Return of the Giant Hogweed" that had been a recording of part of a concert in Manchester at the Free Trade Hall.

A 23-minute version of “Supper’s Ready” was recorded in Leicester but left off the album as it was too long, and it was deemed a risk to release a double live album at the time.

The live material was taken from the sydicated radio show, 'The King Biscuit Flower Hour Show'. It remains a fan favourite and essential to the Genesis catalogue. 

Side one

1. "Watcher of the Skies" – 8:34
2. "Get 'Em Out by Friday" – 9:14
3. "The Return of the Giant Hogweed" – 8:14

Side two

1. "The Musical Box" – 10:56
2. "The Knife"  – 9:47

**** An intense dynamic performance captured on one excellent album

The year was 1973 and Genesis was required to produce an album with Charisma Labels. The problem was there was no new material so some bright spark came up with the idea of releasing a live album. It was designed to count down time until the subsequent release of the next studio album. Ironically the album would become a masterful interpretation of a live concert experience in the 70s and indeed the only legitimate vinyl release of Gabriel live with Genesis. In this regards the album is an important Genesis release, and essential at the time to contribute to the growing success of the group. The set list represented the recent "Foxtrot" as well as material from "Nursery Cryme" albums and a track from "Trespass". There was material recorded for the 'King Biscuit Flower Hour' syndicated radio show and the band agreed that this material would be sufficient and it would serve as a budget release. How wrong they were; the album is a triumph.

The sound on this album is Genesis at their best, particularly the accomplished organ and mellotron of Banks who is captured in time. Hackett's guitar flourishes are crystal clear and Rutherford is dominant on bass pedals. Collins' percussive work is incredible and consistent. The showmanship of Gabriel is compelling and enchanting, he is absolutely in his element on the live stage.

Overall the album has become a quintessential product, not a throwaway or filler between albums, moreover a highly polished testament to the complexity of the music that Genesis generated in the prog-soaked 70s. The performances on "Watcher of the Skies," "Get 'Em Out By Friday," "Return of the Giant Hogweed," "The Knife, and, "The Musical Box," are excellent compositions, remarkably similar in structure to the studio releases, but distinctly dissimilar in sound, indeed perhaps even better than the original versions.

Gabriel is a theatrical powerhouse performing many facets of his persona and spitting out the lyrics with venom and cynical grandeur. "The Musical Box" is a wonderful full blown exploration of Gabriel-fuelled whimsy and as dark as the studio release. "The Return of the Giant Hogweed," is also dark and ethereal with some amazing virtuoso guitar and keyboards embellished by an off beat percussive rhythm. "The Knife" is the only "Trespass" track and it is a killer with staccato blasts of keyboards and shimmering guitars, that absolutely buries the original version in terms of sheer intensity and dynamism.

The energy of the band is incredible, they were a force to be reckoned with in the 70s and it is all captured on this live release that fits neatly on one CD. It is an absolute tragedy that "Supper's ready" was omitted, due to length issues and the fact that it would cost too much, as this would have been the piece de resistance and may have escalated the album to masterpiece status. However, versions of this track from the 70s have surfaced on box sets so it all is not lost. Overall "Genesis Live" is a delightful rendition of all that made Genesis great in the early 70s; an historical live document of progressive excellence.

1975 Gabriel Out Of Genesis

This television broadcast is one of the rare performances in existence when the band featured Gabriel at his best.  

However he was soon to depart. The band stayed together for some time in 1975. 

http://2.bp.blogspot.com/_AlNKzE8_d2k/S57PZVxws2I/AAAAAAAAA-E/Du8nN82AF_I/s1600-h/26.jpg" rel="nofollow">

 

1. I Know What I Like (In Your Wardrobe) (4:12)
2. Harold The Barrel (3:02)
3. Harlequin (2:55)
4. Watcher Of The Skies (3:46)
5. Fountain Of Salmacis (7:56)
6. Supper's Ready (22:54)

None of the material was new but it signified the end of an era for the band.

 

My Review:

 

*** First compilation for Genesis features their quintessential classics

The first compilation signifying the end of an era for Genesis. Gabriel had bowed out to pursue his own interests and the band were left dead in the water. Time for a compilation album. The tour was over in 1975 and Phil Collins was ready to take up the microphone to step into the massive shoes of egotistic Gabriel. Of course the band were not ready at this stage to release a studio album so a compilation was the only answer or no album at all. I still can't for the life of me understand why they did not release a live performance of The Lamb Lies Down On Broadway as the bootlegs sound so dang good, it's criminal the band did not jump at the chance, or was that due to Gabriel insisting that they leave him out of it. In any case this compilation features some of Genesis' best material. This is great if you are new to Genesis, however for those of us who already own the 70s albums, a compilation like this is rendered obsolete. The album cover is totally misleading, looking like a live performance of the band and I could have done with that but alas these are exactly as released on studio albums. The packaging looks so fresh and enticing but the stale contents are bitter to the taste if you are already a big enough fan to own their first 5 albums. In reality all compilations are pointless when there is nothing new to offer the fan who has all the studio albums. However I must point out that on this German release there is one surprise rarity that I will mention later in this review.

The track listing is surprisingly well chosen for those who were new to the band back in the 70s. Rather than rewrite new reviews of each track I will plagiarise my own reviews to present my feelings on each track.

 

 

From Selling England By The Pound.

The mundane act of mowing a lawn became part of the staple radio diet, "I Know What I Like (In Your Wardrobe)". The drone of the lawnmower makes an appearance at the end of the track and it is very effective in making a statement that lawnmowing is part of the English past time, maintaining a healthy lawn is the key. The lyrics are pure whimsy; "When the sun beats down and I lie on the bench, I can always hear them talk, Me, I'm just a lawnmower, you can tell me by the way I walk." The theme is therefore that the inanimate object of the mower is speaking about it's existence, it's life on a farm and it's life in a suburban backyard; "Keep them mowing blades sharp." The track ends on Gabriel's fluttering flute solo and an odd jazz rock beat, but radio stations adored playing this as it was such a curiosity.

 

 

From Nursery Cryme

'Harold The Barrel' paved the way for such storytelling epics as 'Supper's Ready'. The honky tonk piano will remind one of ELP's 'The Sheriff', equally out of place as this. Gabriel is delightful as he shoves it up the suits of an organised criminal inquest. A "Bognor restaurant-owner disappeared early this morning" and the hunt is on giving Gabriel license to channel all sorts of whimsical characters, such as the Man-in-the-street who suggests "it's disgusting, Such a horrible thing to do, Harold the Barrel cut off his toes and he served them all for tea..." It would be crude if not for the biting satirical delivery. Gabriel is truly sardonic on lines such as "You can't last long, Said you could'nt trust him, his brother was just the same." Gabriel continues to mock the stereotypes of autocracy and Harold's demise is never determined but we hear from his wife, the man on the spot, man on the council, lord mayor and the ridiculous Harold who states "If I was many miles from here, I'd be sailing in an open boat on the sea, Instead I'm on this window ledge..." Will he jump? We never find out. This is reminiscent of all the Gabriel fuelled parodies on the English idyll, no longer a pastoral pastiche but a worldly attack on how the English behave; even with mocking phrases, "we can help you... you must be joking, take a running jump" , Gabriel sneers. It reminds me of 'Willow Farm' section of 'Supper's Ready' or especially 'Get 'em Out by Friday'.

 

'Harlequin' is more like the pastoral folky feel of "Trespass", a style that would be shed completely as the band matured thankfully as they were always better heavy and bombastic with Gabriel unleashing his fury and antagonism. Here Gabriel is withdrawn and gentle and harmonious with other voices blending in a dreamy way. The lyrics are sugar sweet and balladic but there is an edge that things are surreal and dreamlike. "harlequin, harlequin, Dancing round three children fill the glade, Theirs was the laughter in the winding stream, and in between. From the flames in the firelight." If this were not so short I would have thought it would feel like a filler or throwaway but it is a nice change in direction. I would not rate it as a highlight but there is nothing wrong with some acoustic picking and harmonies from Genesis occasionally in small doses.

 

 

From Foxtrot

Here's the one surprise! 'Watcher of the Skies' is the edited rare 7" version so this track I actually did not have at the time. the track itself has an intricate time sig dominated by a driving divine bassline from Rutherford. The sharp sporadic drum beat is a portent of the chaos to come. The lyrics are typical of Gabriel, snappy and cliché driven nonsense that fits perfectly the estranged rhythms of Hackett and Collins. The absurdist lyrics are alienating but sincerely dark and foreboding: "Creatures shaped this planet's soil, Now their reign has come to an end, has life again destroyed life, Do they play elsewhere, or do they know more than their childhood games? Maybe the lizard's shed its tail, This is the end of man's union with Earth." Questions, questions, questions... no answers but a myriad of unbridled purpose driven ruminations about life and death. The melody juxtaposes a bright tune to this darkness, and it works exceptionally well. The tale of alien invasion is perfect for the satirical nature of the music. You can really feel the tension in the way Gabriel delivers; he must be one of the legends of prog for his contribution. Banks flies off the deep end with the keyboards and the rhythm is driving in 6/4 rhythm, and bombastic sounds dominate. Listen to it on "Genesis Live" for a real experience in instrumental genius. The mellotron is wonderfully played and adds to the surreal fantasy soundscape. The dynamics are a collision of guitar and drums with a multi layered keyboard wave of sound.

 

 

From Nursery Cryme

'Fountain of Samalcis' is another outstanding track and begins with a beautiful volume swell of mellotron ominously building like a jet plane swooping past, perhaps like a fountain rising and falling. Gabriel tells the weird surreal story and the track builds with glorious mellotron orchestrated in a symphonic crescendo by Banks. The story is a retelling of the Greek myth about an Hermaphrodite and yet it is captivating to reinvent the age old tale, a musical theatrical powerhouse. Gabriel brings the story to life with his excellent vocal prowess, perfection of intonation and pronounced tone that is stirring and evocative; "As the dawn creeps up the sky, The hunter caught sight of a doe. In desire for conquest, He found himself, within a glade he'd not beheld before... Where are you my father, Then he could go no farther, Give wisdom to your son, Now lost, the boy was guided by the sun". The violining of Hackett's guitar is masterful and he plays some angular riffs in this that are repeated as a hypnotic motif camouflaged by Banks soft key pads. Gabriel chimes in with "as he rushed to quench his thirst... A fountain spring appeared before him And as his heated breath brushed through the cool mist, A liquid voice called Son of gods, drink from my spring" . The bassline is notable of Rutherford. An interlude of soaring guitar ensues, with strong rhythmic shapes from Collins on percussion, a strange brew of bombastic glory. The bassline pulses stronger and some cathedral pipe organ is heard. I love this part and it continues to build to the next verse and the music answers Gabriel in turn. Pipe organ flourishes follow and a staccato organ that sweeps across a layer of frenetic bass and chaotic drumming. It fades for a time and builds with the huge organ swells like sunlight bursting through dark clouds, rays of light across the horizon. There is a grand finale with simmering elegance that shoots rays of light at the end to culminate in an apocalyptic crescendo.

 

 

http://www.genesismuseum.com/vinyl/attentionb.jpg" rel="nofollow">

 

From Foxtrot

'Supper's Ready': THE best Genesis song ever? Why not when you have a twenty three minute epic from Genesis with the legendary effervescent Peter Gabriel at his sinister best. It is quintessential to the band and indeed is a prime example of what prog is. What makes 'Supper's Ready' such a masterpiece juggernaut? There are a number of factors to take into consideration. First and foremost is the music. A tapestry of interludes, signifiers, climaxes, crescendos and majestic outros. It moves in so many directions and shifts time signatures that it is hard to keep up. There are many styles of music integrated within the structure. It is not easy to integrate songs together into one huge epic but this is a perfect example of when it works as a multi movement suite; a magnum opus of music. Other perfect examples are Caravan's 'Nine Feet Underground' and as mentioned Van der Graaf Generator's 'Plague Of Lighthouse Keepers' and of course Yes' 'Close To The Edge'. These epics are also seamless multi-movement suites where a number of songs at different tempos and styles are integrated into one huge epic, and if you know anything about prog you should know that these are the best examples of the genre. It allows the band to utilise all their talents into one package and they do this in spades in an impulsive feat of dextrous impetuosity. It is a blitzkrieg of virtuoso instrumental intensity. Secondly, the performance of Peter Gabriel as the actor/ storyteller is incredible. His vocals are extraordinary and hammered the nail in the coffin as the master frontman of prog rock. I saw Genesis do this live in an ancient 70s filmclip kicking around YouTube in three parts and Gabriel metamorphoses into various costumes and masks, a fox, a flower?, an impish child clown, a magician, an alien Pied Piper, a Pythagoras pyramid, to tell this epic tale of the apocalypse, or whatever it is. Which brings us to the third reason why this is a masterpiece.

 

 

The lyrics. They are strange, dark, mystifying and downright intelligently written. Once heard, the lyrics have an uncanny ability to hide in the dark shadowy corners of the subconscious where your mind makes irrational connections to the real. The song begins with the impetuous weird lyrics of 'i. Lover's Leap'. Is it about suicide? Or is it about lost love? Or something more sinster? Or merely portentous twaddle? "Walking across the sitting-room, I turn the television off. Sitting beside you, I look into your eyes. As the sound of motor cars fades in the night time, I swear I saw your face change, it didn't seem quite right." It is definitely a love song, albeit a jaded romance, something is wrong and we sense it in the almost cynical, farcical manner Gabriel spits out the words. The song actually puts the reader off the scent of what is about to unfold. The Red Herring of romantic interludes "Hey my baby, don't you know our love is true" is unsettling because the song will soon detonate into some unnerving passages of music. The lyrics signify the darkness coming over the mocking sunshine music, listen to the alliteration on "Six saintly shrouded men move across the lawn slowly. The seventh walks in front with a cross held high in hand... And it's hey babe your supper's waiting for you..." hence the name of the song is mentioned, which is still a mystery to me. What is the supper, who prepared it, and who is waiting for it? We may never know, I don't think Gabriel even knew. And I don't think he cared as long as he had a chance to stalk an unprepared audience. The enigmatic lyrics are part of the progressive off kilter essence of the song. It segues seamlessly into the very bizarre 'ii. The Guaranteed Eternal Sanctuary Man'.

Here the harvest is about to begin, a biblical term for revival but what is its meaning here with contemptuous lyrics such as, "He's a supersonic scientist, He's the guaranteed eternal sanctuary man. Look, look into my mouth he cries, And all the children lost down many paths, I bet my life, you'll walk inside, Hand in hand, Gland in gland, With a spoonful of miracle, He's the guaranteed sanctuary man."

The sexualised mockery continues and transfixes, and it is daunting to hear the lyrics that will years later become the quintessence of a Queen classic, "We will rock you, rock you little snake." 'iii. Ikhnaton and Itsacon and Their Band of Merry Men' is a build up of scornful ideas that make less sense than the previous material. We hear the fabricated sound of children's voices that are chanting something rather bizarre but the music really goes pitch dark as a staccato chord clangs loud. A soft flute and guitar trade off each other as a keyboard is stroked delicately. The derisive lyrics become alienating and menacingly cold, "Killing foe for peace...bang, bang, bang. Bang, bang bang... And they're giving me a wonderful potion, 'Cos I cannot contain my emotion. And even though, I'm feeling good, Something tells me, I'd better activate my prayer capsule." So the religious overtones from the debut album, "From Genesis to Revelation", are being revisited, in fact the theme is becoming blatant at this point; "Today's a day to celebrate, the foe have met their fate. The order for rejoicing and dancing has come from warlord." It is apparent that an apocalyptic battle is about to ensue and this may be the end times as in the apocalypse in the Bible's book of Revelation, though it is unclear with the lyrics masked behind poetic metaphors, pseudonyms and psychedelic symbolism.

 

 

'iv. How Dare I Be So Beautiful?' is interesting lyrically speaking, about "Wandering in the chaos the battle has left, We climb up the mountain of human flesh, To a plateau of green grass, and green trees full of life." Do we really understand the meaning here and to be honest can we ever comprehend where this song is going? The answer is a resounding 'no', though many have attempted to interpret this and it perhaps rests on personal explanation rather than straightforward meaning explained. "We watch in reverence, as Narcissus is turned to a flower. A flower?" questions Gabriel. Perhaps we are seeing here a transformation or metamorphosis of an evil being, Narcissus the Greek mythological creature, changed into a pure being and Gabriel gets a chance to don his flower head gear and, with barefaced arrogance, prance around the stage.

During the concert performance of 'v. Willow Farm' Gabriel is a figure in black with flower head stalking the stage as sinister as he can get, leering and sneering with disdain. He marches in time to the stabs of music; 1, 2, 3, 4... The menacing figure of Gabriel is confronting and the lyrics are absolutely chilling, "If you go down to Willow Farm, to look for butterflies, flutterbies, gutterflies, Open your eyes, it's full of surprise, everyone lies, like the fox on the rocks, and the musical box." It's interesting that he mentions songs of the band to come such as 'Musical Box' and a close reference to "Foxtrot". Winston Churchill gets a mention and a frog that was a prince, that became a brick, then the brick became an egg, and the egg was a bird. It is like the world of Dr Seuss; perhaps the writers read "Fox In Socks" prior it penning this. Gabriel adopts a supercilious attitude as he muses that we are all as "happy as fish, and gorgeous as geese". It's fiendishly childish and pretentious and even precocious but undeniably ferocious in its original approach. Gabriel sounds pompously English as he babbles gobbledygook about the father in the office and the mother in her domestic role, "Dad diddley office, Dad diddley office.... Dad to dam to to dum to mum, Mum diddley washing, Mum diddley washing... Ooee-ooee-ooee-oowaa" , you get the point. The song itself is one of the most memorable pieces of the epic. But nothing comes close to the wonderful next section.

 

 

'vi. Apocalypse in 9/8 (featuring the delicious talents of Gabble Ratchet)' is nothing short of brilliant. The amazing time signature in 9/8 is superb with mind bending guitar and keyboards, the rhythmic bass and drums are outstanding. The audacious lyrics are as dark as Genesis gets, "With the guards of Magog, swarming around, The Pied Piper takes his children underground. The Dragon's coming out of the sea, with the shimmering silver head of wisdom looking at me. He brings down the fire from the skies, You can tell he's doing well, by the look in human eyes." There are definite references to Revelation here, shrouded in typical symbolism but nevertheless undisputable, especially the reference to "666 is no longer alone..." and "the seven trumpets blowing sweet rock and roll". A parody of Revelation in a sense, something that many heavy metal bands adopted during the great late 80s revival of metal. So as Gabriel bellows and croons with sledgehammer delivery lyrics such as "Pythagoras with the looking-glass, reflecting the full moon, In blood" , the music begins to settle down into another section and in fact bookends the opening "Hello baby" lyrics and melody, and another familiar melody is heard, and we may suspect that the song is going to end, but it is a false ending; there is one part left of this colossal beast.

  

'vii. As Sure as Eggs is Eggs (Aching Men's Feet)' is the disorientating finale and what a finale! The amazing ending is replenished with huge fortissimo orchestral sections, mellotron style, and Gabriel's ruthless voice soars into the stratosphere. "There's an angel standing in the sun, and he's crying with a loud voice, "This is the supper of the mighty one", Lord Of Lords, King of Kings, Has returned to lead his children home, To take them to the new Jerusalem." It sounds like a Neal Morse song here. So we end with a reference to the New Heaven and New Earth in the book of Revelation. The supper is not the last supper of Jesus, it is not an ordinary supper, it is the feast of triumph when the Lord returns to take his children home in the rapture an then as the earth burns to a cinder, God will create his New Jerusalem. Well, that's my interpretation; you will have your own that will be equally as valid. ELP returns to this theme of Jerusalem, it seems the Biblical theme was one of prog bands favourites. It is the unmitigated majesty of the music and the triumphant and glorious crescendos that lift the spirit on this; it ends on a high note and it ends on a memorable lyric, this is why it is a gargantuan masterpiece.

 

 

In conclusion, 6 excellent songs that if taken alone could produce a masterpiece. But these are just taken from masterpiece albums and thrown together to make a few dollars for the band who were struggling to find form at this stage without Gabriel. Therefore the best I could manage is 3 stars. Curiously the debut album, Trespass, and Lamb Lies Down On Broadway are totally ignored for this compilation. The album could have included Musical Box, The Knife, Firth of Fifth and In The Cage if it had been a double album and this would have been a far better compilation representing each album to this point. Due to the vintage value, this is one album to grab if you see it cheap in a bargain bin on vinyl, otherwise just buy the first few Genesis albums.

 

Two singles were released during the tour.

 

1. Carpet Crawlers

2. Waiting Room

 

 

1. Counting Out Time

2. Riding The Scree

 

 

This rerelease featured a picture sleeve of Gabriel.

 

There was little success of both singles. However the band were busy in the studios working on their next album; an album that would prove there is life for Genesis after Gabriel.

 

 

The Album:

A Trick Of The Tail

UK:

Entered the UK charts on 28-Feb-1976

Reached Position #3 on 13-Mar-1976

Spent 39 weeks in the charts.

In a readers Poll voted as The Best Album in 1976.

US:

Entered the US charts on 20-Mar-1976

Reached Posiiton #31 on 15-May-1976

Spent 19 weeks in the charts.

Certified Gold by the RIAA in April 1990

Winding Their Way To One More Classic Studio Release

After a successful tour of “A Trick of the Tail” Genesis was back in the studios at Relight Studios/Hilvarenbeek, NL between September and October of 1976. They were embarking  on the next studio release that would stamp its authority as one of the alltime greatest prog albums for 1976.

It would be a different approach, a more melancholy, gentler sound with softer mellotron and in fact more keyboards than previous albums. It has become a symphonic classic as a result and many reviewers complained that Hackett was not used appropriately, although his presence is definitely there.

“Wind & Wuthering” is the eighth studio album by Genesis, originally released in December 1976. It reached number 7 in the UK and stayed on the charts for 22 weeks. In the US, "Your Own Special Way" became the band's first charting single with Collins as lead vocalist, reaching a maximum of 62, and the album itself reached 26 on the US charts.

The title of the album is an allusion to Emily Bronte’s “Wuthering Heights”. The actual word ‘Wind’ comes from "The House of the Four Winds" which was a Chinese restaurant in Manhattan. Hackett gave the album its title and it was used in the bridge of "Eleventh Earl of Mar". This track refers to John Erskine, an historical figure, the “Florentine Pogen” 11th Earl of Mar by one reckoning.

The word "Wuthering" refers to Bronte’s novel as does some of the song titles particularly the instrumental tracks 7 and 8, specifically quoted in the last paragraph of the novel; "I lingered round them, under that benign sky: watched the moths fluttering among the heath and harebells, listened to the soft wind breathing through the grass, and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth."

“Wot Gorilla?" is a reference to touring drummer Chester Thompson having been mentioned in "Florentine Pogen", a track on Frank Zappa's 1975 album “One Size Fits All”. It is perhaps one of the filler tracks as far as some critics are concerned and yet is as good as they get with very powerful melodies and virtuoso musicianship.

"Afterglow" was composed by Banks, who described it as a spontaneous piece written in about the same amount of time as it takes to play it, and consequently [it] has a spirit about it that comes from being less contrived. [ http://www.genesis-news.com/c-Genesis-Chapter-Verse-review-s141.html" rel="nofollow - Chapter & Verse , p. 177].This cynical comment is typical of the tensions felt in the band at the time. In 1975 Hackett completed his first solo album “Voyage of the Acolyte” which was successful and had the blessing of two of the members who actually appeared on the album, namely Mike Rutherford on bass guitar, bass pedals, Fuzz 12-String, and Phil Collins on drums, vibes, percussion, and vocals. 

Line-up / Musicians

- Steve Hackett / electric & acoustic guitar, Mellotron, harmonium, bells, autoharp, vocal, effects 
- John Hackett / flute, Arp synthetizer, bells 
- Mike Rutherford / bass guitar, bass pedals, Fuzz 12-String 
- Phil Collins / drums, vibes, percussion, vocals 
- John Acock / Elka, Rhapsody, Mellotron, harmonium, piano 
- Sally Oldfield / vocal 
- Robin Miller / oboe, cor Anglais 
- Nigel Warren-Green / solo cello 
- Percy Jones / extra bass on "Tower" 
- Johnny Gustafson / bass on "Star" 
- Steve Tobin / parrot and cough

Banks further went on to state that “Afterglow” resembles "Have Yourself A Merry Little Christmas" and in spite of these in house criticisms it became a live favourite on Genesis tours for over 10 years right up to the 1987 Invisible Touch Tour. It even appeared on the more recent 2007  http://en.wikipedia.org/wiki/Turn_It_On_Again:_The_Tour" rel="nofollow - http://en.wikipedia.org/wiki/In_the_Cage_%28song%29" rel="nofollow - http://en.wikipedia.org/wiki/The_Cinema_Show" rel="nofollow -  There were various uses of unusual instruments to create the symphonic sounds generated, for example a  http://en.wikipedia.org/wiki/Moog_Taurus" rel="nofollow -   http://en.wikipedia.org/wiki/Bass_pedal" rel="nofollow -  was used on “Afterglow” creating  a droning effect that is heard throughout the song, thus a soundscape of ambience is felt.

In the case of “Wot Gorilla?” it was originally going to be replaced with Hackett’s "Please Don't Touch" but apparently due to internal problems, this was rejected in favour of “Wot Gorilla?” The rejection of Hackett’s song further cemented his decision to leave indefinitely.

The album gave each member a chance to write at least one song, and Rutherford came up with the poppiest song, and perhaps a genuine precursor to the pop radio friendly sound that would come in the ensuing years. "Your Own Special Way" was a Rutherford composition and far removed from the rest of the album as a mainstream radio hit. Steve disliked this approach preferring a more progressive, jazz influenced sound, a sound he would inject into his solo career, and he threatened to leave. Banks all but took over the album and even in the mixing Hackett was invisible at times. Hackett was asked in an interview: What were the primary reasons for your departure from Genesis?

Hackett: “It came to a point where I simply couldn’t handle playing “I know what I like in Your Wardrobe” any longer.  I also didn’t feel enough of my writing and playing was being included into the music. 

http://www.audioholics.com/news/editorials/musicians-corner/interview-with-former-genesis-guitarist-steve-hackett-1" rel="nofollow - http://www.audioholics.com/news/editorials/musicians-corner/interview-with-former-genesis-guitarist-steve-hackett-1

When Peter Gabriel was still in the band, Banks created most of the musical ideas and Gabriel generated the lyrics of most tracks; a driving force of the band was always the musicianship and lyrical ideas. Hackett and Banks arranged the songs as a majority and thus the Genesis sound was created. To take Hackett out of the creative process is to sap dry the progressive edge already removed in some ways with Gabriel’s departure. Once Gabriel departed all the members desired to be composers, and banks was all for it because he knew he was a step ahead of all the others especially with his “Voyage of the Acolyte”. Solo albums always seemed to cause dissension in the ranks of artists in bands and Genesis was no exception. Hackett had become quite vocal about his feelings toward the new musical approach, no longer the silent member, and he was even a strong competition for Banks. Banks made his intent clear by refusing to appear on Hackett’s album, as he said in an interview that he believed making solo albums was not healthy for Genesis, though he remained silent when Collins and Rutherford did likewise in years to come. Even the videos produced for the songs reveal tension with Banks, Collins and Rutherford appearing to be three great friends but Hackett looks disenfranchised and aloof in comparison.

Banks has said in an interview his feelings were similar in embarking on a solo project:

Banks: “Well, the first time I ever thought about doing a solo project was after Peter [Gabriel] left the band around “Trick of the Tail”. Then I thought, if Genesis is going to carry on, we really need to put all of the best ideas into that next album.”

http://www.worldofgenesis.com/TonyBanks-Interview2009.htm" rel="nofollow - http://www.worldofgenesis.com/TonyBanks-Interview2009.htm

During the making of “Wind and Wuthering” in 1976 Genesis was undergoing its most significant change in both personnel and musical direction. The band was changing and it was drawing nigh to the 80s when music itself underwent a massive transformation. Punk rock in 1977 was a massive disruption to the music industry and prog was on the way out as a dominant form. All these factors contributed to the band becoming a trio in the ensuing years in their most difficult era.

Some interesting comments I have read from proggers on the ProgArchives are enlightening:

Refugee:
"The vine" sounds very much like "divine". Try it out in the lines:

He walked into a valley,
all alone.
There he talked with water,
and then with the vine/divine.

Isn’t it much like Jesus’ prayer in Gethsemane? That again may mean that he’s about to be sacrificed – which he indeed is in a way.

7headedchicken:

I always heard "Afterglow" as being about giving yourself up to God.  Maybe with those two songs there is a connecting theme, but I'm having trouble applying "All In a Mouse's Night" and "Blood On the Rooftops" to that theme, except maybe the line "seems Helen of Troy has found a new face again" from "Blood On the Rooftops" could be parallel to the part in "One For the Vine" where the leader sees another figure in the crowd "vanish into air" to pursue his same path.

Mwood:

I looked up the lyrics to "Florentine Pogen", and sure enough, it contains this bit:

Chester's go-rilla
She go oink
Chester's go-rilla
She go quack
Chester's go-rilla
She go moo
Chester's go-rilla
She go

Ivan_Melgar_M:

About One for the Vine, I always thought it could be the conclusion of THE KNIFE. In the song from Trespass, the leader offers freedom in exchange for sacrifice, in "One for the Vine", some followers are disenchanted of promises and violence.

What I can't understand is why they made a song about John Erskine 22th or 11th Earl of Mar),  the most incompetent characters of the 15 Jacobite Rising.

twosteves:

I think one of the greatest prog tragedies is the hate Banks has for Hackett---to the degree they never worked together again---they were the perfect prog keys and guitar combo in Genesis and made amazing music. I mean after Phil left the pop group---the ego involved to think they could carry on with CAS---they could have gotten Hackett back and made some real prog knowing they had nothing to prove anymore---but Banks just loves to exclude Hackett.

Snow Dog:

The problem was the band didn't want anyone issuing solo albums until the future of Genesis was secure. That's why Collins album came out at the time of Duke. It was allowed then. I f Steve had been patient he could have stayed in Genesis and released solo albums.

Tracks on the album

Side one

1.    "Eleventh Earl of Mar" (music:  http://en.wikipedia.org/wiki/Tony_Banks" rel="nofollow -   http://en.wikipedia.org/wiki/Steve_Hackett" rel="nofollow -   http://en.wikipedia.org/wiki/Mike_Rutherford" rel="nofollow -  / lyrics: Rutherford) – 7:39

2.    "One for the Vine" (Banks) – 9:59

3.    "Your Own Special Way" (Rutherford) – 6:15

4.    "Wot Gorilla?" (Banks,  http://en.wikipedia.org/wiki/Phil_Collins" rel="nofollow -  

Side two