DUKE

Perhaps the last album Genesis did that mattered, I initially avoided anything post Hackett with this band, but I found some positive reviews of this album on the website and checked this album mout and then bought, I can tell although the Hackett magic is missing this is still a very good and proggy album, the band did bounce back with this one. Although there is an early 80s sheen to this album the songwritning isn't that far from the Peter Gabrial era. What impressed me about this album the most is Phil's voice, this is his most emotive singing it is just as emotional as anything Peter Gabrial did and at times Phil sounds absolutely identical, this was in part because Phil's marrage was falling apart and so Phil just let it out on this album. This is the only time you can take Phil seriously as a singer.Although Steve is long gone there is still the strong drama element in the music, and with the trio it is very tight and direct, the music is still very proggy and could fit on any of the previous Genesis albums, with the exception of three dud tracks; Misunderstanding, Alone Tonight and Please don't ask which keep this album from being 5 stars. The Songs Behind the Lines, Duchess, Guide Vocal, Turn it on Again, Duke's Travels and Duke's End were oringinally intended to form a twenty minute suite, but unfortunately the band decided against it, fearful that it may be compared to Supper's Ready and also because this period of time the industry was againsthighly adventurous music. The first song Behind the Lines, has Tony's traditional keyboard sound, and is very dynamic sounding and as I said earlier Phil on this album has grown into Gabrials shoes. Duchesss morphs out of the first track and has heart wrenching vocals, Genesis sounds modern (for the time) prepared for the new decade yet on this album they still maintained their artistic integrity and edge (which of course will dissappear in Abacab). Guide Vocal then flows out of Duchess and is reminiscent of How Dare I be So Beautiful ? on Suppers Ready. Man of Our Times has Tony playing classical keys keys reminiscent of Rick Wakeman on Tormato (at least on the good tracks on that album) Misunderstanding is a sign of the bands immenent decline, you can see it as the beginning of the end, it should have stayed on Phil Collin's solo album rather tha nthis one, it just doesn't fit on this album it sticks out like a Noel Reeding song sticks out of a Hendrix album, Diana Ross style of pop does not bel;ong on a Genesis album, I skip this song. Heathaze reminds me of the Lamia on the Lamb Lies Down on Broadway, again the sorrow in Phil's voice is amazing full of sorrow, at points Split Enzesque keys adding a mild quirky touch yet the song is still very meloncholi. At certain points of this song Phil's vocals are similar to Home By the Sea part 1. Turn it on Again is a great song, in 13/12 it has a great dynamic feel to it, it was a radio hit but yet is still unusual enough to appeal to prog fans, again Phil's voice is great.It reminds me a little of the Who, a brilliant track, Tony's keys are exciting its got a brilliant drive boith emotively and rhythmically, its so tight and direct, yet unusual for Genesis in that it was more rhythmical, it feels wrong by itself and would fit in an epic as originally intended. Alone Tonight is just syrupy garbage written by Mike Rutherford, basically if you're like me and can't stand Your Own Special Way on Wind and Wuthering, then you'll hate this piece. Cul-de-Sac is another meloncholic piece like Heathaze yet their is a sound of hope and triumphwith Tony's key, that has drama in it that evokes feelings similar to his dynamic and dramatic keyboard piece on One for the Vine (also onW&W), and Split Enzesque keys. With a classy ending that only Genesis knows how. Please Don't Ask, should be called Please Don't Listen because its more syrup this time from Phil Collins with lousy lyrics about relationships that would fit better on his solo work. Duke's Travels and Duke's End merge into each other and are in the same vibe as Los Endos, and Unquiet Slumbers of the Sleepers of this Quiet Earth, the beginning is like Endos, and the keys have a highland/gaelic feel to it like ...of this Quiet Earth, with power and drama in the brief vocals piece and ending. If you want more Genesis goodness, but are fearful of anything past Seconds Out, there is still plenty of prog goodness, its just there are three awful tracks that you have to skip, it is definately worth your while if you like Genesis. But after this album, the bands fate is more greed inclined, and the creative instincts are lobotomised on the next album, it is indeed a tragedy, such a shrp decline. This does point at the bands future yet it still has the substance and emotional honesty (except the three dud tracks) balanced well. The last good and listenable Genesis album.