A TRICK OF THE TAIL

In late '74, Peter Gabriel internally announced his intention to leave Genesis due to a difference in vision, and a few months later, he followed through. That day can be considered a dark one for many. Over 400 auditions followed in search of a new singer, and after briefly considering continuing as an instrumental band, the solution was found close to home. Phil Collins, who had done background vocals and lead vocals on two soft songs in addition to his drumming, became the new frontman, and the rest is history.

The strength of the two albums that followed Gabriel's departure is that they continued to embrace the symphonic genre, partly because guitarist Steve Hackett was still on board. The albums in question, the one discussed here, "A Trick Of The Tail" from early '76, and its successor "Wind And Wuthering" less than a year later, may be slightly less complex in structure, but they are equally imaginative. In this regard, the beautiful cover of "A Trick Of The Tail" greatly enhances the music. Seven of the eight tracks are vocal, and the characters of these tracks are intricately drawn by Colin Elgie, an associate of the renowned design studio Hypgnosis. They all stand in a row as if they have stepped out of the music. The old woman and the mirror, the policeman and the bandit, the devilish beast, the judge and the hunter with the furry rodent, and more. The good thing about this cover is that this colorful cabinet of curiosities represents music that is equally stimulating. It makes for a strong whole.

The opener Dance On A Volcano most closely aligns with their earlier music, lush and full of tempo and mood changes. A leading role here is reserved for both the drummer and the singer, who is Phil Collins. With his incredibly groovy playing, he adds even more dynamism to the music than it already has. Collins is the perfect binding agent for all the delights the album offers. Let the guitar wail and the keyboards twinkle away, Collins guides it all smoothly. Nothing new in itself, but as a singer, he really has to prove himself. In Dance On A Volcano, he truly takes off. You can hear in his voice that he is a drummer ? what timing, what nuances. This promises much for the rest of the material.

The transition from this vibrant track to the calm Entangled is downright brilliant. This song is Genesis at their best. Flowing 12-string guitar strums accompany Collins' soulful voice and his colleagues' background vocals. When the synth and Mellotron come to the forefront, you would want to stay in Genesis' dream world forever, away from harsh reality. Let's move on.

With Squonk, the band delivers a distinctive track, a dragging composition based on a plodding drum rhythm reminiscent of Led Zeppelin's Kashmir. The keyboard piece that follows the words "you better watch out, you better watch out" is beautiful. The feelings are a strange mix of tenderness and euphoria. With Mad Man Moon, written by Tony Banks, Genesis continues the album in their reliable manner. The pastoral piano playing sweeps you into surreal fields, and although Banks briefly fills out the sound, it remains an enchantingly beautiful track.

The album's intriguing atmosphere gets a solid continuation with Robbery, Assault And Battery. Besides a humorous text and some moments of character singing by Collins, this track also features a formidable keyboard solo. This is indicative of Genesis' sense of perspective; the context they work within can always be used for something surprising. Thus, the ballad Ripples is entirely in line with expectations, including a jewel of a guitar solo. The surprise is not in the track itself but in the following title track. It's amusing how the album's flow takes a lighthearted turn, which is necessary. Genesis delivers a grand finale with Los Endos. This instrumental track seems to burst at the seams with its bombast, but we are talking about Genesis here. The track rumbles along merrily, meanwhile revisiting melodies from earlier tracks like Dance On A Volcano and Squonk. The track ends with an effective fade-out, causing this album to fade into infinity. Beautiful.

With "A Trick Of The Tail," Genesis made a great fresh start after the departure of the charismatic Gabriel. It's just a pity that after the successor "Wind and Wuthering," the band increasingly fell prey to commercialism. This is what makes "A Trick Of The Tail" hold such a special place in Genesis' oeuvre.

Originally posted on www.progenrock.com