A TRICK OF THE TAIL

A TRICK OF THE TAIL proved a triumph for all concerned. The only thing you could possibly find fault with is the words. Having lost, in Peter Gabriel, one of prog's most gifted lyricists, the band sometimes resorts to childish whimsy. But their song-writing and playing had never been better.

TRICK is a remarkably well-balanced record. Eight compositions of similar length follow each other smoothly. The original A-side, in particular, comes across as a perfect sequence. The grandiose riff of "Squonk", the third track, seems a natural continuation of the dreamlike keyboards solo which ends the acoustic splendour of "Entangled". (I'd never thought a song about a rat-like creature, which dissolves itself in tears, could sound so exciting.) And "Mad Man Moon" has to be the most rapturous melody Tony Banks ever wrote. (Wonder who was responsible for "The Carpet Crawl"?) Its mellotron arrangement is delightful, and Phil Collins sings exquisitely - particularly that final verse which goes: 'Within the valley of shadowless death they pray for thunderclouds and rain, but to the multitude who stand in the rain, heaven is where the sun shines'. "Mad Man Moon" makes the heart melt, so let's forgive Tony for his rambling, incoherent lyrics.

"Robbery, Assault and Battery" is memorable for its extensive keyboards solo, superbly accompanied by the rhythm section. Both "Ripples" and the title track are unspectacular, although they have a funny way of lodging in your mind. And "Los Endos", as all Genesis fans will tell you, is simply one of the most joyful pieces of instrumental music the band ever recorded.