Oh help…what have I done but unleash the prog-monster? Having been drawn the year 1970 I was on dan gerous ground as far as my collection is concerned. My immediate thoughts were to this album, and not Nick Drake (‘Bryter Later’) which would have been a safer bet.
Without sounding like Patrick Bateman (‘American Psycho’) I have a little penchant for Phil Collins. I think he gets too much bad press. In fact I would say that his mid-70s stint in Genesis is by far my favourite period of this band – releasing ‘Wind and Wuthering’ and ‘Trick of the Tail’, which for me are majestic. This album however does not feature Mr Collins since he joined shortly after this recording, which was their second album. Having released their first long-player – ‘From Genesis to Revelations’ – when the band was really an experiment under the spell of the svengali Jonathan King, they were sent off with creative freedom to the studio, and came up with this. So, here we have the band finding their sound.
Ok, so there’s a theme to the album (prog strike one). There’s lyrics about mystical lands (prog strike two). There’s only 6 songs on it (prog strike three). It’s prog….3 strikes…. but of a gentler kind, and it’s certainly not ‘Tales from Topographic Oceans’or ‘The Six Wives of Henry VIII’ by the Wake-off. It’s Gabriel, coming out of his shell, finding his voice, and even some loud shouting on ‘The Knife’ which was a live favourite at the time. I won’t dwell on the aesthetics of this album, suffice to say I still quite like ‘Visions of Angels’. When I bought it (when I was 15 or 16) I was heavily into them. I also have ‘Foxtrot’ and ‘The Lamb Lies Down on Broadway’. The latter I still quite like, but unfortunately ‘Foxtrot’ grates a little with pompous keyboard from Tony Banks. On Trespass the sound is a little more creative, and feels its way into the light. Less in your face prog, more in the English folk tradition. Even Rob said he liked bits of it (praise indeed). The guitar is subtle and the fingerpicking is quite accomplished….and no Collins on drums….
But, in defence of Phil Collins….
When I watched a recent documentary ‘Together and Apart’ the only two people who came across as reasonable people were Gabriel and Collins. When the ‘Lamb’ tour went into their last gig with Gabriel, Collins said he just rolled a big joint and played what was the best gig of his life, lost in a trance, knowing but resigned to the fact that Pete was off. The creative forces at the centre of the band did not claw for attention in the documentary, more the other peripheral members. Gabriel had no animosity for the other band members. Collins neither, although you could argue that’s easy with his bank balance! But let us not forget Collins was once cool (ok that’s a bit Bateman-esque). He played on Eno’s ‘Here Come the Warm Jets’. He played on John Martyn’s ‘Grace and Danger’. So, attack him if you want, but remember he took risks on seminal albums. He took on a fractured and bitter set of band members, galvanised them and provided the creative force that took them to global superstardom. For that he should be credited. For Buster, You Can’t Hurry Love and Sussudio he should be damned forever….
Tom listened: Half way through Trespass, it dawned on me that the ghost of Mr Pollock was in the room, smiling down malevolently on our prog rock sufferings, whilst Genesis flitted at will from one key change to another, throwing in half a dozen shifts in time signature and some bizarrely grandiose lyrics for good measure.
It is strangely fascinating how isolated in time and place prog rock is – two bars of Trespass was enough to place it within two weeks and thirty miles of its source. What was it about the ears and minds of young people (men?) at the time that made them so predisposed to this type of music? I can think of no other genre that has led down such a well defined cul-de-sac as prog rock – modern day succedents (Dungen?, Midlake?, The Besnard Lakes?) only giving the slightest whiff of the prog of old.
As a teenage owner of Invisible Touch (although I am slightly embarrased to admit it – it was the Spitting Image videos that sold me on the idea…honest), and an adult owner and great admirer of Grace and Danger and Here Come The Warm Jets, I didn’t go into Trespass with my mind already made up…and there were little sections that sounded alright…but, as with most prog I have listened to over the years (mainly as a result of Graham being in record club), the whole sounded to me like much less than the sum of its parts!
Rob listened: It felt like we’d been waiting a lifetime for this band to make an appearance, and yet it still seemed too soon. To be fair, which is not a requirement, we spent a lot of the album’s running time talking about how much we disliked the idea of Genesis when none of us, apart from Steve, clearly an eloquent defender, knew the first thing about them. I disdain them based on the dismal reflections I picked up from the generations of musicians who followed on, attempting and failing to wipe the slate clean of this stuff. This evening was a chance to correct that and at lea
Nick listened: Proggy.