Genesis: A Trick Of The Tail—Analogue Productions Atlantic 75 Series/45 RPM vinyl reissue
In 1975, when founding member and lead vocalist Peter Gabriel announced he was leaving Genesis, it seemed unlikely the band would be able to carry on. Though much of the writing was done by Tony Banks and Mike Rutherford, with contributions from Steve Hackett, Peter Gabriel was the voice and visual centrepiece of the band. This also happened amid the tour for the ambitious double record set The Lamb Lies Down On Broadway.
That record had marked a departure in mood and style from the previous albums, with a more modern aesthetic and unusual thematic storyline—a definite product of Gabriel’s creative consciousness.
Wanting to continue the band despite the imminent departure of Peter Gabriel, work began on what was to become their seventh studio album, A Trick Of The Tail.
The band had a lot of material written, and Banks contributed more ideas he had in reserve for a solo album. With the musical ideas coming together, the question of who could take Gabriel’s place became the next priority.
A call for submissions was put out, tapes reviewed, and some singers auditioned in person. There was no one they found could truly be in that position until they looked within. Phil Collins, who had joined the band as drummer, starting with the album Nursery Cryme, became a possible choice. He had sung background and had two solo songs on previous albums. His voice was also somewhat similar to Gabriel’s. Although Collins was reluctant, a run-through of the new song “Squonk,” with Collins singing lead, convinced the band it was a natural choice. Though Collins still performed all the drums and percussion on the albums, he would have to relinquish the drumming duties in a live setting.
It was shortly after the release of this album that I first experienced Genesis in concert. Unlike the much more theatrical style and presentation of Gabriel, Collins was more earthbound and came across as a very playful and likable frontman. He could also sing the back catalogue beautifully.
Trick Of The Tail has always been my favourite Genesis album from this lineup and I consider it on par with the brilliant Selling England By The Pound. I see it as the natural successor to that album. It boasts similarities in style, musical prowess, and lyrical beauty, making the surreal The Lamb Lies Down On Broadway seem an outlier in the catalogue. Continuing the trademark balance of complex progressive rock, acoustic beauty, and whimsical storytelling, the album reassured long-time fans that the Genesis they loved was still here.
The jacket artwork by Colin Elgie and Hipgnosis enhances the idea of a series of stories. The illustrations remind one of a Victorian children’s book, and each character depicted is tied to one of the seven tracks that have lyrical content.
Genesis in 1976. (Image credit: Mondadori Portfolio / Getty Images)
There are pyrotechnics galore in the brilliant opening track “Dance On Volcano.” If anyone had any reservations about the “new” Genesis, their fears were quickly dismissed when they heard this track. Complex time signatures, intricate drumming and percussion, dazzling keyboards, guitars, and bass. The bass sound here is profound. The use of bass pedals and deep synthesizer notes give this track a majestic sound. Our first listen to Collins in his new role doesn't disappoint. Banks’ use of the mellotron is particularly effective here. The track explodes with energy.
Steve Hackett and Tony Banks composed the next track, the beautiful, jewel-like “Entangled.” Featuring acoustic and twelve-string guitars, each winding around each other in an intricate pattern, the track sets up a hypnotic, music box atmosphere that is enchanting. The dream-like lyrics, sung in a delicate style, set the stage for a brilliant conclusion of chiming guitars, deep bass notes, and a mesmerizing synth solo. A mellotron chorus tops off this elegant creation.
“Squonk,” which is tightly sequenced right up against the ethereal conclusion of “Entangled,” tumbles out of the speakers with a ferocious and menacing blast of powerful drumming, chiming guitars and deep throbbing synth notes, setting up a spellbinding procession of sound. This segue is an example of the dynamic contrast that Genesis employed so well where the band uses light and shadow, delicacy and power right up next to each other. The effect is startling, and the tale about the legendary creature unfolds with a simple melody and thrilling contributions from each member. The track is a fan favourite and was often performed in concert.
The first side of the original release ends with a Tony Banks epic, “Mad Man Moon.” Full of classical influences, the suite features a gorgeous piano melody that could easily stand alone as a work for solo piano. Collins’ yearning vocal is one of the best on the album, recorded with a clarity that sets it above the vocal sound in much of the album. A jaunty, uptempo middle section adds colour and the track resolves with the main theme in a contemplative blend of piano and flute.
Side Two starts with “Robbery, Assault, And Battery,” and while it has never been a personal favourite, it was played often in concert. This track harkens back to the story songs of the Gabriel years, with an opportunity for Collins to try on different voices for each character. While it may not be a top-tier track for some, it is fully redeemed with a brilliant instrumental section that can stand among the best moments in the catalogue.
“Ripples” is a lovely song that brings back the acoustic guitars and piano. There's some vivid imagery here about the passing of time. After a soaring chorus, the band moves into an instrumental section with brilliant contributions from all, particularly Steve Hackett. His backward guitar solo, combined with Banks’ searching piano lines, crowns the track with an eerie and unsettling feeling. A recap of the chorus finishes this special song.
The song “Trick Of The Tail” is the last lyrical track on the album and another interesting creation from Tony Banks. It features several whimsical sections with some lovely melodies and creative background vocals. Another charming storybook song.
"Los Endos" is the grand finale, an instrumental where each member shines brightly, particularly Phil Collins. Drawing on his experience with the band Brand X, he brings some scintillating drum work that sounds like a jazz fusion excursion. Keyboards also dominate on this wonderful track, which reprises the main theme from "Dance On A Volcano." A stunning coda starts with an eerie march that leads to the emotional payoff, a dazzling reprise of “Squonk” with a heavenly mellotron choral effect over the entire ending.
This track was used to close the live shows around this time, and it's no wonder. You can't help jumping to your feet and cheering, feeling like you've witnessed something very special.
Sound
The record was produced by David Henshel, and the sound that was achieved is remarkable for a record of this period. Although I did not have original UK or US pressings for this review, I do have the very fine Mobile Fidelity Sound Lab version cut by Jack Hunt from the original master tape, which is pressed in Japan on JVC Supervinyl. Quiet surfaces are a must for this record, and the Supervinyl delivers on this front. Perfect centering is crucial, particularly as we get to the final minutes of “Mad Man Moon.” Sustained piano notes must be rock-solid. Again, the MFSL was exemplary in this regard.
The new edition is an all-analog 45 rpm set cut from an EQ’d copy tape by Chris Bellman at Bernie Grundman Mastering. It is pressed on 180gm vinyl by Quality Record Pressing and housed in a heavy-duty Stoughton tip-on gatefold jacket with a lovely watercolour paper texture. The reproduction of the artwork is top-notch.
The MFSL has a more relaxed sound. Things are slightly rounded off on top. I don't consider this a negative because the lovely atmosphere of the recording could be compromised with too much detail emphasis. The bass is very deep and fairly well-controlled. The midrange is lovely, yet there are occasional issues with clarity in the vocals. Densely scored chorus sections can sound overmodulated. High percussion and cymbals lack that last bit of extension.
Even with these reservations, I enjoy the sound and experience of sitting down and listening to the MFSL immensely. One benefit of the 33rpm editions is hearing the sequencing and timing as intended.
The Analogue Productions 45rpm cut provides a new level of clarity and detail across the board. The vocals are more clearly defined, intricate percussion has more sparkle, and cymbal work has more shimmer. Details in the layering of instruments that were somewhat obscured on the MFSL are easily discernible. The bass is still deep but more tightly controlled than the MFSL. Deep synth bass notes are revealed with more nuance. There's also a better sense of dynamic power in the big moments, as well as a good sense of depth and being able to see deeper into the soundstage. The whole effect of the new cut is overwhelming and, honestly, a bit of a shock after 40 years of listening to the more restrained and atmospheric MFSL. While I feel that some listeners may prefer the sense of mystery and beauty Jack Hunt attained by not revealing every last detail, most listeners will be awed by the resolution and vivid clarity that Chris Bellman was able to draw out of this tape. I'm glad to have both.
One interesting point I hadn't considered is how crucial the segue between "Entangled" and "Squonk" really is. Hearing "Entangled" simply fade out and having to flip to hear "Squonk" takes away that surprisingly effective transition. One last thing I love is the generous, wide lead-in groove that Chris Bellman allowed for on these discs, a feature that reminds me of Stan Ricker’s cuts for Telarc.
For longtime fans of this album who want to hear every detail and nuance captured on this recording, the Analogue Productions Atlantic 75 release is essential. Add to that the most beautiful jacket the release has ever seen, and you have a record that dazzles both visually and sonically.
Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
First Genesis album to feature Phil Collins as lead vocalist!
Featuring "Dance On A Volcano" and "Squonk"
180-gram 45 RPM double LP
Pressed at Quality Record Pressings
Tip-on old-style gatefold double pocket jacket with textured stock by Stoughton Printing
