Trespass (1970)
As I’ve said many times before, and it is true, it’s not just me who makes the claim, this is in reality the album that should be considered Genesis’s debut. Free of the controlling influence of future child molester Jonathan King, the band were able to flex their musical muscle, draw on their deep creativity and fashion a real masterpiece of progressive rock. The amount of tracks on it, compared to those on the “debut”, clearly shows that the old axiom holds true: quality over quantity.
Looking For Someone
Whether it’s meant as such or not, the opener places Gabriel square in the spotlight, front and centre and makes no bones about his being the bandleader, creative force and frontman of this fledgling group of (still) youngsters. His voice is the first sound we hear, before the droning organ of Tony Banks comes in, and when this time the track goes through changes, from pastoral gentle almost lullaby to hard rocker, it seems planned rather than forced. It’s never been my favourite track on the album but it’s a hell of a better opener than “Where the Sour Turns to Sweet”, that’s for sure.
8/10
White Mountain
A real
tour-de-force, a favourite of mine, not only on the album but within Genesis’s discography, and an example of a true storyteller plying his art, as Gabriel narrates a tale about wolves, crowns and kings, treachery and betrayal and death, all against the backdrop of a snowy, wintry wilderness. There’s almost the beginnings of what could possibly be termed “doom prog” in this song, with dark, funereal marching drums in one section of the song, and some frenetic keyboard work by Banks, to say nothing of the sprinkly acoustic guitar layered over the tune by Rutherford and Phillips. As the narrator though, Gabriel holds court over all, and his impressive range is displayed to its fullest extent here.
10/10
Visions of Angels
And another standout. A ballad, but with a terribly bitter edge, as Gabriel doubts the existence of God (quite risque for the seventies I would have thought), or at least if there is one, if He cares about us - “I believe there never is an end/ God gave up this world, its people, long ago.” Just beautiful piano turning into angry, stabbed organ (ouch!) from Banks and again it’s a total masterpiece, one of the songs which helps elevate this album to the position of high regard it holds among fans, and certainly with me.
10/10
Stagnation
Another chance for Gabriel to get a bit manic with his vocals, and they undergo some sort of phasing effect I think during this song, which kind of puts me in mind of the voices of the Slippermen on
The Lamb Lies Down on Broadway. The refrain at the end is almost like a church organ, and I always thought he was singing the title, but he isn’t. Damn weird song when you look into the origins of the lyric, but I ain’t going into that here. Another virtually perfect piece.
10/10
Dusk
Without question, the quietest, most laid back and pastoral track on the album. Gabriel’s voice is at times almost inaudible as he appears to be humming nearly, and there are some lovely vocal harmonies. The music is to die for. I see Occult had this as or near his number one track, and I completely understand why. It really is a beautiful, understated, fragile masterpiece (sorry, I keep using that word, but it’s totally justified) of a song, and your last chance to relax before the final track hits.
10/10
The Knife
Anyone who says Genesis can’t rock needs to listen to this. Yes, it’s led by a keyboard-fest from Banks, bounces along like later Marillion’s “Market Square Heroes”, and tackles the subject of blindly following a charismatic leader, even if where he’s leading you is into Hell and to your own death, but it's a rocker for all that, and something we have, up to now, not really heard from this band. I would say it’s strange that this was released as a single, but I suppose it’s probably the only one of the album that lends itself to possible commercial appeal, if any do. It’s powerful, it’s energetic, it’s dark and it gives Gabriel the chance to play the mad megalomaniac. He must have loved it! A rip-roaring end to the album; you’re out of breath by the time the last stabbing keyboard chords and drumbeats pound out the finale.
9/10
Album Rating: 10/10