Genesis
A Trick of the Tail

Arguing about tastes is pointless, although there are things that, in my opinion, lend themselves to objective assessment. I completely disagree with the author of the detailed first review that this album has "pop" lyrics. Don't confuse pop with romanticism, or simple-minded everyday life with human warmth. The absence of highbrow pedantry is not an indicator of level or a reason to demote something to a lower category. The same can be said about the music. In general, as one great once said, "all genius is simple." Almost any prog album can contain simple motifs that are relatable to the uninitiated listener. Art rock shouldn't, and isn't, reduced to the task of constructing only the most complex compositions. If something fits well into the album's fabric, it should be there! Any argument like "the first brick in Genesis's farewell to art rock was laid on the album Nursery Cryme, in the song "For Absent Friends,"" which is sometimes found in analyses of rock bands' careers, is utter nonsense. Sometimes that's true, but you have to separate the wheat from the chaff. The album "A Trick of a Tail" is incredibly romantic and simply enchanting. I can't find any other words for it. Genesis have become more melodic and light-sounding than ever. I think this supernatural ease with which they weave musical lace is a testament to their level and professional mastery. This is a very mature work, another step forward, to heights unattainable by others. For me, this album and its worthy successor, "Wind & Wuthering," are benchmarks for melodicism in rock music. Phil Collins did a superb job as the vocalist on this record. I have virtually no complaints about his vocals. Excellent work. Incidentally, it was on this album that Genesis first shared the copyright, and it became clear who was in charge in the band. The bulk of the album's material was written by Tony Banks and Mike Rutherford (the latter's name appears first on songs like "Dance on a Volcano," "Squonk," and "Ripples"). Banks contributed his masterful touch to every track, and his work is beyond praise. "Mad Man Moon" is one of the band's best compositions, and Banks once again confirmed his status as a highly talented composer and a technically skilled, inventive performer. His stunning arpeggios in the instrumental section shimmer and flow, as if you were in a magical waterfall. Perhaps no other rock keyboardist utilizes this technique as skillfully and appropriately as Tony, who unleashes its full potential. Hackett wrote the simply fabulous "Entangled" (how could you call its lyrics pop?), but there wasn't room for the rest of his material on the album. Nevertheless, his unique, recognizable guitar work makes a significant contribution to the band's sound. On the next album, "Wind & Wuthering," Hackett expanded his reach considerably, but apparently not enough to keep him in the band... The closing instrumental, "Los Endos," showcases the band in all its glory. Tony's atmospheric, ominous keys, Rutherford's machine-gun (there's no other word for it!) bass, Phil's energetic drums, and Hackett's distinctive and technical guitar—this whole crazy cocktail provides true pleasure for anyone who appreciates high-quality, extraordinary music. After listening to the album, you're left with the feeling of having touched something great, sublime, and perhaps even brilliant... This album deserves the highest possible rating. It has NO weak points and can take a worthy place on your collector's shelf and... in your heart.

Very Good album - Phil Collins for the first time as a singer - Album tremind me on a works by Peter Gabriel but never after this album GENESIS did not sound like this