I might go as far as putting Shepherd and Pacidy somewhere in there either in place of or before The Knife.
'Visions of angels' was written by Ant (at least lyrically) about Peter's then girlfriend (later wife) Jill whom Ant was in love with. Not sure if Peter knew this at the time when he was singing it!
I think it was dropped as it was Ant's song and, like several others which were primarily his work such as Going Out to Get You, was retired when he left (although of course Going Out to Get You, which started out as Ant's song but became a much longer group-written piece, did return to the setlist briefly a little later). Visions of Angels was about Jill Moore, the future Mrs Gabriel, who Ant had a bit of a thing for. Edit: I see you beat me to that Giant Hogweed!
One thing I wanted to say that when I got into Genesis in 1995 at the age of 16/17 I was the only person I knew who was into them, and certainly into the Gabriel stuff (aside from my older English teacher who kindly loaned me a few CDs once I was into them). In those years since, I have only met three people in 'real life' who has been into them (or even knew about them) - one of them being an music technician from when I was at Uni, another musician friend of mine in his 60s and a girl in her twenties who I worked with briefly. For me being into Genesis, and especially the early years, has been quite a solitary pursuit so it fills me with great joy to read threads like this and also to browse youtube comments on those early songs and find youngsters and teenagers, male and female alike proclaiming their love of the band and this early work. There's also a lot of videos on youtube from younger musicians performing these songs which I find very heartening indeed. I played 'Suppers Ready' to my six year old son and he liked it!
Mike Rutherford put it very well when he compared Nursery Cryme to Trespass, comparing Trespass to being out in the woods and going inside with Nursery Cryme. Trespass is a very woolly, refreshing album. Clear is a better word. It is the sound of walking in a forest in clear weather on an autumn's day. Even if there are some slightly Gothic elements (mainly the organ, the vocals and some of the lyrics), the 12-strings, finger cymbals and harmonies evoke a very pastoral soundscape. Especially Visions of Angels and Dusk. Beautiful songs with gorgeous harmonies and lovely piano sounds. Looking for Someone uses some urban imagery (lost in a subway) and has a generally more electric appearance. White Mountain is a bit busy (in terms of the rhythm track) and the organ coupled with vocal effects make for a very confusing, bewildering sound which seemingly fits the lyrics. Stagnation is the first big Genesis song in my mind, Gabriel's vocal really stands out during the I want to sit down section. The closing melody is especially memorable (and obviously one of the few Trespass moments that made a dent in live appearances all the way through 1992). The Knife has a romping tempo that sounds both medieval and ominous. The vocal is vicious, and the lyrics fit the scene perfectly. Genesis were my first foray into progressive rock when I got into the genre as a whole. And I started with Trespass. For a long time, I did not think that much of the album, but in recent times I have gone back to it and have really, really enjoyed what I have heard. A very different Genesis. With The Knife, what stood out to me was how hard hitting and heavy the guitar solo was. This is where I can see why Hackett later blended in quite well; Anthony Phillips was probably heading the same place in terms of sound. Had he continued within the group, I have a feeling that the Genesis sound as we know it would have been intact. Genesis is probably my favorite band of all time and it is tough to mention just one favorite, but Trespass is not one of them; even though it is quite a respectable album, it still sounds fresh and exciting. Even though they were serious young men, there is still a youthful spark of spirit and excitement all across the record.
For those that missed it. I posted Visions of Angels last night, as the conversation seemed ready for more music. Genesis - The Album by Album Thread
Is anyone on here familiar with the work of Hungarian artist Willy Pogany (1882-1955)? If not then check out these illustrations he did for Richard Wagner's book Tannhauser, based on the German legend. Although I love the Trespass cover the central image of the figures in the archway has always stood out to me as very untypical of any of Paul Whitehead's other works I've seen. Follow the link and see what you think. Familiar? bensozia: Willy Pogany, Illustrations for Tannhäuser
Wow, great find! It's cleary not just similar, but basically the exact same image. Very naughty of Paul Whitehead, who, one might say, seems to have trespassed on someone else's intellectual property, uh-huh-huh-huuh.
Listening again to Visions of Angels, I like it better than I remembered. Possibly I was comparing it to the tracks either side of it, which set a high standard. I can see what Mark means about Elton John. Notice Tony's little run of staccato notes towards the end, a precursor to what he would do in the final segments of Supper's Ready?
Strangely, While VoA is among my fav tracks on Trespass, I said nothing about it. But I really loved it back in the days, the chorus opens up dreamily with those backing vocals. Didn't know about the Jill thing. Do we have the original version? Even if it was an outtake, certainly it has been completely rerecorded and also at least partially reworked. It sounds and feels as it belongs to Trespass. I might have the same reservations about some of Tony's arrangements here that I have for White Mountain, but it's still very evocative sound and a corner of Genesis imagination that will be left behind for more glorious and ambitious ones. -- As for the exclusion of live tracks. I wouldn't go as far as providing conspiracy theories about who or why wanted those songs out. They just had plenty of good material to add to the setlist every time a new album came out. Plenty of long songs. And Supper's Ready. They just ran out of time, everything but the staples had to go. -- And now, quotes! I did it some 5-ish or more years before you and had te same experience. Even the guy that "passed" me Selling England was not as into them as I was (he actually listened to the other albums from MY copies ); other guys, even when interested in prog, found them "boring" (I guess because of their more classical approach and the lack of bluesy or riffish references). I was completely alone. Didn't care, though. When I got the Internet, I found out that they have, even critically, the place they deserve in Prog history as one of the greatest. But it was what, 10 years later at least? C'mon, it's called "referencing" Maybe not. Copyright expires after some-ish years. This two photos must be from the Lamb period. If that's so, it's a fake happy band we see here. No problem, lying it's part of the business.
I can certainly identify with that. I was eight or nine when I was listening to A Trick Of The Tail, a copy of the album bought for me after I had enthused about the single I had - all the other kids (called children at the time) had no idea what Genesis was and the pop scene was all Billy Ocean and Boney M! I did feel like a fish out of water and that tank top didn't help much. Of course it;s a generation thing. Now when I enthuse about, say, REM to a friend who's not yet forty, she's never heard of them! And try telling that to kids today and they won't believe you!
I got into them in early 2013, and it was strange since, the only thing that made me grab Genesis was a friend who got me into Dream Theater the year before - I just wanted to see all these 70s prog nonsense was. It was Yes, Genesis, and Marillion for awhile. Yes doesn't get played much. Marillion comes around often enough. Genesis... I can't say much other than A Trick of the Tail and ATTWT got played to DEATH when I was 16, I adored them. I was about 17 when that same older friend had a Skype call going, and I was playing Seconds Out and he asked during the Firth of Fifth solo "what band is that? that sounds good" I said Genesis. Then it became a trade of "dude, I found this really obscure prog band you've NEVER heard of you gotta listen to" however while he clinged to Nursery Cryme and Foxtrot before I did, he always said everything post Trick wasn't good. Not for the usual reasons, he genuinely just didn't like Wind and Wuthering. No idea... aside from, drum roll... Eleventh Earl of Mar! And yes, that band is absolutely not that happy. Maybe Peter, he was moving all around... but, probably the oddest the band would ever end up in terms of bad situations. Doesn't help Eno ruined all of the keyboards (Not my quote, blame you know who... haha) Before I had a single song by REM on my hard drive I knew who REM were. However, I can't believe how many people my age that don't know what Losing My Religion is. Like, what? Really? I was surprised.
Translations: on the top of the article, Tony talks about the '66 demos and says (possibly with his usual wit): "We hoped to get attention for what we though was a milestone in music history - That didnt' happen and the group did go on". And the little bit over the photo, bottom right: "Genesis constitute one of the most promising revelations of the year. Above all, for their poetry ("poeticità" doesn't exist in Italian, btw ) of their lyrics. Their most important album, Trespass, is a brilliant demonstration of how pop (!) music can reach lyricisms not only musical". That was written almost certainly after Cryme came out.
I've got a cutting from an issue of the NME from the mid 70s with Genesis talking about various songs they'd done up to that point. I thought it might be interesting to share it here but have never posted any pics before - anyone suggest the best way?
An international hit which is arguably their most well known track and an absolute killer track from the 90s period.
ahhh, I try and keep the Photos chronological, but it's often hard to tell by just looking when there's no info. Apologies
Stagnation Such a funny word, I always imagine a country full of male deer ... anyhow .... This song starts of with a really nice acoustic guitar arrangement. Gabriel comes in singing in a very pretty voice full of delicacy. "To Thomas S. Eiselberg, a very rich man, who was wise enough to spend all his fortunes in burying himself many miles beneath the ground. As the only surviving member of the human race, he inherited the whole world." So the song comes with this little story to lead us into it, that is typically strange and I assume Peter's. Lyrically I guess the opening story is reflected in the lyrics and we have Gabriel, bot unlike young men like myself, almost obsessing on the foreign concept of death and how we relate to it. When young the idea of death is so very strange and hard to understand or explain. I don't really know how to delve into the lyrics more than that, as it seems to be a poetic reflection on death, redemption, eternal life and loss and a longing to participate and a longing to quench an unquenchable thirst. The music all through is quite beautiful. I understand why this is many people's favourite off this album, as it is probably the song with the smoothest transitions and is really very well constructed. An excellent song.
I first heard Stagnation on Seconds Out, though I didn't know it at the time as it was completely uncredited. I just thought it was part of "I Know What I like." Upon getting a copy of Trespass and hearing it proper, I recognized it immediately (and subsequently decided I needed to learn it on guitar). But the song for me is a showcase for Gabriel's vocal chops. I always loved the "Ah ha ha ha ha - ah ah ah hah hah, said I want to sit down," into the slightly revved ed up "Ahh ha ha ha hah - HA HA HA HAH HAH, SAID I WANT TO SIT DOWN! " and into "I wanna drink..." Nothing too technically daunting, but Gabriel's voice is so naturally smooth, soulful, and endearing I can't help but consider it one of the album's shining moments.
