b o b

This album definitely has its strengths, namely the opening and closing tracks. Both are great, high-energy, mostly instrumental tunes with some real bite to them. The versions here are good, but the live versions on Seconds Out (which combines the two songs together) are even better. Another album highlight for me is the oddball pop song "Robbery, Assault & Battery", with its interesting rhythmic quirks and flashy guitar and keyboard parts. Unfortunately, I find the rest of the album a little too "twee" to get into for one reason or another. With "Squonk" and the title track, it's because of the goofy fairy-tale lyrics. With "Entangled", "Mad Man Moon" and "Ripples", it's a combination of the lyrics and the music itself. Don't get me wrong - all three are well written and played, and are actually quite pretty. This latter aspect is what puts me off them though - the light, airy, pretty side of Genesis is OK when it's contrasted with heavier sections (something the band did well on their earlier albums), but here it's all beauty and melancholy without any heaviness or crunch to balance it out. I can easily imagine these songs used as elevator music. Lyrically this disc almost seems to be a concept album, gathering together a collection of character sketches. Or maybe I just get that impression from the cover, which depicts the characters from the various songs all standing in a row. In the end, the album is worth having even though it's a little too light for my personal tastes. Those who like their prog to be pretty and often find themselves complaining that the avant groups aren't "melodic" enough will probably eat this album up. review by Bob Eichler — undated —

s e a n

Although it might seem strange now, after Peter Gabriel's departure many were uncertain of the future of Genesis. The end result was Phil Collins' move to lead vocal duties in addition to his drumming role. Live drumming was to be provided by Bill Bruford, and later Chester Thompson. Many Genesis fans will tell you that "everything after Gabriel sucks". I would beg to differ, as this album is among their finest. While there aren't any "Cinema Show" style instrumentals here, there is some strenuous activity in "Dance on a Volcano" and "Los Endos". Further, there is some absolutely gorgeous work here, such as the duet between 12-string and Mellotron to close "Entangled". And, think what you will of the quality of various lyrics here, I would submit that there is nothing quite as cheesy as "The Battle of Epping Forest" or "Get 'Em Out By Friday". The album may suffer from being a wee bit too fey, and all the songs about squonks, devils and other fantastic creatures and situations may lose some people. I kind of like the fantasy imagery, personally. There are also a couple of tracks where not a heck of a lot happens, such as "Squonk" or the title track. They aren't actively bad, but it would be nice to throw a moog solo into the fairy tale now and then. I don't know if I want to risk the backlash if I say I like this better than any of the Gabriel-era albums, but I will say that I find it a lot more consistent. review by Sean McFee — 9-3-00 —

j o e

With the departure of Peter Gabriel, many were convinced that Genesis had reached their apocalypse, 9/8 or not. But if anything, they got stronger than ever, at least for the next two releases. With this album and the next, Wind & Wuthering, Genesis filed the Slippermen costumes away. Instead, they focused on their strengths: solid musicianship and well-crafted compositions now unburdened by the overreaching arch-concepts and busy lyrics that occasionally tarnished the Gabriel-era material. I have to give credit to where it is due: Phil Collins in particular really shone during this period, in his dual role as drummer and newbie vocalist. Listening to this album makes me simply ache thinking of the route he would eventually pursue. Every song on the first side of this album is peak Genesis, in my book. This is from one who did not necessarily go gently, either. It took me years to even appreciate "Mad Man Moon," let alone like it, but today I think it is the best track on the album, and one of Genesis' top moments, period. The second side isn't quite as strong, mostly because of the inclusion of the weak title track, supposedly a throw-back from the Foxtrot years. Still, stuff like "Ripples" and "Los Endos" are leagues beyond any pale neo-prog imitation. A prog rock classic, as sure as eggs is eggs. review by Joe McGlinchey — 8-11-00 —

e r i c

This was the pivital album in Genesis' career. Many fans never got over Gabriel leaving the band, but I think Trick of the Tail and Wind and Wuthering both stand up to Gabriel era Genesis. To be honest, this is the best sounding CD, production-wise, to this point, and the playing is extremely solid. Phil Collins did a remarkable job replacing Gabriel on vocals and though I may be hung for saying so, songs like "Mad Man Moon", "Ripples" and others I think would have not been done as well with Pete singing. "Dance on a Volcano" opens the record, and this one is classic. Great music with some nice mellotron work and odd timing; staying true to form. The ending combines Hackett and Banks playing in unison, and if anyone was thinking at this point that the band's career was in jeopardy, they were not listening, or were biased to Gabriel. "Entangled" is a haunting piece that begins with a trio of acoustic guitars and vocals, and moves into a very atmospheric instrumental section with acoustic guitars and great mellotron work. One of my all time favorite songs. "Squonk" has a very heavy (John Bonham-like) beat, over a laid back musical base; the story is about a mythical creature who when captured dissolves itself into tears. "Mad Man Moon" is a piano/keyboard based tune which is beautifully written. Great melody, very mellow, shifts dynamics to an upbeat midsection and back to the main theme; this is one of my all time favs of any band or genre. "Robbery, Assault, and Battery" is a lighthearted song about a burglar who gets away with his crime. The midsection on this one has a great change in feel, with great solos by Hackett and Banks. It really mixes the song up. "Ripples" is a song about aging and looking back on what was once beautiful, and how you can't go back. Featuring acoustic guitars again, and a gorgeous melody, this is a great song. The title track is my least favorite song, musically a bit poppy sounding but a fun little upbeat song anyway. "Los Endos" is an instrumental that uses musical ideas from various songs on the record. This one really rocks: the band plays their collective asses off, and it ends the record powerfully. I always wish that the band would add more instrumentals to their recordings. The record is different than Gabriel era, but musically it stands up. There is not a weak song here, just different. Phil Collins did an amazing job here, and no matter what fans may think of the road Genesis took in the 80's, this one is right up there with the best. review by Eric Porter — undated —