Genesis of 1976 were found themselves in a strange position. Peter Gabriel, the band's lead singer who was also responsible for the entire lyrics for the previous concept double-LP, had left the band and in the public's eyes there was little hope for the rest of the band. They didn't even have a lead singer to replace Gabriel. Did they?
Since their "official" debut album, Trespass in 1970, Genesis had slowly built up a small but loyal following, drawn into the worlds their sprawling `prog rock' epics like Supper's Ready, The Musical Box, and The Cinema Show. However, even in 1974, at the release of the Gabriel-penned The Lamb Lies Down On Broadway, they had yet to hit commercial success. Their solo "hit", 1973's I Know What I Like (In Your Wardrobe), was still, three years later, the only song the casual listener would recognise. When Gabriel left, it seemed Genesis would be remembered as the band that launched Peter Gabriel and little else.
Mike Rutherford and Tony Banks, Genesis' remaining founder members, set about holding auditions for a new singer. Their audition song, the heavy Squonk, told the story of a creature that melts when one looks at it. Indeed. Despite numerous auditions, the band had been unable to find a singer suitable to fill Gabriel's shoes. It was then that the band's drummer, a certain Phil Collins, meekly suggested he attempt the song. In reality, this wasn't such a giant leap, Collins had provided backing vocals on a number of tracks, and even handled lead vocals on two early songs, For Absent Friends and More Fool Me. However, Rutherford and Banks were sceptical as to how Collins could handle a song requiring as powerful vocals as Squonk. Impressed with his gutsy performance, they decided to run with it. As well as Steve Hackett on guitars, the band had closed the ranks and were ready to get back to the business of recording an album.
Both Rutherford and Banks had begun to feel creatively hampered during the recording of The Lamb, as Gabriel had insisted on writing all lyrics, they had been forced to sit on some of their strongest compositions, which were to surface on A Trick of The Tail. This "new Genesis" start strong, laying down the gauntlet with Dance On A Volcano, and the record easily swings between beautiful, haunting songs such as Entangled and Ripples (my own personal favourite) and the fairytale Squonk with its John Bonham-esque drums. The only time the album falls down for me is on Robbery, Assault and Battery, a tale of a criminal, with a lot of Collins' influence stamped on it. This 2007 remaster has a great mix, and the 5.1 really does use all of the channels well (I loved turning down all of the other speakers so Collin's vocal was exposed solo. But that's just me). A great album and a true classic, Genesis would never look back.