on 19 March 2011
Having previously released what was quite possibly the worst album ever created, Genesis got a new drummer and starting writing actual music. This result is one of the finest progressive rock albums you will ever here. This album is quite remarkable in that it has all the greatest trademarks of prog rock (extended instrumentals, strange lyrics etc) but does not sound dated. Maybe that's the result of the remaster but I think this album really stands the test of time much better in fact than some of the Phil Collins era pop.
The music on this album is incredible and each song is beautifully crafted and they each tell a story. I just haven't figured out what all those stories are yet. The lyrics are intelligent and poetic and Peter Gabriels voice completely devours them.
The style varies with each song but never falters in its excellence. Looking for Someone and White Mountain open the album with all guns blazing and you are launched into a mystical realm of mind-blowing guitar and keyboard solos. Visions of Angels is a more relaxed and contemplative piece written by Anthony Phillips who left after this album and went on to produce some of the most pretentious drivel I've ever heard. But never mind that. This song is given the Genesis treatment and becomes a masterpiece.
Dusk gives me shivers. It's almost spiritual and Peters voice is so delicate on this track it's almost awkward but not so much that it takes away from the beauty of the song. Stagnation is a very upbeat and fun track which ends with one of the best and most uplifting instrumentals they ever wrote.
The album ends with track The Knife. They used to do this in the encores and Gabriel would dive into the crowd. The energy is amazing. The vocals are at their strongest on this track and all the players are working at full power to deliver this monster. The last racks on Genesis albums always seem to be the best and this is no exception. Despite being a lot shorter it carries the same energy and power as Suppers Ready.
This has been called Genesis' greatest album. I'm not sure if I agree with that but I can understand why people might say that. The transformation from the little school band producing pop rubbish to prog legends is so sudden and so very complete that i would never have guessed Trespass was by the same band as From genesis to Revelation had I not previously known it.
This is a real treat and no prog collection is complete without it. I cannot recommend this enough.
on 30 December 2009
Although this record may not be in quite the same league as later Gabriel era recordings it is still a great record to rediscover from time to time. I possible against the trend like the first five tracks more than the "knife". It's a very pleasant and relaxed recording that showcases a talented young band finding their feet. All of the elements that made the Genesis sound are here even if they are presented in an understated fashion. I was surprised at how poor the recording sounded on the definitive master series, and although it is somewhat more polished on this version it still hasn't matched the Original Pink Scroll sound. The Production and the less than awesome drumming are only a small problem. I found this album magical, and I have never really understood why it was not as popular as later offerings. The Knife is of course a real Genesis Classic, but I prefer the Live version, as the Guitar work is strong and Phil is a pretty good drummer really. This record is an essential purchase for all fans of this band, and indispensable to Gabriel fans. Considering the age of the people involved this is surprisingly mature stuff. It didn't sell that well to start with, and it was still possible to find a Pink Scroll copy brand new around the Foxtrot period. If you can find one of these far to rare records in great condition, I would recommend that you snap it up. Otherwise this 2008 re-master is not that bad.
Had Genesis continued in the same direction they may have become something of a early 70's oddity, as it is they beefed up their sound and became an extremely competent progressive rock group. This LP is the first in a very fine run of releases and is far to important to ignore.
on 19 February 2010
` I Once Remember Echoes of My Youth'
Initially I purchased the Vinyl Re-mastered version box set but gave it up as a bad job due to the Foxtrot and Selling England LPs being extremely poor pressings (surface noise, pops, clicks etc). However, the re-mastered vinyl version of Trespass was excellent in sound quality. Not sure why they did not sell the vinyl versions separately as with the CDs. I have the original 1970 vinyl version, which is now suffering from excessive playing.
I have been listening to this album since the early 70s and still believe these songs are very under-rated. The issue is that collectively the next four studio albums were stronger and live sets contained over this period more classics from these albums (with exception of the Knife). Even for me as a vinyl lover the stereo mixes on this re-mastered CD are excellent. They are crystal clear, fill the speakers with detailed sound and the stereo separation is interesting because it very different to the original vinyl with addition sounds added. Totally the opposite to the very poor quality release of the 1994 Definitive Edition Re-master which unfortunately I have been listening to prior to this release.
To me this album is very easy listening, beautiful melodies and interweaving of acoustic guitars with organ. The vocals are much softer than later albums. Most of these songs the band were playing and developing on the road before recording and I think you can hear this (being at ease) to some degree on the album. There is no other group that sounds like this early Genesis. The band admits during the interviews on the box set version that they took their musical influences at this time from groups such as Fairport Convention and Family.
I like all the seven songs but my personal favourites are ` White Mountain', `Stagnation (changes direction musically constantly)' and of course the master-piece `The Knife'. This to me has been `beefed up' sonically on these new CD and vinyl releases more than any other track vs the original recording.
Clearly musical tastes and memories are different but to me this early Genesis album is still as enjoyable now as back in the early 70s and this remastered CD gives it a new, fresh sonic, face-lift. If you are an existing Genesis fan and want to remove bad memories of the Definitive Remaster or are new to the Peter Gabiel fronted band then I strongly recommend this CD re-issue.
on 4 June 2012
Trespass is a brilliant record. If you like early Genesis but never gave this album a try, don't miss the chance.
What is a little confusing is that there are four CD versions of the album - original UK CD, original US CD, Definitive Edition and the latest Remastered/Remixed version. I have listened to all versions (many times) on different equipment, to get a balanced idea (HiFi set up at home, car stereo and mp3 on my way to work). It's a fact the original recording/mix has limitations, so I think this album will never sound perfect. Every version has pros and cons.
The original Nimbus mastered 1985 UK CD is the closest thing to my original UK vinyl copy. There is a fair amount of hiss and it sounds muddy all the way. If you are conservative and think music on CD must sound like the original LP, this is your version. And indeed, many audiophiles consider this version to be the best one. To me, this version, like many original issues on CD is dull and calls for some respectful remastering.
The original US MCA version is my favorite. The sound is less muddy. A little brighter and clearer, but not harsh. The hiss is there but I don't bother, this version feels just "right". Maybe some EQ was used during the US mastering, but a judicious one. An interesting fact is that the MCA original CD sounds similar to my US ABC/Impulse LP. It would be interesting to know what kind of work was done on the american master...
The 1994 "Definitive Edition" is the album on a facelift. There is less tape hiss (heavy noise reduction applied), some equalization, but to me the difference is not huge, on casual listening the UK '85 and the DE '94 versions sound alike.
The 2007 Remix/Remaster is Trespass on "Extreme Makeover". Brutally LOUD, ultra equalized, and intended to cause a very impressive impact, but after some minutes all that punch is likely to cause ear fatigue. There are lots of people raving about it's "clarity" but, to me, the price for that is too high, this version sounds unnatural and annoying, so I rarely listen to it. Maybe it's just me, after all, people must be by now getting "used" to this wildly loud remasters.
on 4 June 2012
It's a pitty I came to listen to this album many years after I bought the "classic" albums like The Lamb Lies Down, Selling England and Foxtrot. Trespass quickly became one of my most beloved albums ever, with it's pastoral, melodic and very unique atmosphere. There are three UK CD versions of the album (plus vinyl). I was nerd enough to buy all three versions - Original CD 1985, Definitive Edition 1994 and the Remastered/Remixed 2007 version. I've listened to the versions on different equipment, to get a balanced idea (HiFi set up at home, car stereo and mp3 on my way to work). It's a fact this album was poorly recorded, so there will always be issues about how it sounds on each version, and it appears there isn't consensus about the best version, it's really a matter of individual taste.
The original Nimbus mastered CD (the one with the cropped cover you see above) is the closest thing to the original vinyl. There is a fair amount of hiss and it sounds muddy all the way. If you are conservative and think music on CD must sound like the original LP, this is your version. Many audiophiles go for this version (check the Steve Hoffman forum, there are lots of information about this). To me, this version, like many original issues on CD is too muffled and calls for some respectful remastering.
on 10 March 2013
Anyone who purchased the recent 2006,2007,2008 remasters from Genesis for the CD/Stereo sound completely missed the whole point.
CD's are so old hat now and limited in there dynamic range, Nick Davis championed the Genesis remasters to be placed into a SACD Hybrid Multi Channel surround sound, this means you can still listen to it as a CD or with an SACD player and a 6 channel input amp you can have the SACD level of dynamics either as a Stereo SACD or Multichannel SACD (in this case 5 surround channels and Bass (sub)). OR you can pop in the DVD and with a home cinema set up of 5 speakers plus a subwoofer for bass you can enjoy the album in 5.1 DTS, or 5.1 Dolby Digital or 2.0 Dolby Digital.
Once you have heard the album in SACD multichannel or DVD 5.1 DTS you will wonder why you bothered listening to the Stereo CD layer.
Enjoy the albums as they were intended in surround sound and not in stereo for those who do not understand the potential of the formats.
Out of the early days of "Genesis", this is the album that has grown on me. I have always liked this album but have found it an effort to warrant it a listen. That is until now. I only recently listened to it again and found it an exceptional album. It may not be in the league of the albums that were to follow this but it is undoubtedly a classic, and the fact that this album was done by a group who had not even reached the age of 20 is staggering!
The album is a relaxing effort, with melodic pastoral moods, with only occasional loud outbursts. The album starts off with "Looking for someone". A song that makes you sit upright and realise that this album is indeed worth listing to, and reaches a wonderful peak with the denouement which is "The Knife". Certainly what one could call a poetic album: the changes of mood are subtle and this is certainly an album that rewards with repeated listening. Simply bathe in the wonderful images that this album conjures up with its soothing vocals, main and backing alike, expressive and detailed lyrics and subtle overtones of music.
Genesis' 1969 recording debut `From Genesis to Revelation' (financed and produced by pop music mogul Jonathan King) was a commercial failure, because it was not very good. Fortunately the talented and resourceful young band from Charterhouse School was self-confident, and persisted: the 1970 follow-up recorded with Charisma Records marked a completely new style, and remains something of a prog classic.
`Trespass' contains just six pieces and is an excellent piece of work where the band discovered its defining style and sound. The album introduced extended instrumental compositions characterised by changes of mood and time signature. This distinctive musical landscape is combined with a lyrical quirkiness, often underscored by a sinister sub-text destined to become the hallmark of Gabriel-era Genesis. Each song tells a story with Gabriel often going into character, exploring the form which was to increasingly mould the band's stage performances for the next several years.
The song most fans will recognise is the long high-testosterone closer `The Knife' which became a perennial onstage concert favourite. `Trespass' however contains more considered and thoughtful pieces. Pick of the bunch: `White Mountain', a tale of leadership rivalry among wolves; the anthem-like `Visions of Angels'; and the unfortunately titled `Stagnation' about a man who buries himself miles beneath the Earth in caverns to avoid an impending holocaust only to discover that inheriting the Earth as the only surviving human has its downside: a song almost operatic in form, complex and unpredictable in structure, very advanced for its time.
Several versions of the album have been released on CD. The 2008 digital remaster is sharp and clear, but suffers from the excessive loudness which plagues so many `remasters' and lacks the dynamic subtlety of earlier versions - which in turn are marred by some tape hiss from the original analogue recordings, though overall are `quieter' and more atmospheric.
`Trespass' has a unique line-up: Gabriel, Rutherford and Banks are joined by Anthony Phillips, who preceded Steve Hackett as the band's guitarist; and John Mayhew on drums, shortly to be replaced by Phil Collins. This combo delivered something special, and seeded the supergroup which was to fully bloom through the next five years. Check it out; whatever version you go for it's an important piece of rock music history, and it's good.
on 11 April 2009
I had the LP, also the 'definitive edition' CD
The SACD version here blows them all out of the water.
For such an old recording, the clarity is astounding.
Not perfect, lots of mixing artifacts can be heard now, but that is because a veil has been lifted.
A must-buy for fans.
I have been listening to a lot of Genesis' 1970s output and have just come across this album from 1970.
It was the group's first recording for Charisma and its line up did not have Steve Hackett or Phil Collins. To be harsh, it sounds a bit like a Genesis tribute act rather than the real thing. Peter Gabriel's vocals were not as strong as they were to become on Nursery Cryme, Foxtrot etc, Anthony's Philips' guitar playing was just as assured but not as creative as Steve Hacket and the drummer, John Mayhew is not as good as his successor but still not bad. I think the Group sacked him after this album and he went back to his former job as a carpenter; fortunately the break was not acrimonious. The recording quality is also a bit muddy at times, the successor albums were better in this respect.
It is interesting to listen to the live version that Genesis released of The Knife on Genesis Live from 1973 with Hacket and Collins. It is a much more energetic and sharper performance than on this studio recording.
While I think the songs are a not as distinctive as on later albums, they are interesting to hear. I was surprised to hear a strong Beatles influence in the melodic lines (White Mountain sounds to my ears a little like Fool on the Hill). The album made hardly any impact on the UK charts but amazingly reached number 1 in Belgium. I am pretty sure that the vast majority of listeners have got to know it retrospectively. There are plenty of signs of what the group would become in its later albums and it is always enjoyable but I think the album should be seen as a work in progress. Having listened to is a number of times, I have started to enjoy it more and have upped my rating a bit.