United Kingdom
Progressive Rock, Pop Rock, Symphonic Prog, Progressive Pop, Rock Opera
Pleasant and likeable, although quite immature progressive rock. You can't take away from this music that it is formally more ambitious than most rock, but it is already very pale in comparison to the greatest works of bands. You can hear here great ambitions, but greatly exceeding the band's skills, both composing and instrumental - there is no need for at least one man who would introduce some impressive virtuosity or give it a compositional touch. Genesis works more like "we have cool instruments, we have cool inspirations, we have cool stories in our heads, let's try a hundred different things and see what comes out." Sometimes something very good comes out, but a specific roughness to a greater or lesser extent usually envelops this music, and at times it even turns into a real brothel. Actually all the time listening to this otherwise enjoyable album, I would have been wondering why I'm not listening to Magma, King Crimson or even Yes now, if it hadn't been for Genesis's success in a slightly different field than the typical progressive rock field. This ensemble has an impressive and distinctive sense of telling stories with its pieces, for conducting suggestive musical narratives (by all means available). As a result, Genesis also managed to create an expressive fairy-tale atmosphere, strongly supported by British folk. It is by no means perfectly thought out and polished, but it somehow works, and often not somehow, but just great.
The first reason this album is worth checking out is The Musical Box, a slightly eccentric combination of a sentimental and erotic, romantic song with a threshold suite. However, for a suite of a recognized threshold ensemble, it is quite a conservative thing, a bit sluggish and technically limited, and the emotions are a bit too sloppy, and a bit too exalted (although both - in a still quite nice way), at least medium subtle this works very well in combination with each other. Everything that the piece consists of is subordinated to the musical narrative straight from symphonic poems. Emotionally expressive melodies (fitting like a glove to Gabriel's theatrical vocals), dynamic and agogic contrasts, constant juggling with instruments to transform the sound, generally large and frequent variability of individual fragments: all this allows the band to build a well-thought-out, narrative development of tension, emotions, moods, thanks to which the effect is actually very successful as an atmospheric musical story. A bit lower is The Return of the Giant Hogweed, heavier in sound and a bit more intense, moving in a marching rhythm, full of nice harmonic progressions and with a nice texture, in which the organ plays a particularly important role, despite the fact that it is heavy guitar riffs, expressive vocals and loud the drums are dynamically in the foreground. It also follows an interesting narrative path. In the third suite, The Fountain of Salmacis, it doesn't work that well anymore, but there are some pretty cool sonic escapades starring the melotron and nice epicness.
The rest are obvious stuffers, which can be divided into pleasant and nondescript trifles. This album is chaotic, very uneven, even fragments of individual tracks are uneven. Nevertheless, he is very successful, original, sincere, he does not try to pretend what he is not. Maybe not the entire album, but at least The Musical Box is a significant event for the genre.
Members
Tony Banks (keyboards), Mike Rutherford (bass, guitar), Peter Gabriel (vocals, flute, oboe, 1967-75), Anthony Phillips (guitar, 1967-70), Chris Stewart (drums, 1967-68), John Silver (drums, 1968-69), John Mayhew (drums, 1969-70), Phil Collins (drums, vocals, 1970-96, 2006-07, 2020-present), Steve Hackett (guitar, 1970-77), Ray Wilson (vocals, 1997-98)
Track Listing
01 - The Musical Box
02 - For Absent Friends
03 - The Return of the Giant Hogweed
04 - Seven Stones
05 - Harold the Barrel
06 - Harlequin
07 - The Fountain of Salmacis
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