b o b

This album is definitely a step in the prog direction, compared to the band's elevator music folk-rock debut. They hadn't quite reached their prime yet, but they were getting there. In fact, while writing reviews for Ground and Sky, I listened to Trespass and the next album Nursery Cryme back to back, and was startled at how similar parts of them sound. One thing I dislike about Trespass is its generally dark and murky sound - the song title "Stagnation" sums up the overall feel I get from this disc. But my copy was a very early CD pressing (1985 Charisma), so maybe it's just poorly mastered. My favorite track is "The Knife", one of the most aggressive songs the band ever did. There's also a great version of that song on the Live album. The "Call of the Wild" style lyrics of "White Mountain" are a little overdone, but still interesting. The opening track, "Looking For Someone", is also fairly nice. On the other hand, "Dusk" seems a bit of a throwback to the first album, with folky guitar music and twee lyrics and vocals. Much of the rest of the album tends to slip past unnoticed whenever I listen to it. For some reason, other than "The Knife", this just isn't an album that leaves much of an impression on me one way or the other. review by Bob Eichler — undated —

s e a n

This album just predates the glory years of Genesis, but has a naive charm that you can't help liking. One of the more pastoral Genesis efforts, this one is just covered with 12-string. This is due to the style of then-guitarist Ant Phillips, who tended less towards the elctronic pyrotechnics of Steve Hackett. Mike Rutherford also adds a great deal of 12-string. Drumming on this release is rather limited, in the semi-capable hands of John Mayhew. Tony Banks uses a fair amount of organ, but the keys don't tend to dominate as they sometimes would by Foxtrot. The lyrics often descend to the level of high school poetry, but it's hard to have much condemnation for something so charming. At times the still-evolving compositional skills hamstring a track; as good as the rest of the song is, the end of "Stagnation" is a real mess. Not much more to say about this release, really. I find it fairly enjoyable, although it's not what you'd call smothered in chops. It has some interest from an historical perspective, and is superior to similar releases from other prog warhorses (ie. Time and a Word). Pretty good for what it is. review by Sean McFee — undated —

j o e

There are missteps (e.g. the curious whistling cadenza on "White Mountain," the needless television dialogue on "The Knife"), and the lyrics are certainly steeped in the naive sensibilities of the band as late teens/early 20s. However, for me, Trespass is arguably the Genesis album that hits the closest to the heart. I think it has something to do with the disarmingly bucolic sound that pervades most of the album. Anthony Phillips (his last album with the band), Mike Rutherford, and sometimes Tony Banks weave resplendent 12-string acoustic tapestries, interlocking effortlessly with the flute, organ, and piano. The emotion and innocence captured in these delicate sounds, the way they go from ecstasy to melancholy with equal ease, shook me the very first times I played the album as a teenager and they continue to do so even today. I really could go on and on about the little qualities that I love on each and every song here. The bittersweet quality of Peter Gabriel's voice on "Stagnation" (my all-time favorite Genesis song) and the heavenly climax of "Visions of Angels." The enigmatic closing of "Looking for Someone" and the subtle major key sections in "White Mountain." No, the songs aren't as refined as later "classic Genesis" albums, and some tracks (particularly "Looking for Someone" and "Stagnation") might prove just too disjointed for some. Still, Trespass will always remain a personal gem. review by Joe McGlinchey — undated —

e r i c

Although not their first recording, this is their first that would be considered progressive. This is the pre Collins/Hackett lineup with Ant Phillips on guitar and John Mayhew on drums. The sound of the recording is so-so, but you do hear lots of acoustic guitar and keyboards that would carry over to the better written songs of Nursery Cryme. "The Knife" is the standout track here, great tune, with lots of changes in mood and feel, very dark and aggressive in music and vocal presentation. This one became an early live favorite. "Stagnation" is another good song here that Genesis used to attach to "I Know What I Like" in concert to extend it. The sound on most of this recording is mostly organ for Banks, and alot of 12 string acoustic guitar, and probably the most flute played by Gabriel on any record. A good debut that showed the signs of better things to come. review by Eric Porter — undated —