It's a long, long time since I played this record. It's even possible that it has never been on this turntable, which I got in 1981, before — the surface crackle betrays the coarse touch of a cheap stylus and tone arm. And with the passage of time the context in which I hear the music has changed massively.
The history of the band and its members, for a start. In 1979 the music was still alien, new, mysterious to me; I certainly wouldn't have known (without looking at the credits) which songs were 'old' (Gabriel) Genesis, and which were 'new' (Collins). And it goes without saying that I didn't know what would later become of Gabriel, Collins and the other players.
Some of the music is almost new again for me, as it's so long since I've listened to anything by the 'new' Genesis that I'd forgotten what they sound like. With hindsight I can see that this album was Phil Collins' Biggest Challenge: he may have shown that he could sing the post-Gabriel material, but how would he carry off the old stuff that Gabriel had made his own?
I'm no fan of Phil's later career (in 1988 I saw him play an 'intimate' solo show when I was doing some work for the Princes Trust and he stopped by to coach the young people — it was unbearable), but he rises to the challenge and then some. I'd say this is his finest hour — and the rest of the band up their game to match his at several points.
Phil, whose head and chin are covered in long hair at this stage, was evidently not so much into dressing up as Peter Gabriel (it's a private school thing), but in his vocal phrasing and delivery of the words he shows that he's got an am-dram thesp inside him, bursting to get out. I've seen Peter Gabriel perform Supper's Ready with Genesis (albeit at the 1982 reunion show) and I've seen The Musical Box do their carbon copy of the 1973 performances of the song, but the version on this album is a tour de force and the best I've ever heard. Phil's singing is better almost all the way through (except for the end verses, where Peter Gabriel's extra gravitas pays off), and when he partners with Chester Thompson for the double drumming of the Apocalypse 9/8 section, the music has one of its several lift-off moments.
Surprisingly enjoyable.
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