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Review Summary: Is this the great lost Genesis' album? Would be this, the natural musical path for Genesis if Phillips hadn't left the group? “The Geese And The Ghost” is the debut studio album of Anthony Phillips and was released in 1977. The line up on the album is Anthony Phillips, Mike Rutherford, Phil Collins, David Thomas, Ronnie Gunn, John Hackett, Wil Sleath, Jack Lancaster, Rob Phillips, Lazo Momulovich, Charlie Martin, Kirk Trevor, Nick Hayley, Martin Westlake, Tom Newman, Vivienne McAuliffe, Ralph Bernascone and the Send Barns Orchestra and Barge Rabble conducted by Jeremy Gilbert.
As most of you know, Phillips was the original guitarist of Genesis. He performed on “From Genesis To Revelation” of 1969 and on “Trespass” of 1970, and by some accounts, he was a dominant figure within the group during their earliest days. While never regarded as one of the most notable guitarists of the early progressive scene, he made a number of strong contributions to the group’s sound during that period. He disappeared from music in 1970, not to re-emerge on a full time basis until 1977. After leaving Genesis, following the release of their sophomore album “Trespass”, it was thus a great surprise when in 1977 his first solo album “The Geese And The Ghost”, since described by none other than the artist himself as really a collaborative album with erstwhile Genesis companion Rutherford, was released.
“The Geese And The Ghost” was, in a certain way, a Phillips and Rutherford duo project. The album was completed in 1976, but didn’t find its way until Phillips unearthed the project in 1977. Considered by many, to be among Phillip’s finest moment as a solo artist, it has some elements and instrumental pieces that could almost fit seamlessly on Genesis’ albums like “Nursery Cryme” or “Foxtrot”. But it still manages to be distinctly a Phillips’ work. So, you have a very telling collection of music almost outlining what Genesis may have been like, if he had not left the group. Of course, the fact that Rutherford makes an appearance and Collins also provides some vocals certainly doesn’t hurt the comparison of this effort and the early works of his former band. Probably, if Phillips hasn’t left Genesis, they wouldn’t have been half a successful as they were, but they would have also made some beautiful music along the way.
On “The Geese And The Ghost”, largely instrumental and largely acoustic, Phillips takes the English pastoral countryside feel for the music that he helped develop, with the two other boys from Genesis, and makes a work of breathtaking beauty. It’s deliberately an atmospheric and largely instrumental album in an orchestral Baroque style. Phillips had began composing the album in 1969 and recording a demo with his band mate, Rutherford. Following his departure from Genesis in 1970, advised to quit for health reasons by his doctor, after the recording of the band’s second album “Trespass”, he continued to write and shape the medieval themed music until he finished it in 1976.
“The Geese And The Ghost” comprises three songs, a couple of short linking pieces, an instrumental closing piece and two major compositions of Phillips and Rutherford. On “Which Way The Wind Blows”, Collins' voice is multi-tracked over a piano and acoustic backing while and on the simply gorgeous “God If I Saw Her Now” he duets with Viv McCauliffe, beautifully. Phillips' guitar playing on the piece is exemplary and the whole piece aches with poignancy. The song, “Collections”, is sung by Phillips himself. Although he largely shuns his vocals, they do fit perfectly with this orchestrated piano piece which segues into the closing number, “Sleepfall: The Geese Fly West” so delightfully. The two pieces could be considered as two halves of the same coin. The latter pieces also features fine contributions from Rob Phillips and John Hackett on oboe and flute, respectively. The first of the two major compositions, “Henry: Portraits From Tudor Times” is a more baroque number telling the tale of King Henry VII and his victory over the French armies. It's an amazingly evocative piece that manages to encapsulate a mood of the period through careful use of instrumentation and fine arranging. “The Geese And The Ghost”, a 12-string guitar duet that was originally started in 1969, has been augmented with cellos, violins, cor anglais, oboes and a piano to provide a piece of the highest order.
Conclusion: Like most albums of Phillips, “The Geese And The Ghost” didn’t become a hit. Not even various stickers that pointed out the collaboration of his Genesis’ colleagues could change that. Even many faithful Genesis fans ignored the album, which was quite a surprise with all Genesis references. Most of the songs were written while Phillips was still in Genesis, or shortly therefore. So, its concept and music pick up where “Trespass” left off. Had it been released two years earlier, and it would perhaps have gotten the attention it really merits. But in 1977, the punk and the new wave changed the music scene, and then, the album, in a certain way, sounded remarkably old fashioned. So, it’s about time this beautiful album be rescued from being a mere curiosity for Genesis’ completists. It’s a great album that deserves a place in any musical collection to be appreciated by it, and not for be considered as a Genesis’ lost album.
Music was my first love.
John Miles (Rebel)
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Album Rating: 4.0
Your comments are very well received, as usual.
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Listening for the first time now, and it is beautiful. I bet you're right. If this was released earlier, it would have recieved more attention. In 1977 things were changing--even Genesis was about to dramatically change their sound.
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Double Post
| | | Album Rating: 4.0
Thanks, man. I'm glad you liked the album. As you can see, it's a pity that an album like this be practically unknown.
Yeah, dude. The things change, even that we don't expect it.
Anyway, Phillips has a very extensive list of solo workings. So, as you liked this album, and from what I know from him, I suggest you to listen to some other solo workings of him, like Wise After The Event, 1984, Slow Dance, Field Day and Private Parts & Pieces II: Back To The Pavillion, which are the other pieces that I know from him.
The man is a very complete and talented artist multi-instrumentalist and his music is very varied, from what I know.
Cheers.
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Every time I think I've discovered all the good obscure prog album from the 70s, I find there is always more--will check others you suggested.
| | | Album Rating: 4.0
Do that, man. You will see that you will not regret and you'll be surprised by all the musical differences in them. For instance, “The Geese And The Ghost” is almost an acoustic album clearly influenced by the medieval times and where its music almost flow together as a continuous piece of music, “Wise After The Event” is essentially an album composed with a collection of beautiful guitar songs and surprisingly, “1984” is an album where all the music on it was totally composed for keyboard instruments. Many know that Phillips is a brilliant guitarist but very few know that he is also a brilliant keyboardist.
Cheers.
| | | Album Rating: 4.5
I don't hear to talk about this album for centuries and I don't listen to it for many years. I need to check it again to can rate it. Thanks for you bring it back again to my memory. After that, I will read your review and tell you something about it.
| | | Album Rating: 4.0
Yeah, do that man. And then, tell me what you think about it.
| | | Album Rating: 4.5
OH MAN
| | | Album Rating: 4.0
Thanks, man.
| | | Album Rating: 4.0
''Following his departure from Genesis in 1970, advised to quit for health reasons by his doctor, after the recording of the band’s second album “Trespass”...''
Yes, Anthony left after the Trespass tour due to his serious stage freight.
If he had stayed with the band, I don't think Anthony would have brought something that important to the table of Genesis, since Tony Banks and Peter Gabriel were the true masterminds behind their music.
Sure, the deep Phillips' influence can be heard throughout Trespass. Phillips is known for his twelve string guitar work and his unique folkish approach and his magical acoustic textures, but the versality and sometimes harshness of Steve Hackett really made a difference and had more of an impact for Genesis music.
By the way, only few people know that Anthony has contributed for some parts on 'Musical Box' and 'Fountain of Salmacis', before Nursery Cryme actually came out.
A little mistake at your 3rd paragraph, you wrote Nursery Crime instead of Nursery Cryme
This album is really enjoyable. It brings a sense of peace and satisfaction, and I enjoy almost every parts of it. 'Collections' is perfect. I think it's sung by Anthony.
Great review, really, mate.
| | | Album Rating: 4.0
this would've been cooler if title track wasn't so drawn out, plus the short songs should be cut or made longer imo
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is there anything like The Knife in here?
| | | Album Rating: 4.5
this is more like the softer parts of FGTR and Trespass, but is a lot better than both of them
| | | Album Rating: 4.5
excellent review, mate! pos'd. Album is gorgeous.
| | | Album Rating: 4.0
@Jethro
About the influence of Phillips in Genesis if he stayed with the band, it's true that Banks and Gabriel were the main composers of the group at that time. However, we will never know how his influence could be felt inside the band if he was in the band when gabriel left off. We mustn't forget that Phillips was a school friend of Gabriel, Banks and Rutherford when Genesis was formed, while Hackett and Collins were two outsiders of them. By the other hand, despite the influence of him that we can felt on Trespass, he proved throughout his extensive musical career that he is an excellent composer and a great multi-instrumentalist. He proved that he is a very talented artist. Anyway, in reality we will never know that.
About Hackett, I don't want to compare him to Phillips. The versatility of Hackett is absolutely unquestionable. I'm sure that the quality and influence on Genesis of Hackett is much more evident. I'm even convinced that Genesis are a better band with Hackett that they would be with Phillips. I'm a great fan of Hackett. He is one of the artists I most admire. My favorite Genesis members are Hackett and Banks. So, Hackett is Hackett.
About the contributions of Phillips on Nursery Cryme, I know that. And you're right that many people are unaware of it. It was due of it, that Nursery Crime was one of the albums recommended by me. I really forgot to mention it on my review. I'm glad that you mentioned it in your comment.
Thanks for your warning about the 3th paragraph. I've already correct the mistake.
Finally, thanks for your comments and pos. As you know, it's always a pleasure to talk to you, man. The only problem is to talk with you on line at the same time, due to the time difference in our countries. So, in general I only can answer to you in the next day. Anyway, I will always answer you.
Cheers.
| | | Album Rating: 4.0
@smaugman
Probably you're right. It might be a better album. Anyway, The Geese And The Ghost has charme enough to be a great album and I love its medieval musical touch.
Thanks for your comment, man
| | | Album Rating: 4.0
@SirLord
Of course not. There is anything like The Knife on it. But that isn't the real point. This isn't properly a kind of a sequel of Trespass. I think Frippertronics is right. It's more close to the softer parts of Trespass. It has a more calm pastoral medieval ambience, all over the album, than Trespass has. Anyway, The Knife is an exception in Genesis. In my opinion, The Knife is the most agressive track ever made by the group in their musical career.
Cheers.
| | | Album Rating: 4.0
@Veldin
I'm glad you liked the review and the album. I can see that you are even more enthusiastic by the album that I. I'm happy that due to my review another music lover get to know another almost forgotten album, unfortunately.
Thanks man for you comment.
| | | Album Rating: 4.5
Ok, it's now time to say something more about the album, since I listen to it again right now. The album is really a very interesting and curious album. It's a pity that it was almost forgotten for so many years. It represents perfectly the good old times of the prog of the 70's. You are right. It can be seen as a lost Genesis album. But you are also right when you say that it is more than a simple lost Genesis album.
About your tips about some the other albums of Anthony Phillips, I became very interested on them. So, soon as I can, I hope I can listen to them.
Great working e210013. Have another pos.
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