Cities Made of Song, 1973

Cities Made of Song, 1973 - Firth of Fifth by Genesis​

The progressive rock streak continues! Although they performed in the same genre, broadly speaking, it's striking how different Genesis and Gentle Giant, who I reviewed last time, really were. Needless to say, Genesis were a fair bit more of a big deal, to the extent that they were inducted into the Rock and Roll Hall of Fame a while back. It's a just recognition for a band that's been named as an influence for so many later artists, and even though the other G-band is more my "favorite" than Genesis is, these guys were still brilliant artists.

Many Genesis fans are quite partisan about what kind of Genesis they actually like, however. After Peter Gabriel left the band in the mid-Seventies and Phil Collins took up the frontman/vocalist role, and especially once Steve Hackett was gone, the group drifted generally in a more pop-oriented direction. Some fans abominate the pop rock tunes they made in the Eighties, while others sigh at the long-winded and more whimsical music of their early years. In essence, the argument revolves around whether or not they "sold out", and whether or not that's a bad thing.

I think it's a bit of a baffling argument, personally. Do people really think Genesis would still have been good if they'd been putting out sprawling, breathless prog epics into the Nineties? They would have gone around the bend long before that if they'd never changed styles. I'm a rare breed, because I love Invisible Touch almost as much as I love, say, The Return of the Giant Hogweed. No fear of change here.

Speaking of selling out, though, it's interesting that this very thing was a preoccupation of the band far earlier in their career. When "Selling England by the Pound" came out, Genesis were fresh off the back of their breakthrough American tour, having just struck it big in that country for the first time. It's telling that their very next album after this was something which is even more consciously and pronouncedly British than their last. Like "Nursery Cryme", a lot of it feels very English fairy tale, from references to locations in the British Isles, to moonlit knights and the joys of a good breakfast. Clearly Genesis weren't content to leave what made them unique behind in order to succeed in new markets.

In terms of personal preference, I'm really fond of Cinema Show/Aisle of Plenty, but Firth of Fifth has to be my favorite. The lyrics aren't much, but the instrumentals are what make this tune so very good. Tony Banks and Steve Hackett absolutely steal the show, the former's piano solo opening and closing the track in such a beguiling way. The guitar solo of the latter might be the most beautiful I've heard in a piece of music, ever. This is an experience, plain and simple.

What an extraordinary band. And do you know what? I don't really care if someone prefers this track over I Can't Dance or not. As long as they're having fun.

Rather than returning straight to television, I'll next be enjoying a curious diversion to The Paradise of Death. See you then.

(Modified from the original posted at Gallifrey Base on 10 April 2021.)