Genesis - Duke
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Music CD Cover
Artist: GenesisEdition: Music CD
Format: Original recording reissued, Original recording remastered
CD Release Date: 1994-11-29
Music Label: Atlantic / Wea
Soundtracks:
- Behind The Lines
- Duchess
- Guide Vocal
- Man Of Our Times
- Misunderstanding
- Heathaze
- Turn It On Again
- Alone Tonight
- Cul-De-Sac
- Please Don't Ask
- Duke's Travels
- Duke's End
Free Music Notes for Duke
Free Music Review: My favorite Genesis, and a contender for one of my top 3 faves period.
Hit: 5 Stars
In purchasing this album (the new version with bonus dvd and surround sound mix), I was fully expecting dissapointment. All I could remember hearing from the album were its "pop" singles (more on that later), and I fully expected the album to have nary a "prog" song to be found. I then heard from more of the fanbase that its more of a crossover album in between the Prog and "Pop" worlds, but still wasn't expecting much.
However, from the onset of "Behind the Lines" I knew something was up.
It begins with a bombastic keyboard intro and then a crisp furious drum part from Phil Collins, followed by some very Hackett-like guitar lines from Mike Rutherford (something he didn't do so well on the previous album). The beginning of the song almost reminds one of something that would be written for an Olympics commerical or golf tournament in the mid-eighties, that is, its a bombastic intro intended to get the listeners attention, but more importantly STILL PROG. The song then settles down a little bit with a bit of a groove and more keyboard driven melodies and Collins' very emotional vocals.
It then goes into a drum machine (!) beat that leads into the song "Duchess", which reminds me of some of the more straightforward songs from days passed, because its still quirky enough and synth driven to be similar to those songs (and don't fret over the drum machine, its only used as an effect on THIS SONG, and also sparingly, almost reminding one of the "lawnmower" sound on "I Know What I Like In Your Wardrobe".
Duchess that evolves into "Guide Vocal", a very emotional, Gabriel-era type ballad, but far too short (as most fans know, these songs were intended as an album side long suite, but the rest of the songs (Turn it on Again and Duke's Travel's/Duke's End aren't until towards the end of the album).
We then go to "Man of Our Times" which reminds me of some of the more "rocking" songs off the Lamb (or to some people of Mike's then current solo album) and then the "black sheep of the album", "Misunderstanding".
Misunderstanding is a decent pop song, with a decent groove, but definitely interrupts the flow of the album. Its a solo Collins track (as evidenced by the interviews on the bonus dvd) and it shows. Now I used to dislike the song, but I've gotten so used to it, I don't mind it (as much as later singles like No Reply at All, etc). Its relatively harmless, if very un-"Genesis-like".
"Heathaze" then returns us to the Wind and Wuthering era period a little bit, and does so successfully.
"Turn it on again" is one of the most successful fusings of prog and pop other than Rush's "Subdivisions", it features no discerible chorus and the timing is 13/8, which gives it a weird twist (as well as its very unique melody, but I'll leave the stuffy music theory references at home this time).
"Alone Tonight", though enjoyable, does qualify as album filler to a certain extent, though I enjoy it as it still texturally seems identifiable with the band. It kind of reminds me of some of the "And Then There Were Three..." period; laid back, atmospheric, but also very refined.
"Cul De Sac" reminds me of a fusion of elements between "Wind" and the "..Three" album, but its enjoyable and epic enough to fit on the album.
"Please Don't Ask" is considered another "Phil pop song" but his vocals and the riffs still remind me of the "Phil trying to ape Peter Gabriel" period ironically enough. The very straightforward lyrics referring to his then fresh divorce (Phil's) are kind of a detriment to the song though. Its a very emotional moment, if a little bit melodramatic.
We then continue (finally!) the Duke suite with the "Los Endos" like Duke's Travel's/Duke's End..
As a personal observation I would say that this album grew on me, and as soon as I was hooked it became one of my favorite Genesis albums.
The album is very sincere, and still a very progressive album from the point of view of music, structure and content. I believe this album is their last stab at something truely progressive, as subsequent albums would contain more and more pop (and more and more filler).
Its also a unique album, it has a buoyancy and energy that hadn't been seen with the band in their last two albums since "A Trick of the Tail".
Overall, its not over the "pop" hump that later albums were, though its not as pastoral and progressive as previous material either.
In fact, alot of prog reviewers have said it almost predicts the upcoming "Neo-Prog" movement in England (bands such as Marillion, Saga, etc) because it has a somewhat "pop/rock" sound mixed with the progressive rock edge that made those bands popular.
I don't know if I'd agree with that, but we can all agree this is one of Genesis's most unique and enjoyable albums. The guitars rock, they keyboards take ahold, the drums and bass are all rock solid, and Phil has an energy that he hadn't had on vocals before.
This, overall, is the best album of the "trio" period of Genesis.
Update: 5/13/2008
I would like to add to this review in saying that this album is Genesis's "Dark Side of the Moon", and "Black Album" all in one. It seethes with an energy that previous albums didn't have as much (don't get me wrong I love all Genesis), but also has the elements that made them one of rock's classic bands, and prog bands to boot. Many songs are similar to their seventies classics but done in a more streamlined manner (hence the Metallica Black Album reference). To me, the melancholy and atmospheric elements and catchy musical phrases combined with Phil Collins' newfound soulfulness in singing.
I have listened to this more than any of their other albums, a strange surprise considering how often I heard that the "trio" period was the nadir of Genesis.
Duke Poster
Duke saw Genesis start, somewhat unwillingly, to shed their progressive-rock mantle. Partly this was a response to the radically changing musical scene, partly a result of Phil Collins's new-found influence within the band as a songwriter, and partly it was a logical direction if they were to capitalize upon the success of "Follow You Follow Me" from 1978's And Then There Were Three. Recorded at Abba's Polar Studios in Stockholm, Duke showcased a more commercial sound, brisker arrangements, and more down-to-earth (some would say merely more prosaic) lyrics. Though Tony Banks was still responsible for the majority of the songwriting, turning in the classic "Duchess" and "Heathaze," the album also contains Collins's first two solo compositions, including "Misunderstanding," a template for the songs of his forthcoming solo career. In contrast to the relatively muddy-sounding And Then There Were Three, Duke is clear and sharp, with Collins's increasingly arena-friendly drum sound showcased in the mix. --James SwiftPop Music CDs
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