Genesis’s second album, Trespass, marked a turning point in their musical journey. Released in October 1970 on the Charisma label (and on ABC Records in the US), the album showcased a band finding its identity, blending folk, rock, and soul in ways that set them apart from their contemporaries. Recorded at Trident Studios in London under the guidance of producer John Anthony, Trespass was a bold step forward for Genesis, a band on the brink of discovering their iconic sound.
The Road to Trespass
The recording of Trespass took place in June and July of 1970. In the previous winter, the band members had secluded themselves in a cottage, away from the distractions of London, to hone their sound and explore their musical possibilities. Mike Rutherford recalled, “To have those six months in the cottage away from London, away from other bands, away from other live shows gave us that time to play together and learn and discover what we were going to become. It’s like a blank canvas.”1
Whereas their debut album, From Genesis to Revelation, was heavily influenced by Tony Banks’s and Peter Gabriel’s songwriting, Trespass leaned more on the musical ideas of Anthony Phillips and Mike Rutherford. This shift was instrumental in developing the band’s signature style that would evolve over the next few years.
One of the significant influences on Trespass was King Crimson’s debut album, In the Court of the Crimson King. Genesis admired its dramatic elements and were keen to incorporate some of that grandeur into their own work. They avoided the fast and jazzy parts, as Banks mentioned: “Even if that sounds curious, some of the early Genesis music was definitely intended not to swing. When I later talked to guys from American jazz rock groups, they wondered how we did that. They had been taught everything has to swing.”2 The band also incorporated folk elements into their sound, influenced by Anthony Phillips and Mike Rutherford’s guitar work. This mixture of folk with rock created a uniquely English feel that would later become a hallmark of Genesis’s music.
Tony Banks noted, that he did not know if the very pastoral, English thing came from within themselves: “It is not a conscious thing, it is just what appealed to us and what we did. It just happened to come out in this very English kind of way with the folky influences.”3
Peter Gabriel’s love for soul music also played a significant role in shaping Trespass. “We liked to take influences from elsewhere as well,” Tony added. “Peter and I were particularly keen on American Soul music like Otis Redding. I love that soulful voice on a kind of lush backing.”4
Recording
Genesis entered Trident Studios in the summer of 1970 to record Trespass. At this point, the band had been playing live extensively, allowing them to refine their songs through performance before recording. This pre-studio development gave the tracks a cohesive, well-rehearsed feel, as the band had moved away from the more improvised approach of their first album.
Trespass: Track-by-Track
Looking for Someone
“Looking for Someone” opens the album with a powerful contrast between Peter Gabriel’s rough, soulful vocals and Tony Banks’s organ. This track signals a shift in Genesis’s approach, described by biographers as “idiosyncratic enough to set them apart from the herd within seconds.”5 The song’s mixture of soul and folk elements highlights Gabriel’s influences, including artists like Otis Redding and Steve Winwood, which shaped his vocal style.
Tony Banks noted that this track was crucial in setting the tone for the rest of the album and predicted much of what Genesis would develop in their later work. The song’s structure was collaborative, with Gabriel’s initial ideas expanded upon by the band, showcasing their evolving dynamic as a group. Tony Banks viewed this track as a sign of things to come for Genesis, saying that “Looking for Someone” “predicted a lot of what happened in the later albums” as it “was also a group-written piece.”6
White Mountain
“White Mountain” is a quintessential example of the combined signature twelve-string guitar interplay between Phillips and Rutherford, creating a textured soundscape. “The folk-sound of it, I think, was definitely from Ant and Mike and this twelve-string combination,” Peter Gabriel said. “I think that was really quite innovative.”7 Its storytelling approach, evoking a sense of mythical grandeur, was a step toward the progressive rock narratives Genesis would later become known for.
Visions of Angels
Originally conceived by Anthony Phillips for the band’s debut album, “Visions of Angels” was reworked for Trespass. This track stands out as the most straightforward and melodic on the album, with its roots in the late 1960s pop style. Phillips’s piano playing, though simple, provided a solid foundation for this song’s evolution into a more polished live performance staple.
Stagnation
“Stagnation” emerged from a piece called “The Movement,” representing Genesis’s early attempts at creating epic, narrative-driven songs. “Stagnation” is where Genesis truly began to explore the long-form song structure that would become a hallmark of their progressive rock phase. Peter Gabriel described it as “a journey song. You didn’t follow the normal verse-chorus-verse-chorus structures, but you went through a series of landscapes.”8
The song features multiple layers of acoustic guitars, which unfortunately got somewhat muted in the final mix due to technical limitations in the studio.
This track became a template for Genesis’s signature sound, influencing future epics like “The Musical Box” and “Supper’s Ready.” Its dynamic shifts from soft folk melodies to powerful, electric-driven climaxes became a hallmark of the band’s progressive rock style.
Dusk
“Dusk” continues the folky theme of the album, with Phillips and Rutherford’s acoustic guitars playing a prominent role. Tony Banks’s organ adds a subtle, yet essential, layer to the track that turns the song into a quintessential Genesis piece. This song showcases the band’s ability to blend delicate instrumentation with evocative, lyrical storytelling.
The Knife
The closing track, “The Knife,” marked a dramatic shift towards a heavier, more aggressive sound for Genesis. The song’s aggressive tone was a departure from the rest of the album’s folk-influenced sound. Originally titled “The Nice,” in reference to Keith Emerson’s band, this song parodies the concept of revolutionary anthems. Its combination of distorted guitar, forceful organ, and Gabriel’s intense vocals pushed Genesis into new sonic territory, paving the way for their evolution into a more rock-oriented band. Anthony Phillips explained that “The Knife” was actually a parody of protest songs: “Pete’s lyrics were not about revolution; they’re a spoof at revolutionaries. We were just middle-class boys.”9
Anthony Phillips believed that “The Knife,” along with “Looking for Someone” and “Stagnation,” laid down the blueprint for Genesis’s future. “It often started quiet and then went through an enormous amount of change. It’s often quite dramatic, often quite aggressive.”10
Despite its complexity and dark themes, “The Knife” became a live favorite, often extended in performance to emphasize its raw energy. It was also released as a two-part single in early 1971, though it did not chart.
Reception and Impact
Trespass might not have been an immediate commercial success, but it was a critical milestone for Genesis. It established the band’s identity within the progressive rock genre, moving away from the simple pop influences of their earlier work. The album’s blend of folk, rock, and classical elements, coupled with its narrative approach to songwriting, set the stage for their future masterpieces.
Melody Maker described Trespass as “tasteful, subtle, and refined,” while other critics noted its innovative use of pastoral and mythological themes.11 The album’s unique sound, driven by Gabriel’s dramatic vocals and Phillips and Rutherford’s guitar interplay, resonated particularly well with audiences in Belgium, leading to their first international concerts there in 1972.
Though Anthony Phillips would leave the band shortly after the release of Trespass, his influence on this album set the stage for the band’s progressive journey.
His departure was a significant turning point that led to the arrival of guitarist Steve Hackett and drummer Phil Collins, further transforming Genesis’s sound and setting them on the path to becoming one of the most influential progressive rock bands of the 1970s.
Legacy
With Trespass, Genesis laid the groundwork for their future as progressive rock pioneers. The album’s fusion of folk, rock, and classical influences, combined with its ambitious compositions, demonstrated the band’s potential and hinted at the musical heights they would soon achieve. It is an album where you can hear the band experimenting, refining, and taking bold steps toward the epic storytelling and complex compositions that would define their later work. Even today, it remains a testament to a band daring to step beyond the ordinary, reaching for something truly unique.
Sources
ANTHONY PHILLIPS UNFILTERED: GENESIS C0-FOUNDER IN CONVERSATION.
Banks, Tony; Collins, Phil; Gabriel, Peter; Hackett, Steve; Rutherford, Mike; Dodd, Philip (2007): Genesis. Chapter & verse. New York: Thomas Dunne Books/St. Martin’s Griffin.
Bowler, Dave; Dray, Bryan (1992): Genesis. A biography. London: Sidgwick & Jackson.
MIKE RUTHERFORD UNFILTERED: GENESIS GUITARIST/COMPOSER IN CONVERSATION.
Trespass Reissues Interview 2007.
TONY BANKS UNFILTERED: GENESIS KEYBOARD PLAYER & COMPOSER IN CONVERSATION . FULL.. 1 Hour 53 Mins.
Footnotes
- MIKE RUTHERFORD UNFILTERED: GENESIS GUITARIST/COMPOSER IN CONVERSATION. ↩︎
- TONY BANKS UNFILTERED: GENESIS KEYBOARD PLAYER & COMPOSER IN CONVERSATION . FULL.. 1 Hour 53 Mins. ↩︎
- Ibid. ↩︎
- Ibid. ↩︎
- Bowler & Dray 1992: 32. ↩︎
- Banks 2007: 79. ↩︎
- Trespass Reissues Interview 2007. ↩︎
- Ibid. ↩︎
- ANTHONY PHILLIPS UNFILTERED: GENESIS C0-FOUNDER IN CONVERSATION. ↩︎
- Ibid. ↩︎
- Trespass LP review by Michael Watts, Melody Maker, 12 December 1970. In Bowler & Dray 1992: 41. ↩︎