The band were making steady progress, albeit frustratingly slowly and unspectacularly in the early days. Word was out: this was the band to see "live" and they never failed to please the ever growing numbers who flocked to pay homage to an ideal of unlimited potential. Yes, it was a struggle but things were on the up and up and brighter horizons were assuredly on the way. The release of "Foxtrot" further cemented and enhanced their appeal; they had entered the realms of "Rock Theatre" as PG brought us into his weird and wonderful world in a serenade of strange and uncomfortable guises.

The transition from college gig to a full scale tour took them into larger theatres that were a perfect setting for the new Genesis wide-screen presentation of their feature length tragedies and musical narratives. "Selling England By The Pound" broke new ground with equally as many twists and turns; the band were now recognised as musically accomplished; original and going places.

The press took notice: "The Pound Recovers" heralded one of the major rock weeklies; and this remember, was Britain during a time of economic strife and gloom. Next, another full scale tour that included five record breaking nights at London's Drury Lane Theatre and sell-out crowds all over the UK. North America also beckoned and the boys were off to take their unique brand of music and theatre across the waters. At long last; success was breeding more success for the group.

But what next? My friend's brother, who worked at EMI's record pressing plan in Hayes, Middlesex, purloined an early copy of their new release before it went on sale to the general public. Minus sleeve and only having sides one and two; we eagerly placed the disc on the turntable in his bedroom. The next forty five minutes brought a period of such high intensity listening; it severely assaulted the senses at all levels. I was dumb struck; my friend was mortified; "It's bloody different!" was all he could say. Gone were the familiar twelve string strains that painted eloquent pictures of a pastoral English bygone age (almost a Genesis trademark) and we were left with a monster of a work that excited, baffled, challenged, and even threatened with its uncompromising new direction, and a subject matter so totally removed from what had gone before. And we had only heard half the album!