At times, Genesis feels less like a progressive rock band and more like Xavier’s School For Gifted Solo Pop Artists.
Of course there’s the original frontman, Peter Gabriel, who perfected the pop record in 1986’s So. His replacement, Phil Collins, crafted such heartfelt pop that 30 Rock once claimed—correctly—that all that is necessarily to enjoy him is “two ears and a heart.”
In the shadow of such massive monoliths, it makes sense that Genesis guitarist Mike Rutherford would be overlooked. In fact, I didn’t even know he had a solo career until I found this album in a box of freebies. But at first listen to his debut Mike + The Mechanics, Mike makes it clear that he’s just as capable.
Through the lens of a Genesis-member-solo-project, there are few surprises. This is synth-driven cerebral pop that’s as smartly written as it is catchy. Everything on here is radio-ready, but it’s far from cookie cutter.
“Silent Running (On Dangerous Ground)” opens the record with a dreamlike wash of ambient pads, shifting moods abruptly to an urgent minor key as Rutherford sings instructions for surviving the coming apocalypse, punctuating choruses with one of the slinkiest guitar solos the 80’s produced. It’s followed by “All I Need Is A Miracle,” a heartfelt apology set to a rock hit (my wife started singing along in the chorus, which surprised me as I don’t remember ever hearing it).
One hidden gem is “Par Avion,” an understated ballad with delicate electric drums and angelic synths that undoubtedly will draw comparison’s to Collins’ “In The Air Tonight,” however unfairly. The delicacy is short lived, as “Hanging By A Thread” interrupts the tranquility with the most aggressive song on the record, metallic synths and slapped bass lines clanging along with the driving drum machines while Rutherford turns his vocals to a growl.
“I Get The Feeling” opens side B with a bit of a mood shift, its synth horns and major key sounds closer to Michael Jackson’s more Motowny tracks than Collins or Gabriel. It’s a good enough track, but it feels a little out of place—especially when compared to the bouncing drive of “Take The Reigns” that follows.
“You Are the One” slows down again and goes for high drama, a galaxy electric piano plunking the chords under Rutherford’s impassioned vocals and a generous accompaniment of strings. The result lands pretty close to The Alan Parsons Project (which, if you know me, is high praise).
“Call To Arms“, originally a Genesis song, shifts between moody verses and an anthemic chorus, alternating between despair and hope. As the story is told, Mike was the only member of Genesis who liked the track and saved it from obscurity—which is a good thing, as it’s one of the best tracks on here.
Closer “Taken In” guns for 80’s soft rock ballad immortality, and it shies away from zero tropes. Palm muted guitars a la “Eye in the Sky” and “Every Breath You Take” drive the chord structure, a sultry saxophone barely breaking a whisper behind Rutherford’s tender crooning. But the thing about tropes is that they wouldn’t be as common if they didn’t work, and the tricks certainly pay off on this track.
Mike + The Mechanics may not necessarily be better than either Gabriel or Collins’ solo output, which it is inevitably (and perhaps unfairly) compared to. But let’s be honest, those are enormous shoes to fill. Outside of that comparison, this record is more than competent, hitting all of the touchstones of 80s pop without ever becoming a cliche. Perhaps in a parallel timeline, Peter and Phil stayed in Genesis while Mike went solo, and he is the one remembered for his incredible popcraft.