This album makes me feel good. I listen to it all the time and perhaps it’s *the* indisputable proof that I am a geek. (I like Selling England By the Pound slightly more than this, but somehow Foxtrot seems geekier.) Genesis dramatically improved their act since Nursery Cryme too; that much you’ll get after listening to the first song. Whereas their instrumentation standards on earlier albums have seemed somewhat amateurish and rough around the edges, they have blossomed so much on Foxtrot that they had surely become among the best instrumentalists in the business.
Maybe they weren’t as technically proficient as Yes, King Crimson or Jethro Tull, but give me their arrangement sensibilities over those bands any time. Listening to the pastoral sounds of “Time Table” for instance is exactly what it’s like to spend a happy day outdoors in the summer sun. There aren’t a whole hell of a lot of songs that give me that impression so distinctly. That’s my favorite song in Foxtrot, by the way, which the vast majority of this album’s fans probably wouldn’t share. But I don’t care! I love it! The vocal melody is just as warm and beautiful as the instrumentation!
Peter Gabriel’s singing has also improved greatly since the last album. He’s more or less play acting through most of this, and I buy everything he does. He sounds so compelling with his dramatic turns throughout “Get ‘Em Out By Friday,” for instance, that I hang onto his every word and never for a moment think he’s being corny or pretentious. I also have to continue my endless appraisal of Phil Collins’ masterful abilities as a prog drummer. Especially his work in “Watcher of the Skies” has me in total awe. I’m not even sure how those incessantly fast and complicated rolls and fills are even physically possible. He must have ingested a magic bean.
I only have one complaint about Foxtrot, and it’s so minor that it’s pretty much not a complaint at all. While “Can-Utility and the Coastliner” is lovely, everything I said about Genesis improving their sound doesn’t apply so much to that song. It’s rather loose around the edges, and the journey it takes us on through different textures and crescendos doesn’t compel me nearly as much as the other songs. I still like listening to it quite a lot, mostly because the vocal melody is sweet, but it seems like they easily could have done more with it. It’s just a minor lost opportunity.
The closing track, “Supper’s Ready” is a 23-minute suite and a pure treat from beginning to end. I suppose the normal people will listen to it and think it’s mostly dull, particularly those slow and quiet spots, but I cannot express enough to you that I am not a normal person. That’s one song that I listen to with my eyes closed, and I let it transport me to a different land! (I try not to do that when I’m listening to it in the car, though.) There is such a wide variety of different textures, moods and melodies in there that I always have a blast with it. It’s even terribly silly in the middle with those Hobbit singers! (Yes, I think those are Hobbits. …I already told you that I am a geek! Get over it!!)
The more I listen to Foxtrot, the more I seem to like it. It is an amazing album, and surely one of the greatest prog works ever made. Not only does it have an amazing array of textures, moods and melodies, but it’s consistently entertaining and beautiful. I have spent many happy years listening to, dissecting, and loving this album, and I plan to spend many more years continuing that. Many, many, many years. (Somebody please play “Time Table” at my funeral… It’ll cheer everyone up, and I think my corpse would like it, too.)
Written by Thomas Schrage
Genesis‘ first album was not called Trespass but From Genesis To Revelation. Many fans tend to count it as their zeroeth album.
It shows no or at best only the most minuscule traces of the style that would make them well-known later, and therefore frequently meets with a refusal and lack of affection. Justly so?
The band did not have the line-up they got known with yet. One could say they did not even exist. They came together to record demo-tapes in the first place. All of them knew each other from Charterhouse public school. The songwriter team Rutherford and Anthony Phillips asked Tony Banks to play the piano for them; Banks only agreed if he could bring his songwriting partner Peter Gabriel to record a song. Soon they were convinced that Gabriel’s voice sounded better than Phillips’ so he ended up singing on all the songs.
When he did not sing, Phillips played the guitar, a position he would retain up to Trespass. Initially, the drums were played by one Chris Stewart, though the drumming on the album would be done by John Silver. The drummer’s stool would not be filled permanently until Phil Collins joined Genesis. Only with him did the band find someone who was accepted as a full member and could incorporate himself.
These boys (most of them were around 17 at the time) managed to land a record contract with Jonjo Music in August 1967. That only meant that a single would be released. King was an alumnus of Charterhouse and had had quite a successful hit with Everyone’s Gone To The Moon. A shallow pop song though that may have been, he nevertheless seemed to be a person of success and influence, and they found it very promising that they could have him produce them.
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The year was 1969. Among the many discoveries made that year was something called "the import record" - albums from England that were either different from those released here, or just plain never released in Athens.
I remember pulling together a stack of domestic promotional albums and heading to a downtown rendezvous, near Acropolis to a place called Plaka, where in a small records shop they were traded for a decidedly smaller stack of imports. One of them was a little item that had a black cover with gold lettering proclaiming FROM GENESIS TO REVELATION. It was the first effort of a British group that couldn't decide on their name, although the music was much more decisive - I immediately vowed to become a fan once they figured out what to call themselves....
Genesis Group Members
Gemesis 1970 - 1975
BORN: February 13, 1950, London, England
As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. In his solo career, Gabriel was no less ambitious, but he was more subtle in his methods.
Gemesis 1970 - 1975
BORN: March 27th, 1950, East Sussex, England
Tony Banks started his career with Genesis in 1967 as the pianist/keyboardist, after the emergence of the Charterhouse School Bands The Garden Wall, which Tony was a member,..
Gemesis 1970 - 1975
BORN: October 2nd, 1950, Guildford, Surrey, England
A founding member of the long-running art-rock band Genesis, Mike Rutherford also made the occasional excursion into solo projects, most notably the pop combo Mike + the Mechanics.
Gemesis 1970 - 1975
BORN: January 31, 1951, Chiswick, London, England
Phil Collins' ascent to the status of one of the most successful pop and adult-contemporary singers of the '80s and beyond was probably as much of a surprise to him as it was to many others.
Gemesis 1970 - 1975
BORN: February 12th, 1951, England
Formerly a member of various minor bands, including Canterbury Glass, Heel Pier, Sarabande and Quiet World, the latter releasing a solitary album on Dawn Records in 1970, Hackett joined Genesis as guitarist in early 1971.
March 16th, 2015 By Jim Laugelli
I could have very easily chosen a number of other Genesis albums but I decided on this one simply because it features what is perhaps the most significant song in all of progressive rock: “Supper’s Ready.” My introduction to Genesis occurred 41 years ago and had one of the most profound impacts on my personal musical journey. On that night, in May of 1974, a friend asked if I wanted to see a concert. He had a few extra tickets for a Genesis show and no one to join him. I never heard of the band and for some reason thought they were probably some sort of acoustic act. As far as I recall, my friend knew little about the band as well. I believe someone just gave him the tickets. With nothing better to do I decided to check it out. When we arrived at the venue and had taken our seats I remember my curiosity ratcheting up when the pre-concert music over the P.A. was Mike Oldfield’s Tubular Bells. This signaled to me that I was probably going to hear something unexpected. Sure enough, when the lights went down and the crowd quieted, the opening chords to “Watcher Of The Skies” begins. I immediately leaned forward in my seat totally consumed by the sound of the mellotron.
As that instrument eases, the staccato rhythm of the bass begins and in the darkness a pair eyes appear, they seem to be searching, radiating, only to reveal a figure in a cape with bat wings wrapped around his head. The vocals then begin and until the end of the show I remain completely and utterly captivated. My mind was officially blown. It was a revelation. I left that show a changed person. This was music that went beyond my imagination. It was presented like theater, it told stories. In fact, before many songs, Gabriel told surreal little tales as a way of introducing the tunes. The next day I bought Foxtrot, and then Selling England By The Pound, Nursery Cryme and Trespass all in short order. I immersed myself in their music.
Foxtrot begins the band’s high point of three consecutive outstanding albums. It was released in 1972, a banner year for progressive rock that also saw the release of Close To The Edge by Yes, Thick As A Brick from Jethro Tull, Trilogy by ELP, Three Friends from Gentle Giant and a slew of other incredible records. For Genesis, Foxtrot saw them tackle ideas they started with their two previous releases, Trespass and Nursery Cryme. The level of complexity in song structure, the emphasis on theatricality and drama, storytelling and extended song form all reached a new level of sophistication on Foxtrot.
1967 - 1975
Compiled by Ikon Designing
Aside from a portion of the box set, this is the only commercially available live document of vintage Gabriel-era Genesis.
Compiled by Ikon Designing
That's it. Genesis' most ambitious work to date that ultimately led to the shock departure of their much loved singer Peter Gabriel.
Compiled by Ikon Designing
The painterly texture of the album art is a very nuanced addition to the artwork., but with a plain light yellow-tan border, the artwork itself can feel a bit drab.
Compiled by Ikon Designing
In 1963 Peter Gabriel and Tony Banks met at Charterhouse, a boarding-school, that layed in the English county Surrey in the middle 1960s.
Compiled by Ikon Designing
Once upon a time, in a land far, far away. . . England, I think it was called. . . There lived four young men. . Their names were Ant Phillips, Michael Rutherford, Tony Banks and Peter Gabriel.
Compiled by Ikon Designing
While recovering from this, he began writing Genesis' most ambitious project to date, "Supper's Ready," a 23-minute masterpiece
Compiled by Ikon Designing
On every level the band transcend any kind of expected performance standard. Musically they are so proficient they make that part of the job look like a secondary exercise.
Compiled by Ikon Designing
Genesis obviously differ from the dressed-up 12-bar that most bands unravel. And because of these very differences, the band have been slated over over their motives.
Compiled by Ikon Designing
Lifeless was the performance of leader Peter Gabriel; the protagonist's name is Rael so it's surely no accident that Gabriel is a Roger Daltry sound alike.
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