FOXTROT

When most people think of Phil Collins they think of "In the Air Tonight," I think of "Apocalypse in 9/8." Genesis has an extensive collection of great albums which makes it difficult to choose a favorite from their catalog. For me, "Foxtrot" represents the band's peak of progression and diversity. While it shares similarities with their preceding album, "Nursery Cryme," its distinguishing features lies in the production quality and the epic track concluding the album (which I'll touch a bit more on later). Each musician can shine with their own moment, showcasing some of their finest work.

The album features Peter Gabriel on vocals, Steve Hackett on guitar, Phil Collins on drums, Tony Banks on keyboards, and Mike Rutherford on bass. The band would record Foxtrot in London's Island Studios in August and September 1972. Initially planning to work with producer John Anthony, disagreements over costs led to a search for a new producer. After failed attempts with numerous producers, they went with co-producer David Hitchcock who produced albums for band's such as Mellow Candle and Caravan at the time. Foxtrot would ultimately receive high praise, with Charisma Records' owner predicting it would define their career. Banks particularly praised the album, believing it contained no weak tracks.

The album opens with "Watcher of the Skies" which borrows its title from John Keats' 1817 poem "On First Looking into Chapman's Homer." This track stands out for its complex musicality, unconventional time signatures, and intriguing lyrics, making it one of the tracks I find myself returning to the most from the band. Notably, it features a stunning mellotron introduction. Interestingly, this mellotron was purchased from King Crimson before the recording of the album. "Time Table" showcases a more delicate side of the band, highlighted by Banks' skillful piano playing. On the other hand, "Get 'em Out by Friday" and "Can-Utility and the Coastliners" delve deeper into a progressive and theatrical direction, showcasing intricate songwriting that exemplifies the best of progressive rock. "Horizons" provides a gentle interlude, allowing Hackett to deliver a beautifully executed acoustic piece which he composed. The album culminates with the monumental "Supper's Ready," comprised of seven distinct sections with recurring motifs. Personally, I regard "Supper's Ready" not only as the band's crowning achievement but also as one of the genre's finest tracks. Banks himself acknowledged the latter parts as "probably our peak."

In essence, "Foxtrot" stands as a testament to Genesis's artistic prowess and musical innovation. It represents the pinnacle of their career, showcasing their ability to seamlessly blend complex instrumentation with thought- provoking lyrical content. Ultimately, this album remains a shining example of the band's surviving legacy in the realm of progressive music. If you are reading this review, I would hope that you've already heard the album, if not, do yourself a favor and listen to it as soon as possible.

Favorite Track: Supper's Ready (22:53)

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