FOXTROT

I've always thought that Genesis albums often come in pairs. And so it is with Foxtrot and Nursery Cryme. They almost sound like they could be a double album. Even Paul Whitehead's cover art has the scene of Cynthia and the Nurse embedded on it. Nevertheless, some changes have occurred since the last album. The Victoriana is diminished, but there is still a sense of respect for the past. This album is steeped in Romanticism, turning away from cold modernity and longing for transcendence. I highly doubt this was intended as a concept album, but there is clearly a recurring motif of the end of eras. It weaves through future and past, exploring both sci-fi worlds and long past civilizations. Sometimes both. The band apparently hated the cover art, and I have no idea why. The sea is the perfect imagery for this music. Sometimes floaty, sometimes a raging storm, always deep and mysterious. Though I prefer the rawer, darker predecessor, this album is still every bit the masterpiece and is Genesis at the height of their songwriting powers. Every song has a haunting quality, drawing you into the wistfulness. Much of this feeling is provided by Tony Banks' beautiful Mellotron which shines on this album more than any other. Hackett loses some heaviness, but this album might just be the peak of his playing. Gabriel also shines here, his voice portraying many moods and characters throughout. Collins and Rutherford became jazzier somewhere along the way as well.

"Watcher of the Skies" begins like a grand processional hymn, but there's a hint of sadness. The opening rhythm sounds like morse code, as if inviting us to listen to some alien communication. The title is taken from a Keats poem and tells of mankind's transcendence beyond earth, a kind of mini-apocalypse before the big one at the end. I highly recommend watching this performance. Peter's batwing getup really complements the music. "Time Table" is sentimental, longing for a noble past over the cold present. It reminds me of Tolkien and his sort of nostalgia. The music is the simplest on the album, but the concept and Peter's earnest delivery really sell it. "Get 'Em Out by Friday" continues that concept and shows just how unpleasant modernity can be, eventually becoming a sci-fi dystopia. It feels more relevant now than ever. Gabriel's delivery on the line "They say it's alright" makes me want to cry. This is one of Genesis' most finely crafted songs and might be Mike's greatest bass playing. "Can-Utility and the Coastliners" takes us back to the Middle Ages. It tells the story of humble King Canute the Great, who wishes to prove himself a mortal to his sycophantic subjects. The music follows the story, being mostly very serious as the subjects and then becoming playful as they laugh at their king. Nature shows its power over man. Nice 12-strings on this one.

Side two opens with "Horizons", Genesis' first ever instrumental. This beautiful Hackett penned piece sums up the emotion of the album. It also serves as a palate cleanser before we get to the big one, "Supper's Ready". There is nothing I could say that would do this song justice. If you've liked every song up until this, you will love this one. From the opening notes it commands your attention. This is probably the most challenging Genesis song. Even though I was already a somewhat seasoned prog fan when I first encountered this, it took me several listens to fully "get it". This is everything you could want from a Genesis song rolled into an over 20 minute epic. There's some great effects, many of which I can't place. I hear a sound and have no idea if it came from Steve or Tony. 'Lover's Leap' is cold and mysterious. I've heard it's about a time when Peter's wife was supposedly possessed. The music fittingly sounds haunted (not haunting, hauntED), as if the chords carry the weight of someone's sadness. You really feel that something doesn't "feel quite right". '...Sanctuary Man' on is more playful, but the sinister feeling continues throughout. 'Willow Farm' is very fun and catchy. It was originally written to be a standalone song but works very well as a part of the whole. 'Apocalypse in 9/8' is Tony's finest hour, and features some excellent playing from our Mike and Phil. And finally with 'As Sure as Eggs is Eggs' everything comes to a harmonious end. The sinister feeling is vanquished by Phil's bells, and Peter gives some of his greatest delivery on these lyrics. We are closed out with a paraphrased Bible verse and some excellent guitar from Steve. Ironic that Genesis' greatest song should be about the Book of Revelation. Past and Future collide, and mysticism ultimately triumphs over modernity. Once again, I urge you to watch footage of a live performance. This song fully lives up to the hype around it. I think it gave the band some sort of complex, because this is the only epic they ever published. Several more would be written, but all would ultimately be broken up and scattered. It's one of my favorites, along with Crimson's "Lizard" and VDGG's "A Plague of Lighthouse Keepers", a song I would suspect is an influence. This album is one of the best in the genre and is deserving of all the praise it gets.

Social review comments

Review related links

• Send comments to Faul_McCartney
• Report this review (#2849195)
• Buy GENESIS music online with PA partners
• Show all GENESIS MP3/Stream
• Go to GENESIS page for videos, full discography with ratings, reviews and much more
• Go to Foxtrot page for more details, where to buy and ratings/reviews
• Search the Forum for GENESIS related discussions