foxtrot (1972) – genesis: charisma records, CAS-1058

In many ways, despite having already released three albums, in 1972 Genesis were a band still trying to gain traction and really embrace an identity.

The problem, it seemed, was that aside from a small number of hardcore fans, Genesis were either ignored or reviled by both music listeners and critics alike. Their records sold very poorly and their music was called pretentious, inaccessible, elitist, snobby, and dull.

Of course, there is some truth to that. Compared to so-called “everyman” bands, Genesis could be considered pretentious and inaccessible. Musically, Genesis had often complex arrangements and drastic time changes and heavy use of acoustics compared to three-chord, 4/4 time, electric guitar-bass-drums music. Lyrically Genesis tended to rely on poetic and literary themes, often including philosophical speculation as opposed to words about going steady and driving fast cars. And on stage Genesis tended to have theatrical shows, where the “everyman” bands often did little more than perhaps bounce around during songs.

However, the idea that Genesis made exclusive music that could only be appreciated by pointy-headed aristocrats and musical prodigies just flies in the face of reason. By the early 70’s so-called “working class” bands like the Who, the Beatles, and the Beach Boys, had been experimenting with song length, instruments, lyrical structure, and the very nature of rock with albums like Sgt Pepper’s, Magical Mystery Tour, the “White”album, Tommy, Who’s Next, and Pet Sounds.

Clearly complex music wasn’t the problem, so by 1972 it seemed the time was right for Genesis to finally lay claim to their share of attention.

And boy, did they ever with their epic, Foxtrot.

Side 1: Watcher Of The Skies Time Table Get ‘Em Out By Friday Can-Utility And The Coastliners
Side 2: Horizons Supper’s Ready Lover’s Leap The Guaranteed Eternal Sanctuary Man Ikhnaton And Itsacon And Their Band Of Merry Men How Dare I Be So Beautiful? Willow Farm Apocalypse in 9/8 (Co-Starring The Delicious Talents Of Gabble Ratchet) As Sure As Eggs Is Eggs (Aching Men’s Feet)

This is one of my favorite albums, and has been since I first heard it as an awkward 12-year old. I remember just being blown away by the grandeur and immensity of the album - particularly by the 23-minute Supper’s Ready. And even now that I am well past 12 I continue to be blown away every time I listen.

It’s difficult to explain what it is about the album that gets me, because there isn’t really one thing that stands out. Foxtrot is one of those albums where the whole is not only greater than the sum of the parts, but may be greater than their product.

To start, the entire concept of the album is captivating. As near as I can tell the album tells of how an alien race comes down to earth, subjugating humanity and allowing a few rather unscrupulous fellows to make a bit of quick cash by exploiting the situation. This inevitably leads to revolt and the overthrow of both the alien overlords and their henchmen. The good guys end up winning, and humanity now finds itself in utopia. The end.

Clearly that’s an oversimplification, but it’s the story I hear every time I listen. And it’s somehow backed up by the gloriously weird and “meta” cover, which features such bizzare scenes as a anthropomorphic she-fox; a pack of hunters including one with an exaggerated nose, a monkey-headed fellow with a halo, and a green alien; six, sainly shrouded men moving across a lawn with the seventh in front, cross held high in hand; and the croquet scene from the Nursery Cryme cover in the distance.

Weird. But oh, so cool.

But really, it’s the music. From the cathedral-like mellotron opening of Watcher of the Skies through the intensity of Time Table and Get ‘Em Out By Friday, the music is just phenomenal. Listening to the intricate interplay of Steve Hackett’s guitar work and Tony Banks’ keyboards backed up by Phil Collins’ maintaining difficult time structure and beat patterns is awe-inspiring.

Towering above it all, of course, is perhaps the holy grail of prog songs, Supper’s Ready. It’s like the Platonic ideal of what a prog song ought to be, and against which all others are mere shadows
approximating at the unreachable form. Truly, if ever there was a prog song to which all others aspire, it’s this one. Sure, there have been longer songs and songs with even greater musical complexity, and songs with even more mythical and grandiose lyrics. Yet for my taste nothing else comes close. Once again, it is difficult to explain why, other than to say that whenever I hear the opening, I simply cannot help but get swept up in the ride.

Even though I listen to this album very frequently this time I tried to really devote myself. I didn’t allow any other distractions, and made certain that I was in the proper state of mind, that the volume was at a suitable level, and that I could just relax and contemplate the cover as the record played.

And it was good. Really good.

 Up next: Ping prog: another prog group’s ultimate album