Foxtrot (album)

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Foxtrot is the fourth studio album by the English progressive rock band Genesis, released on 15 September 1972 by Charisma Records.<ref name=release>Template:Cite web</ref> It features their longest recorded song, the 23-minute track "Supper's Ready".

The album was recorded during the tour in support of their previous album, Nursery Cryme (1971), which saw them gain popularity, including a well-received slot at the Great Western Festival, Lincolnshire, in May 1972. The album was written over the summer of 1972 and combined songs that had already been performed live with new material worked out in jam sessions. Recording began in August with Bob Potter as producer, but sessions were prone to tension and disagreements. After a short Italian tour, sessions resumed with Dave Hitchcock as producer. The cover was the final one designed by Paul Whitehead, featuring a fox wearing a red dress. Frontman, Peter Gabriel, wore the dress and a fox's head on stage during the following tour, which gathered press attention and raised the group's profile.

Foxtrot was the first Genesis album to chart in the UK, reaching Template:Thinspace, and received largely positive reviews. It reached No. 15 in Italy, where the band had been popular for some time. The album has continued to attract critical praise and was reissued with a new stereo and 5.1 surround sound mix as part of their 2008 Genesis 1970–1975 box set.

Background

By the end of January 1971, Genesis consisted of frontman and singer Peter Gabriel, keyboardist Tony Banks, bassist and guitarist Mike Rutherford, guitarist Steve Hackett and drummer Phil Collins. They had played around 400 gigs in the UK, but had yet to achieve commercial success. However, they had become popular abroad. Their 1970 album Trespass had reached Template:Thinspace in Belgium, while 1971's Nursery Cryme had reached Template:Thinspace in Italy. The Italian leg of the tour in April saw Genesis play to large and enthusiastic crowds, which gave the band a new sense of their audience appeal.Template:Sfn

In May, Genesis performed a set at the Great Western Festival in Lincoln.Template:Sfn Gabriel appeared wearing a jewelled Egyptian collar, black eye makeup, and had shaved the front of his head, which drew attention from the press,Template:Sfn while the fact that the set included the first public performance of "Watcher of the Skies" went unnoticed.Template:Sfn The music press's fixation on the non-musical elements of Genesis's shows would be an ongoing trend. Genesis continued to tour England extensively throughout June and July, as well as playing their first shows in Holland, while simultaneously dedicating time to write and rehearse new material for a new studio album.Template:SfnTemplate:Sfn Hackett considered leaving the band after feeling "fairly shattered" by the lengthy tour, but his bandmates persuaded him to stay.Template:Sfn

Production

Recording

Initial rehearsals were held in a rehearsal space at Blackheath in London before they relocated to a space underneath the Una Billings School of Dance in Shepherd's Bush.Template:SfnTemplate:Sfn Some material Hackett used for his first solo album, Voyage of the Acolyte, was rehearsed by Genesis during the Foxtrot sessions but not used on the album.<ref>Template:Cite AV media</ref> Material that became "Watcher of the Skies" and "Can-Utility and the Coastliners" was performed live before recording of Foxtrot started.Template:SfnTemplate:Sfn

Genesis recorded Foxtrot in August 1972 at Island Studios in London.Template:Sfn The recording sessions were sporadic, taking place during the brief intervals between tour dates.Template:Sfn Genesis were set to record with producer John Anthony, who had worked with them on their previous two albums and on their new single "Happy the Man" in March,Template:Sfn but escalating costs due to the slow progress of completing it caused disagreement between Anthony and Charisma Records, the group's label, so they looked for a new producer.Template:Sfn Banks recalled that Charisma was anxious for the group to make a hit recording.Template:Cn Contrarily, Hackett's recollection was that Charisma's owner, Tony Stratton Smith, approved their making the rise to fame slowly and was willing to allow them "many, many albums to make it."Template:Sfn Charisma's first choice for producer was Bob Potter, a young engineer who was still learning the particulars of music production but had assisted producer Bob Johnston on the recent hit album Fog on the Tyne by Charisma labelmates Lindisfarne.Template:SfnTemplate:Sfn

The band did not get on with Potter because he disliked their music, comparing Banks's Mellotron opening to "Watcher of the Skies" to the soundtrack to the science fiction film 2001: A Space Odyssey, and felt that the song was better without it.Template:SfnTemplate:Sfn Potter was also aggravated about how long the band took to set up to record.Template:Sfn The unproductive sessions were curtailed, and the band toured in Italy from 15 to 23 August 1972, before resuming work on the album at the end of the month.Template:Sfn Potter ultimately went uncredited on the album, though Hackett has said that a substantial part of "Supper's Ready" and the entirety of "Horizons" were completed with Potter as producer.Template:Sfn The group tried promoting the engineer at the sessions, Tony Platt, to producer, but that was abandoned owing to personality clashes.Template:Sfn Smith then asked Dave Hitchcock to produce the album, in part because he had experience with recording epic suites like "Supper's Ready", specifically, the track "Nine Feet Underground" from In the Land of Grey and Pink by Caravan.Template:Sfn Hitchcock was unfamiliar with Platt and preferred to have an engineer who he had worked well with in the past, so he replaced Platt with John Burns.Template:Sfn Genesis approved of the change in engineers, with Banks later commenting: "We weren't too sure about [Platt] either."Template:Sfn Burns continued to work with Genesis on their next three albums. Banks disliked Hitchcock's production work.Template:Sfn

During the album's sessions, Genesis recorded the live favourite "Twilight Alehouse", which had been written and performed when founding member and guitarist Anthony Phillips was in the band (a short instrumental excerpt of the song appears on their debut album From Genesis to Revelation between "Fireside Song" and "The Serpent"). However, Genesis decided "Twilight Alehouse" was inferior to the newer material and kept it off the final track list, though Banks said in 2012 that, in retrospect, it was better than most of the songs which ended up on the album.Template:Sfn It was put out as a limited single by ZigZag magazine and the band's fan club in 1973Template:Sfn and as the B-side to "I Know What I Like (In Your Wardrobe)" in 1974. A piece devised by Rutherford and rehearsed by the band in a 3/4 time signature was not used, but it was adapted by Hackett into "Shadow of the Hierophant" on Voyage of the Acolyte.Template:Sfn Hackett presented a early version of his song "The Hermit", but the group passed on it. It would also be included on Voyage of the Acolyte. The group tried an early take of "Firth of Fifth" but it failed to inspire their interest. Banks worked on it over the course of the following year and it was released on their next album, Selling England by the Pound.Template:Sfn When Smith heard the album for the first time, he said to the band's friend and roadie Richard Macphail: "This is the one that makes their career".Template:Sfn Smith added: "I had to wipe a tear from my eye. Everything that one had believed about the band had come through".Template:Sfn Banks was particularly pleased with Foxtrot which he thought contained no weak tracks.Template:Sfn

Songs

Side one

File:Peter Gabriel The Watcher of the Skies (cropped).png
Peter Gabriel singing "Watcher of the Skies" on tour

"Watcher of the Skies" takes its title from a line of the 1817 sonnet On First Looking into Chapman's Homer by John Keats.Template:Sfn The song begins with a solo played on a Mellotron that the band had bought from King Crimson.<ref>Template:Cite book</ref>Template:Sfn Banks was "searching for chords that actually sounded good ... because of its tuning problems" and settled on the opening two chords "that sounded great ... There was an atmosphere about them".Template:Sfn The tremendous power the chords had when played at the Palazzo dello sport, Pesaro and Palasaport, Reggio Emilia during soundchecks on 11 and 12 April 1972, during their first Italian tour, convinced Genesis that they should be used in a song.Template:Sfn The lyrics were written by Rutherford and Banks in Naples on 19 April,Template:Sfn inspired by the view from the roof of their hotel, the Domitiana, overlooking the Mostra d'Oltremare.Template:Sfn They wondered what an empty Earth would look like if surveyed by an alien visitor. Banks described them as "a sort of sci-fi fantasy" inspired by the novel Childhood's End (1953) by Arthur C. Clarke, and the Watcher race of extraterrestrials featured in the Marvel Comics.<ref name=nmefeb1973>Template:Cite magazine</ref>Template:Sfn Rutherford thought they were "interesting words but they didn't sing very well",Template:Sfn and Banks concurred that "some of the vocal parts are a bit embarrassing."Template:Sfn The verse/chorus sections of the song were initiated by Collins, who wrote a staccato rhythm in 6/4 that he wanted to sound like Morse code.Template:Sfn Collins felt the need to bring in "some tricky arrangements" into the song's rhythm from seeing Yes perform live.Template:Sfn Gabriel wrote some of the melodies in the verses and chorus, and Hackett came up with the idea of having a section where the 6/4 rhythm plays without accompaniment, first very softly and then very loudly.Template:Sfn

"Time Table" features a romantic theme that yearns for tradition, decency, and an age of kings and queens that is banished by war and conflict.Template:SfnTemplate:Sfn It is one of the few Genesis songs from this period which was not collaboratively written; Banks wrote and presented the song as a complete piece and had the band perform it.Template:Sfn The distinctive sound of the piano lead in the chorus was created by picking the strings with a plectrum,Template:Sfn thereby emulating the mechanism of a harpsichord. Melody MakerTemplate:'s Chris Welch described the track as light relief and a "gentle but stirring pop song" after the "pounding excitement" of "Watcher of the Skies".Template:Sfn Gabriel biographer Daryl Easlea considered the song the most overlooked from the Gabriel-era of the band's history with its "sweet and touching" flavour and its resemblance to Genesis songs of the late 1970s.Template:Sfn

File:Pennymead Tower - geograph.org.uk - 1021337.jpg
"Get 'Em Out by Friday" involved relocating tenants from London to Harlow New Town.

"Get 'Em Out by Friday" is a song described as a "comic opera" that Gabriel described as "part social comment, part prophetic".Template:SfnTemplate:Sfn The opening instrumental section consists of fragments from "The Movement", a never-recorded epic song dating back to when Anthony Phillips was in the group.Template:Sfn The rest of the music was written by the group collectively and recorded without any lyrics or vocal parts; though Gabriel sometimes sang during writing sessions for the song, his vocals were drowned out by the other members due to the mediocre PA of the rehearsal room, according to Collins.Template:Sfn During recording of the instrumental tracks, Scottish musician Donovan came into the studio and remarked that the part where Gabriel and Banks harmonize on flute and Mellotron-flute respectively sounded like endless rows of houses.Template:Sfn The resulting lyrics were partly inspired by Gabriel's own landlord problems he was having with his apartment on Campden Hill Road,Template:Sfn stories about notorious landlord Peter Rachman,Template:Sfn and a television documentary he had seen about housing in the borough of Islington.<ref>Template:Cite news</ref> Similar to "Harold the Barrel" and "The Fountain of Salmacis" from Nursery Cryme, the song features characters with Gabriel adopting a different vocal style for each one, but this time each character also has their own musical theme. The track features four characters: John Pebble, a business man of Styx Enterprises; Mark Hall (aka The Winkler), an employee of Styx who evicts tenants; Mrs. Barrow, a tenant of a house owned by Pebble; and Joe Ordinary, a customer in a pub.<ref name=cas1058/> The song starts with Hall informing Mrs. Barrow that her property has been purchased and must be evicted, but she refuses to leave, leaving Pebble to raise her rent. Hall then offers Mrs. Barrow £400 to move to a new property in Harlow New Town, which she does, before Pebble raises her rent again. After an instrumental section, the date is 18 September 2012 and Genetic Control announce on a Dial-A-Program television service its decision to shorten the height of all humans to 4 ft. Joe reasons this so housing blocks will be able to accommodate twice as many people.<ref name=cas1058/> Rutherford and Collins singled out "Get 'Em Out by Friday" as one of the early Genesis songs that suffered from Genesis's dense music and practice of recording tracks without any vocals to start with, which made the track busy and crowded when the vocals were added,Template:Sfn while Gabriel instead felt the problem was that his lyrics were "too wordy".Template:Sfn Rutherford, however, considered the lyrics to be among Gabriel's best.<ref name=soundssep1972/> Steve Hackett's brother John has claimed he wrote the guitar figure for the passage beginning "After all this time".<ref>Template:Cite web</ref>

"Can-Utility and the Coastliners" preceded the album writing sessions. It made its live debut on the afternoon of 9 April 1972, at San Martino Buon Albergo, under the title "Rock Me Baby".Template:Sfn By the 14th of that same month, it had been renamed "Bye-Bye Johnny".Template:Sfn Hackett recounted that he wrote everything in the song up to 1:45 in and the closing vocal melody, and Rutherford wrote the guitar break and came up with the idea of the bass remaining silent from 3:44–4:00.Template:Sfn Collins said he recalls writing part of the song but could not remember which part, though Hackett remarked that the instrumental parts of the closing (from 5:17 onward) sound like Collins's work.Template:Sfn The organ and Mellotron playing together was inspired by "Wreck of the Hesperus" by Procol Harum (one of Genesis's major inspirations) from their album A Salty Dog (1969).Template:Sfn The lyrics are based on King Canute and his inability to hold back the incoming tide.Template:Sfn Hackett, who wrote the lyrics, said that he was drawn to Canute because he seemed the complete opposite of the self-aggrandizing attitude typical of world leaders.Template:Sfn However, Welch theorised that the song may be in fact about Gabriel and the idea of a singer growing wary of his role and his flattering admirers.Template:Sfn

Side two

Side two begins with "Horizons", a short guitar instrumental performed by Hackett that was recorded in the short time that Potter was the album's producer.Template:Sfn It was written in the course of a year,<ref name=WRO1997>Template:Cite web</ref> and took musical inspiration from the Prelude of Suite No. 1 in G major, BWV 1007 for cello by Bach. He presented the piece to the group at a rehearsal on an electric guitar, though he had written it on a steel-string acoustic. He said that he was not sure it was right for Genesis because it was a solo piece,Template:Sfn and initially thought the band would reject it.<ref name=WRO1997/> Hackett remembered Collins saying that there should be applause added to the end of the piece, and felt surprised when the band agreed to include it on the album.Template:Sfn Hackett wrote it with English composers of the Tudor period in mind, including William Byrd, who often composed very short pieces, and a piece by Julian Bream.<ref name=WRO1997/> He pointed out the common mistake adopted by some listeners that "Horizons" was an opening to "Supper's Ready", but it did not bother him.Template:Sfn<ref name=WRO1997/>

The rest of the second side contains "Supper's Ready", a 23-minute track formed of seven parts and the longest the band recorded. Gabriel believed the band's growing support as a live act gave them the confidence to start writing extended pieces.Template:Sfn The song and its theme of good versus evil was inspired by an experience Gabriel and his then-wife Jill had with Anthony at Kensington Palace, when she reportedly entered a trance state as the room's windows suddenly blew open. Gabriel compared the ordeal to a scene from "a Hammer Horror film".Template:Sfn Initially, the song took form as an acoustic track similar to "Stagnation" from Trespass or "The Musical Box" from Nursery Cryme, something the band wished to avoid repeating. To develop the piece further, Gabriel pitched his idea for what became the song's fifth section, titled "Willow Farm", on the piano.Template:SfnTemplate:Sfn Banks noted the change from the song's more romantic introduction into "Willow Farm", with its "ugly chord sequence", worked as it took the song "into another dimension".Template:Sfn Genesis went to the street and picked eight children to record vocals for the song and paid them ten 'bob' (shillings) each.<ref name=soundssep1972/> "Apocalypse in 9/8" was improvised by Banks, Rutherford and Collins, with Hackett later layering guitar parts on top of it.Template:Sfn It is a mostly instrumental performed in a 9/8 time signature that began with Rutherford playing his bass pedals which Collins recalled as "totally abstract with no time signature" and incorporated a drum pattern to it.<ref name=nmenov1972/>Template:Sfn Banks assumed his organ solo would have no vocals, but after Gabriel proceeded to record lyrics over it, something that he disagreed with initially, he said, "it only took about ten seconds to think 'This sounds fantastic, it's so strongTemplate:'".Template:Sfn Banks picked "Apocalypse in 9/8" and "As Sure as Eggs Is Eggs" as "the best piece of composition" Genesis recorded during Gabriel's tenure as lead singer,Template:Sfn but thought Gabriel had written the lyrics too quickly.<ref name=melodymakermar1973>Template:Cite magazine</ref> Collins supported this view, who recalled Gabriel rushing to get them written while the backing tracks were being recorded.<ref name=nmenov1972>Template:Cite magazine</ref>

Sleeve design

The album's cover was the last of three Genesis releases designed by Paul Whitehead, following Trespass and Nursery Cryme. He was a former art director for Time Out and gained inspiration from the lyrics to "Supper's Ready", which alludes to the apocalypse. Whitehead wanted to present the Four Horsemen of the Apocalypse in an original way but it turned into something "a little more whimsical",Template:Sfn with two horse riders being a monkey and an alien.Template:Sfn The cover for Nursery Cryme had depicted croquet which represented the English upper class which Whitehead repeated on Foxtrot with the depiction of fox hunting.Template:Sfn The croquet scene is also repeated, placed in the background which has the Victorian manor now replaced with a hole in the ground.Template:Sfn Whitehead devised the album's title, which he had done for Trespass and Nursery Cryme as he recalled the group were stuck for ideas.Template:Sfn He had heard the word "foxy", an American slang term for an attractive woman, during a visit in the United States, and "Foxy Lady" by The Jimi Hendrix Experience, which he used as inspiration to draw a female with a fox head.Template:Sfn Whitehead's original illustrations for the three albums were stolen from the Charisma archives when it was sold to Virgin Records in 1983. Whitehead claimed that Charisma staff got wind of the imminent sale and proceeded to loot its office.<ref>Template:Cite web</ref>

The band disliked the cover. Gabriel felt less pleased with the design than Whitehead's previous works.Template:Sfn Hackett felt "unsure" about the cover when he saw it for the first time, calling it a "strange" design that has made more sense to him over time.Template:Sfn Banks thought it was the weakest cover Whitehead designed for Genesis.Template:Sfn Rutherford felt the design was a decline in quality following the "lovely atmosphere" of the Trespass and Nursery Cryme covers, saying the Foxtrot cover was "a little bit weak".Template:Sfn Collins thought it was not "particularly special" and lacked a professional look.Template:Sfn

Release

Foxtrot was released in September 1972. "Watcher of the Skies" was re-recorded in a shorter version for a US single.<ref>"Watcher of the Skies" single at The Genesis Archive</ref>

It became the band's highest-charting album at the time of its release, peaking at No. 12 for a seven-week run on the UK Albums Chart.Template:SfnTemplate:Sfn Like their previous three albums, Foxtrot failed to chart in the United States.Template:Sfn It reached Template:Thinspace in Italy, signifying their growth in popularity in Europe after Trespass had topped the charts in Belgium.Template:Sfn Foxtrot is certified silver by the British Phonographic Industry (BPI) for shipments of 60,000 units.<ref>Template:Cite web</ref>

Critical reception

Template:Album ratings Initial reception for this album was mixed. Robert Christgau gave the album a "C". In his review for Sounds magazine, Jerry Gilbert thought Genesis "almost achieved the perfect album". At times he noticed "the overall sound does lack the required vitality" and moments where the band "are trying just that little bit too hard", but such moments "are sporadic",<ref>Template:Cite magazine</ref> and considered it more interesting than Trespass and Nursery Cryme.<ref name=soundssep1972>Template:Cite magazine</ref> Welch thought Foxtrot was "a milestone in the group's career", "an important point of development in British group music", and that the band had reached "a creative peak".<ref>Template:Cite magazine</ref> A short critical review from Rich Aregood in the Philadelphia Daily News read: "Genesis still has trouble putting songs together, but they play and sing beautifully."<ref>Template:Cite news</ref>

Retrospective reviews of the album have been more positive. Stephen Thomas Erlewine said Foxtrot was "the first time that Genesis attacked like a rock band".<ref name="AllMusic"/> François Couture, on AllMusic, described "Supper's Ready" as the band's "undisputed masterpiece".<ref>Template:Cite web</ref> BBC Music gave a favourable review, liking the production but feeling the lyrics had dated.<ref name="BBCMusic"/> The Rolling Stone Record Guide gave the album three stars (out of five) in its 1979 first edition, then dropped it in its 2nd edition in 1983 when the album went out of issue.<ref>Dave Marsh and John Swenson, New Rolling Stone Record Guide, Random House, 1983. ISBN 0-394-72107-1. Retrieved 2 June 2023.</ref>

In 2015, the album was ranked Template:Numero in Rolling Stone magazine's list of the 50 Greatest Prog Rock Albums of All Time.<ref>Template:Cite magazine</ref> XTC guitarist Dave Gregory said: "To this day Foxtrot is a magical album. "Supper's Ready" became like an addiction. It had such a great sound, and enough mystery to make you want to hear it over and over again ... To this day, I will never tire of it".Template:Sfn Faith No More bassist Bill Gould named it one of the ten albums that changed his life.<ref>Template:Cite book</ref>

In 2023, Sean Murphy of PopMatters included the album in his list of the best progressive rock albums of the "classic era". He wrote that the album is "where Peter Gabriel made his play for the whackiest and most wonderful frontman in the crowded prog circus." According to him, "Supper's Ready" is considered by many fans to be the "ultimate Genesis song, if not the apotheosis of progressive rock."<ref>Template:Cite web</ref>

Reissues

Foxtrot was re-released in 1994 as a digitally remastered CD issued by Virgin. As part of the band's box set Genesis 1970–1975 released in 2008, Foxtrot was reissued as a hybrid CD/Super Audio CD with a new stereo and 5.1 surround sound mix with a DVD of previously unreleased bonus material. The reissue includes sleeve notes written by Queen drummer Roger Taylor.<ref>Template:Cite web</ref> Later in 2014, Foxtrot was reissued on a remastered 180 gram LP and remastered CD by Rhino Records, Atlantic Records, and Charisma Records.<ref>Template:Cite web</ref>

Tour

Whereas Genesis's previous tours had featured setlists that varied from show to show, the tour which followed the recording of Foxtrot had a relatively stable setlist; from September through early November it usually consisted of "Watcher of the Skies", "Can-Utility and the Coastliners", "Get 'Em Out by Friday", "The Musical Box", "The Return of the Giant Hogweed", and "The Knife", with occasional performances of "Twilight Alehouse" and "The Fountain of Salmacis".Template:Sfn On 10 November they performed "Supper's Ready" live for the first time, and to make room for its inclusion in concerts, "Can-Utility and the Coastliners" (a song which Genesis felt had never worked well live) was permanently dropped from the set.Template:Sfn

On 28 September 1972, Genesis played a gig at the National Stadium, Dublin. During the last song, "The Musical Box", Gabriel disappeared during the instrumental section, and re-appeared wearing his wife's red dress and a fox's head, mimicking FoxtrotTemplate:'s front cover. He had not told his bandmates he would do this, but he appeared in this getup on the front cover of Melody Maker, raising the band's profile.Template:Sfn The album entered the UK Albums Charts at No. 12 on 14 October 1972 due in large part from this exposure in the music press.

The tour covered Europe and North America between September 1972 and May 1973. It opened with a UK leg with Lindisfarne as co-headliners.Template:Sfn<ref name=soundssep1972/> The group played their first US shows during the tour, including a warm up show at Brandeis University in Waltham, Massachusetts followed by a gig at Philharmonic Hall in New York City with String Driven Thing in December 1972. The latter was in benefit for the United Cerebral Palsy Fund. Despite the band's critical opinion of the concert due to a lack of rehearsal time, technical problems, and a perceived unenthusiastic audience, it went down well with the crowd that requested more Genesis songs be played on local radio stations, thus increasing their exposure.Template:SfnTemplate:Sfn

A later UK leg, again with String Driven Thing as the support act, included two shows (Manchester on 24 February 1973 and Leicester on the 25th) which were recorded and used as the source for Genesis's first live album, Genesis Live.Template:Sfn

Track listing

All songs written by Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, and Mike Rutherford.<ref name=cas1058>Template:Cite AV media notes</ref>

Template:Tracklist Template:Tracklist

Personnel

Credits are adapted from the album's 1972 liner notes.<ref name=cas1058/>

Genesis

Production

Charts

Template:Album chartTemplate:Album chart
Chart (1972) Peak
position
French Albums (SNEP)<ref>Template:Cite web Select Genesis from the menu, then press OK.</ref> 15
Italian Albums (Musica e dischi)<ref>Template:Cite web Set "Tipo" on "Album". Then, in the "Titolo" field, search "Foxtrot".</ref> 15
Template:Album chart
Chart (2014) Peak
position

Certifications

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References

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DVD media

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