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Genesis: Foxtrot

 A l b u m   D e t a i l s


Label: Virgin Records
Released: 1972
Time:
 51:22
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ********** (10/10)
Media type: CD
Web address: www.worldofgenesis.com
Appears with: Peter Gabriel, Phil Collins, Steven Hackett, Mike + The Mechanics, Tony Banks, Ray Wilson
Purchase date: 1987
Price in €: 14,99



 S o n g s ,   T r a c k s


[1] Watcher of the Skies (Banks/Collins/Gabriel/Hackett/Rutherford) - 7:19
[2] Time Table (Banks/Collins/Gabriel/Hackett/Rutherford) - 4:40
[3] Get 'Em out by Friday (Banks/Collins/Gabriel/Hackett/Rutherford) - 8:35
[4] Can-Utility and the Coastliners (Banks/Collins/Gabriel/Hackett/Rutherford) - 5:43
[5] Horizon's (Hackett) - 1:38
[6] Supper's Ready (Banks/Collins/Gabriel/Hackett/Rutherford) - 22:58
       i. Lover's Leap
       ii. The Guaranteed Eternal Sanctuary Man
       iii. Ikhnaton and Itsacon and Their Band of Merry Men
       iv. How Dare I Be So Beautiful?
       v. Willow Farm
       vi. Apocalypse in 9/8 (featuring the delicious talents of Gabble Ratchet)
       vii. As Sure as Eggs is Eggs (Aching Men's Feet)

 A r t i s t s ,   P e r s o n n e l


Steve Hackett - Electric Guitar, 12-String Guitar, 6-String Guitar, Arrangement
Peter Gabriel - Lead Voice, Flute, Bass Drum, Tambourine, Oboe, Arrangement
Tony Banks - Organ, Mellotron, Piano, Electric Piano, 12-String Guitar, Voices, Arrangement
Phil Collins - Drums, Voices, Assorted Percussion, Arrangement
Mike Rutherford - Bass, Bass Pedals, 12-String Guitar, Voices, Cello, Arrangement

David Hitchcock - Producer
Gruggy Woof - Producer
Richard MacPhail - Equipment and Stage Sound (sound friend), Engineer
John Burns - Engineer

 C o m m e n t s ,   N o t e s


Note on "Horizons" vs "Horizon's": The original Charisma release of Foxtrot in 1972 spells it without the apostrophe. So does Bay Of Kings, which has a remade version, and the later live album There Are Many Sides To The Night. The sans apostrophe is the correct spelling. The original LPs from both the US and UK Foxtrot releases have it correct. The error appears in the 1979 rereleases of Foxtrot when Genesis got a new record label in the USA. The errors appear on the original releases as well as the later remasters; and they appear on LP, cassette, and CD versions. Why this error occurred in the first place is unknown. Why it has been perpetuated is equally puzzling.

Paul Whitehead discussed his painting for the cover of this album in Armando Gallo's book: Cover is originally a put-down on fox-hunting as a aristocratic sport. It took on a stronger meaning when he heard "Supper's Ready". The ice floating on water is like the soul floating in the human body. The fox, is a passion, a violent aspect, but it has used its cunning and adopted a disguise and the ice to escape its pursuers. The cover is adopted into half land and half sea, and it shows that there is as much life in the sea as there is on the land. There is also death in the sea, as signified by Cythia's mallet, the shark, the Hogweed and the nuclear submarine. The cyclist is Peter! Apparently Peter once turned up to some meeting on a bike and he couldn't cycle very well. The hotel is representative of all the hotels that the band were about to spend time in. They were about to hit the big time, and years on the road loomed ahead of them.

LP:
UK Charisma CAS 1058: (Gatefold album with lyrics and pictures of the band on the inside cover)
UK Virgin CHC 38: (re-release, same)
US Charisma CAS 1058: (distributed by Buddah Records)
Germany Charisma 6369 922 (insert w/lyrics, not gatefold)
Virgin Charisma German rerelease 206 918-270
Japan Charisma RJ-7303
Cassette:
UK Charisma ???: 1972 (No lyrics or pictures - cover is closeup of fox)
UK Virgin CHCMC 38: 1975 (re-release)
US Atlantic 7 81848-4: (credits and playing times inside)
CD:
UK Virgin ???: 1986
UK Charisma CASCD-1058: 1985 (AAD, lyrics included in booklet)
US Atlantic atl81848: June 1988
US Atlantic 82674-2: 1994 (remastered, lyrics in booklet)
UK Virgin CASDX 1058 (1994 remaster)
Virgin CASCDX 1085: pr. i. Holland, 1994 Virgin

Note on CAS 1058: The first print run of the album was gatefold. Later versions were not, although they had the same catalogue number.



This was the point where all of the talent simmering and occasionally boiling up out of Genesis blew the lid off the pot. There isn't a weak song here, and the two showpieces, "Watcher of the Skies" and "Supper's Ready," presented the group at its strongest in medium-length and extended-length songs. The lyrical complexities of the latter were not easily sorted out, but they were clever enough and inviting enough not to put off any potential fans, and as handled by Gabriel, they demanded attention. And not only is the band playing loud on a lot of this album, but the engineer captured them perfectly. The Definitive Remastered Edition released in 1995 supplants all prior versions of the compact disc.

Bruce Eder, All-Music Guide



Although better known for their platinum-selling pop of the 1980s, Genesis in 1972 were a prog-rock band struggling to be heard. Early that year the band were saved from the brink of oblivion when their third album, Nursery Cryme, became a hit in Italy. So this time, Genesis set out to make their most balanced, ambitious, and artistically successful album -- the one the band forever after felt it had to top. Opening with an eerie, drawn-out Mellotron solo that announces the "Watcher of the Skies" and closing with the triumphant strains of the 23-minute epic suite, "Supper's Ready," Foxtrot makes a strong case for the surreal theater-rock Genesis was developing in the early '70s. Orchestral keyboards dominate amid a variety of textures, but Steve Hackett's bizarre, singing guitar sounds hold their ground throughout, and Peter Gabriel's surreal lyrics and idiosyncratic voice lend the band the personality that burned itself into people's memory.

Ian McGrath - Barnes & Noble



"On its fourth album, Genesis' ambitious music, finally starts to show individual identity and accomplishment, mixing elaborate arrangements with stirring rhythms and highly poetic lyrics. Contains "Watcher of the Skies" and the 22-minute "Supper's Ready".

All-Music Guide ***



Tony Banks:

This was the culmination of something that runs through those three albums after 'Genesis to Revelation.' The strength of some of these songs is their length. It's no coincidence that I feel the strongest tracks on those albums are "Stagnation," which was about eight or nine minutes, "Musical Box," which is about 10 minutes, and "Supper's Ready," 26 minutes. If you do it right you can tell a story within a song like that, and use the contrasts in the music.

"Supper's Ready" was lots of bits. The first part was a guitar piece,which was mine. We got to the end of the section and had this idea to stop and do "Willow Farm," a complete song written by Peter that had nothing to do with anything else - just to put two completely different things next to each other to see what the effect was. Once we'd done that, what came after was obvious and the whole song developed from there. The "Apocalypse" section, which was just a keyboard solo, took the song onto another level, making it into an epic. Since Peter had written a lyric for "Willow Farm" as a complete song, he wrote the lyrics for the rest around it. The way it turned out gathers momentum and has a very strong overall mood, which makes it our most successful song from those early days. I'm less fond of "Can-Utility and the Coastliners."

"Watcher of the Skies" is a very atmospheric song. It was the set opener. On the 'Genesis Live' cover you can see a white curtain and we used to use dry ice (which wasn't such a cliche in 1972), and you couldn't see any gear. Then you'd hear these very strange ethereal chords to start off the set; it made an incredible starting point. People knew they were going to get something a little bit different. Our set was then about 45 minutes long. It was easy to be impressive in that length of time.

Production on 'Foxtrot' was something of a farce. We started off with Bob Potter, who worked as an engineer with Bob Johnston (who had produced Lindisfarne). Potter looked like he might be good, but he didn't understand what we were all about and he didn't like things like the introduction to "Watcher of the Skies." So he went. Finally Charisma brought in Dave Hitchcock. We needed someone for the sake of the record company; they had to have someone there who looked like a producer. Then we got rid of the first engineer and got John Burns; we got on very well with him. The latter stages of "Supper's Ready" we pretty much produced ourselves with John Burns. David Hitchcock was there but he wasn't very important. That's why we didn't use him again after that. The album was very fragmented anyhow. We did an Italian tour in the middle of making it.

I'd say it was with the songs on this album that the costumes came in. We had very complex lyrics with "Supper's Ready" and bad P.A.. systems. To get across any meaning at all you had to do some acting out, with that song particularly and also "Get 'Em Out by Friday" and "Watcher of the Skies." Those three songs lend themselves to a more theatrical presentation. Pete picked his own costumes; it was a question of what he felt he could carry off.

 

 L y r i c s


Watcher Of The Skies

Watcher of the skies watcher of all
His is a world alone no world is his own,
He whom life can no longer surprise,
Raising his eyes beholds a planet unknown.

Creatures shaped this planet's soil,
Now their reign has come to an end,
Has life again destroyed life,
Do they play elsewhere, do they know
more than their childhood games?
Maybe the lizard's shed its tail,
This is the end of man's long union with Earth.

Judge not this race by empty remains
Do you judge God by his creatures when they are dead?
For now, the lizard's shed it's tail
This is the end of man's long union with Earth.

From life alone to life as one,
Think not now your journey's done
For though your ship be sturdy, no
Mercy has the sea,
Will you survive on the ocean of being?
Come ancient children hear what I say
This is my parting council for you on your way.

Sadly now your thoughts turn to the stars
Where we have gone you know you never can go.
Watcher of the skies watcher of all
This is your fate alone, this fate is your own.


Time Table

A carved oak table,
Tells a tale
Of times when kings and queens sipped wine from goblets gold,
And the brave would lead their ladies from out of the room
  to arbours cool.

A time of valour, and legends born
A time when honour meant much more to a man than life
And the days knew only strife to tell right from wrong
Through lance and sword.

Why, why can we never be sure till we die
Or have killed for an answer,
Why, why do we suffer each race to believe
That no race has been grander
It seems because through time and space
Though names may change each face retains the mask it wore.

A dusty table
Musty smells
Tarnished silver lies discarded upon the floor
Only feeble light descends through a film of grey
That scars the panes.
Gone the carving,
And those who left their mark,
Gone the kings and queens now only the rats hold sway
And the weak must die according to nature's law
As old as they.

Why, why can we never be sure till we die
Or have killed for an answer,
Why, why do we suffer each race to believe
That no race has been grander
It seems because through time and space
Though names may change each face retains the mask it wore.


Get 'Em Out By Friday

John Pebble of Styx Enterprises

"Get 'em out by Friday!
You don't get paid till the last one's well on his way.
Get 'em out by Friday!
It's important that we keep to schedule, there must be no delay."

Mark Hall of Styx Enterprises (otherwise known as "The Winkler")
"I represent a firm of gentlemen who recently purchased this
house and all the others in the road,
In the interest of humanity we've found a better place for you
to go, go-woh, go-woh"

Mrs. Barrow (a tenant)
"Oh no, this I can't believe,
Oh Mary, they're asking us to leave."

Mr. Pebble
"Get 'em out by Friday!
I've told you before, 's good many gone if we let them stay.
And if it isn't easy,
You can squeeze a little grease and our troubles will soon run away."

Mrs. Barrow
"After all this time, they ask us to leave,
And I told them we could pay double the rent.
I don't know why it seemed so funny,
Seeing as how they'd take more money.
The winkler called again, he came here this morning,
With four hundred pounds and a photograph of the place he has found.
A block of flats with central heating.
I think we're going to find it hard."

Mr. Pebble
"Now we've got them!
I've always said that cash cash cash can do anything well.
Work can be rewarding
When a flash of intuition is a gift that helps you
excel-sell-sell-sell."

Mr. Hall
"Here we are in Harlow New Town, did you recognise your block
across the square, over there,
Sadly since last time we spoke, we've found we've had to raise
the rent again,
just a bit."

Mrs. Barrow
"Oh no, this I can't believe
Oh Mary, and we agreed to leave."

(a passage of time)
18/9/2012 T.V. Flash on all Dial-A-Program Services

This is an announcement from Genetic Control:
"It is my sad duty to inform you of a four foot restriction on
humanoid height."

Extract from coversation of Joe Ordinary in Local Puborama
"I hear the directors of Genetic Control have been buying all the
properties that have recently been sold, taking risks oh so bold.
It's said now that people will be shorter in height,
they can fit twice as many in the same building site.
(they say it's alright),
Beginning with the tenants of the town of Harlow,
in the interest of humanity, they've been told they must go,
told they must go-go-go-go."

Sir John De Pebble of United Blacksprings International
"I think I've fixed a new deal
A dozen properties - we'll buy at five and sell at thirty four,
Some are still inhabited,
It's time to send the winkler to see them,
he'll have to work some more."

Memo from Satin Peter of Rock Development Ltd.
With land in your hand, you'll be happy on earth
Then invest in the Church for your heaven.


Can-Utility And The Coastliners

The scattered pages of a book by the sea
Held by the sand, washed by the waves
A shadow forms cast by a cloud,
Skimming by as eyes of the past, but the rising tide
Absorbs them effortlessly claiming.

They told of one who tired of all singing,
"Praise him, praise him."
"We heed not flatterers," he cried,
"By our command, waters retreat,
Show my power, halt at my feet,"
But the cause was lost,
Now cold winds blow.

For from the north overcast ranks advance
Fear of the storm accusing with rage and scorn.
The waves surround the sinking throne
Singing "Crown him, crown him,"
"Those who love our majesty show themselves!"
All bent their knees.

But he forced a smile even though
His hopes lay dashed where offerings fell (where they fell).
"Nothing can my peace destroy as long as none smile."
More opened ears and opened eyes,
And soon they dared to laugh.
See a little man with his face turning red
Though his story's often told you can tell he's dead.


Horizons (Hackett)

(Instrumental)


Supper's Ready

Lovers' Leap

Walking across the sitting-room, I turn the television off.
Sitting beside you, I look into your eyes.
As the sound of motor cars fades in the night time,
I swear I saw your face change, it didn't seem quite right.
...And it's hello babe with your guardian eyes so blue
           Hey my baby don't you know our love is true.

Coming closer with our eyes, a distance falls around our bodies.
Out in the garden, the moon seems very bright,
Six saintly shrouded men move across the lawn slowly.
The seventh walks in front with a cross held high in hand.
...And it's hey babe your supper's waiting for you.
           Hey my baby, don't you know our love is true.

I've been so far from here,
Far from your warm arms.
It's good to feel you again,
It's been a long long time. Hasn't it?

The Guaranteed Eternal Sanctuary Man

I know a farmer who looks after the farm.
With water clear, he cares for all his harvest.
I know a fireman who looks after the fire.

You, can't you see he's fooled you all.
Yes, he's here again, can't you see he's fooled you all.
          Share his peace,
          Sign the lease.
He's a supersonic scientist,
He's the guaranteed eternal sanctuary man.
Look, look into my mouth he cries,
And all the children lost down many paths,
I bet my life you'll walk inside
Hand in hand,
gland in gland
With a spoonful of miracle,
He's the guaranteed eternal sanctuary.
       We will rock you, rock you little snake,
       We will keep you snug and warm.

Ikhnaton And Itsacon And Their Band Of Merry Men

Wearing feelings on our faces while our faces took a rest,
We walked across the fields to see the children of the West,
But we saw a host of dark skinned warriors
standing still below the ground,
          Waiting for battle.

The fight's begun, they've been released.
Killing foe for peace...bang, bang, bang. Bang, bang, bang...
And they're giving me a wonderful potion,
'Cos I cannot contain my emotion.
And even though I'm feeling good,
Something tells me I'd better activate my prayer capsule.

Today's a day to celebrate, the foe have met their fate.
The order for rejoicing and dancing has come from our warlord.

How Dare I Be So Beautiful?

Wandering through the chaos the battle has left,
We climb up a mountain of human flesh,
To a plateau of green grass, and green trees full of life.
A young figure sits still by a pool,
He's been stamped "Human Bacon" by some butchery tool.
               (He is you)
Social Security took care of this lad.
We watch in reverence, as Narcissus is turned to a flower.
         A flower?

Willow Farm

If you go down to Willow Farm,
to look for butterflies, flutterbyes, gutterflies
Open your eyes, it's full of surprise, everyone lies,
like the fox on the rocks,
and the musical box.
Oh, there's Mum & Dad, and good and bad,
and everyone's happy to be here.

There's Winston Churchill dressed in drag,
he used to be a British flag, plastic bag, what a drag.
The frog was a prince, the prince was a brick, the brick was an egg,
the egg was a bird.
(Fly away you sweet little thing, they're hard on your tail)
          Hadn't you heard?
(They're going to change you into a human being!)
Yes, we're happy as fish and gorgeous as geese,
and wonderfully clean in the morning.

We've got everything, we're growing everything,
          We've got some in
          We've got some out
We've got some wild things floating about
Everyone, we're changing everyone,
          you name them all,
          We've had them here,
And the real stars are still to appear.

ALL CHANGE!

Feel your body melt;
Mum to mud to mad to dad
Dad diddley office, Dad diddley office,
          You're all full of ball.

Dad to dam to dum to mum
Mum diddley washing, Mum diddley washing,
          You're all full of ball.

Let me hear you lies, we're living this up to the eyes.
Ooee-ooee-ooee-oowaa
Momma I want you now.

And as you listen to my voice
To look for hidden doors, tidy floors, more applause.
You've been here all the time,
Like it or not, like what you got,
You're under the soil (the soil, the soil),
Yes, deep in the soil (the soil, the soil, the soil, the soil!).
So we'll end with a whistle and end with a bang
and all of us fit in our places.

Apocalypse In 9/8 (Co-Starring the delicious talents of Gabble Ratchet)

With the guards of Magog, swarming around,
The Pied Piper takes his children underground.
Dragons coming out of the sea,
Shimmering silver head of wisdom looking at me.
He brings down the fire from the skies,
You can tell he's doing well by the look in human eyes.
Better not compromise.
         It won't be easy.

666 is no longer alone,
He's getting out the marrow in your back bone,
And the seven trumpets blowing sweet rock and roll,
Gonna blow right down inside your soul.
Pythagoras with the looking glass reflects the full moon,
In blood, he's writing the lyrics of a brand new tune.

And it's hey babe, with your guardian eyes so blue,
Hey my baby, don't you know our love is true,
I've been so far from here,
Far from your loving arms,
Now I'm back again, and babe it's gonna work out fine.

As Sure As Eggs Is Eggs (Aching Men's Feet)

Can't you feel our souls ignite
Shedding ever changing colours, in the darkness of the fading night,
Like the river joins the ocean, as the germ in a seed grows
We have finally been freed to get back home.

There's an angel standing in the sun, and he's crying with a loud voice,
"This is the supper of the mighty one",
Lord of Lords,
King of Kings,
Has returned to lead his children home,
To take them to the new Jerusalem.
 

 M P 3   S a m p l e s


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