Released 1972
"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"
It wasn't until I purchased my third copy of Foxtrot that I saw any merit in it whatsoever. It now sits safely within my top ten albums. I can't think of any other album in my collection which has bewildered me as much as Genesis' third album proper.
There was a notable raising of the bar between Trepass and Nursery Cryme; a growing confidence and ambition, which dared to venture into realms of lyrical eccentricity that could only be carried off against a backdrop of highly proficient musicianship. As Foxtrot was their next album chronologically, and it contained the infamous side long Supper's Ready of which I aware of by reputation only, I was keen to see if the upwards trend had continued.
Paul Whitehead had again been employed to produce an inexplicably appropriate sleeve design, which, while it appeared to have little logic of itself or any obvious connection to the music, somehow it gelled perfectly. There was also a clever reference to the artwork of the previous album on the rear sleeve with the croquet hammer again being readied to propel a human head. Aliens dressed in full fox-hunting regalia, on horseback, on a beach, gazing out to sea (past a shark/dolphin hybrid) at a woman wearing a red dress, but with a foxes' head, who is standing on an iceberg with a submarine in the background. Utterly nuts.
For reasons I cannot explain, I absolutely hated the entire album first time around, finding nothing of merit in any way. Supper's Ready in particular left me totally cold; I saw it as a poorly connected series of shorter songs which were trying to be too clever and were failing badly. I put the album away and ultimately sold it a few years later having played it only once. Consequently, I found myself listening to the first two albums less and less, to the point where I gave up on Genesis altogether. Oddly, I did buy my first copy of The Lamb Lies Down On Broadway about six months later - only because I found a second hand copy in perfect condition for £1 - but then gave up on that in exactly the same way, reasoning that it's mint condition was due it's previous owner having had the same opinion.
Out of the blue about ten years later, when I was in my mid-twenties, I read once more about the supposed brilliance of Foxtrot and it's universal long lasting acclaim (amongst prog rock fans at least) as one of the very best examples of the prog genre. On a whim, I decided to give it another go and bought my second copy; a cassette version. Again, I found it completely unlistenable and traded it in the next day.
Thus up until about three years ago, I hadn't listened to Trepass, Nursery Cryme of any of the Peter Gabriel era Genesis for the best part of twenty five years.
In the meantime, my prog rock collection had diversified and veered off in many other directions. At every turn though I was confronted with the resounding knowledge that I must be one of the few fans of old school prog who didn't like Genesis. However this didn't make sense to me, as there had been a time when the first two albums were regular visitors to my turntable.
I bit the bullet and started again, first with Trepass and then with Nursery Cryme. To my delight, I probably enjoyed Trepass more a quarter of a century on, and still had a fondness for Nursery Cryme.
Third time around, Foxtrot was a revelation. I could have wept at the brilliance of Watcher Of The Skies; clearly one of the archetypal prog songs: to this day I have yet to hear more emotive use of the mellotron. This was Tony Banks' album; his DNA was stamped indelibly across a large proportion of the album, with a strength of character and control that most other keyboard players would have killed for. Peter Gabriel took the obtuseness of lyric displayed on the previous album into a realm which no one else could touch. Phil Collins' underrated drumming was never better.
I was stunned, with the exception of the horribly twee Time Table, the whole of the first side was a masterclass in prog. What had I heard twenty five years previously that repelled me to abandon the band in the way I did? I'll never know. My enjoyment of the album was immeasurably enhanced by the contrast between my experiences as a fifteen year old and a 39 year old.
I still held my breath for Supper's Ready. As a twenty five year old I saw it as pretentious smart-arsedness at it's very worst.
It did take a few plays to be honest, but little by little, the merits of Supper's Ready have unfolded for me, layer by layer, revealing itself as an accomplished epic worthy of it's plaudits. I still think it is overtly and unnecessarily complex, but, three years on, I am still picking up snatches of brilliance which, with each new play, build on the undoubted foundation of the first side. Of all my Genesis albums, only Selling England By The Pound is played more often.
A classic. Eventually.
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