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| Foxtrot (Genesis album) | |
|---|---|
| Name | Foxtrot |
| Type | Studio album |
| Artist | Genesis |
| Released | 12 September 1972 |
| Recorded | July–August 1972 |
| Studio | Trident Studios, London |
| Genre | Progressive rock |
| Length | 50:08 |
| Label | Charisma |
| Producer | John Burns, Genesis |
Foxtrot (Genesis album) is the fourth studio album by the English rock band Genesis, released in September 1972. The album marked a creative high point for Genesis during an era dominated by progressive rock bands such as Pink Floyd, Yes, King Crimson, Emerson, Lake & Palmer, and Jethro Tull. It features extended compositions and theatrical themes that positioned Genesis alongside contemporaries like Genesis's peers in the Progressive rock movement, influencing later artists including Marillion, Pet Shop Boys, Rush, and Radiohead.
By 1972 Genesis consisted of Peter Gabriel, Tony Banks, Phil Collins, Steve Hackett, and Mike Rutherford. Coming off tours with Procol Harum, Deep Purple, The Who, and headline appearances at festivals like Isle of Wight and Reading Festival, the band sought to expand studio ambitions. Recording took place at Trident Studios with engineer-producer John Burns, following earlier sessions with John Anthony and production experiences linked to labels such as Charisma Records and distributors including Philips Records. Influences ranged from the classical arrangements championed by Igor Stravinsky and Bach to theatrical storytelling associated with David Bowie and Theatre of Cruelty practitioners. Sessions were marked by experimentation with Mellotron, ARP synthesizers, and 12-string guitars, a continuation of techniques used by Led Zeppelin and The Beatles in their later studio work.
Foxtrot presents a blend of extended suites and concise pieces that draw on narrative traditions exemplified by Bob Dylan and Leonard Cohen. The centerpiece, a multi-part suite inspired by the life of Antony and Cleopatra and motifs from William Shakespeare, features complex time signatures reminiscent of King Crimson's rhythmic inventiveness and harmonic language akin to Keith Emerson's arrangements. Lyrically, themes touch on mythology, pastoral imagery linked to English countryside traditions, and surreal storytelling paralleling Ray Bradbury and Lewis Carroll. Instrumentation showcases Banks's keyboards (including Hammond organ and Mellotron), Hackett's 12-string and electric guitars with phrasings similar to Robert Fripp, Rutherford's bass and guitar textures, Collins's evolving drumming approach influenced by Ginger Baker and Buddy Rich, and Gabriel's theatrical vocal delivery and flute work, drawing comparisons to Peter Hammill and Arthur Brown.
Charisma Records released the album in September 1972 in the UK and through licensing partners such as Atco Records and Charisma internationally. Promotion included live performances at venues like Radio City Music Hall-style auditoria, tours with support from acts influenced by the scene such as Genesis's contemporaries, and appearances on broadcasts associated with BBC Radio 1, John Peel, and music press outlets including Rolling Stone, NME, and Melody Maker. Album artwork and visual promotion drew upon the design sensibilities of artists connected to Hipgnosis and photographers working with Led Zeppelin and Pink Floyd.
Initial critical reception was mixed, with some reviewers from publications like Rolling Stone and Melody Maker praising the ambition while others compared its excesses to Yes and ELP's bombast. Commercially, Foxtrot established Genesis on the UK album charts alongside peers like Black Sabbath and Deep Purple and helped the band secure major festival slots and tours with acts such as Jethro Tull and Genesis's prog cohort. Retrospectively it is cited by historians and musicians—ranging from Brian May and Phil Lynott to members of Marillion and Dream Theater—as formative for the neo-progressive movement. Tracks from the album have been featured in compilations and box sets compiled by labels including Virgin Records and have influenced concept albums by groups such as Muse and Porcupine Tree.
1. "Watcher of the Skies" – opening with Mellotron fanfares and organ runs in the tradition of Keith Emerson and Rick Wakeman. 2. "Time Table" – chamber-pop textures recalling Paul Simon and baroque-pop arrangements used by The Beach Boys. 3. "Get 'Em Out by Friday" – satirical narrative comparable to works by Ray Davies and Ian Dury. 4. "Can-Utility and the Coastliners" – pastoral motifs echoing Sandy Denny and Richard Thompson. 5. "Horizons" – short acoustic instrumental featuring 12-string guitar akin to John Lennon's acoustic interludes. 6. "Supper's Ready" – 23-minute epic suite with multiple sections, storytelling linked to Dante Alighieri and William Blake.
- Peter Gabriel – lead vocals, flute, percussion; stagecraft comparable to David Bowie and Tom Waits. - Tony Banks – Hammond organ, Mellotron, piano, ARP synthesizer; keyboard lineage related to Rick Wakeman and Keith Emerson. - Steve Hackett – electric and 12-string guitars; influenced by Robert Fripp and Hector Berlioz-inspired phrasing. - Mike Rutherford – bass guitar, guitar; melodic role akin to Chris Squire and John Paul Jones. - Phil Collins – drums, percussion, backing vocals; percussive approach influenced by Ginger Baker and Ringo Starr.
Production - Produced by John Burns and Genesis; engineering at Trident Studios with mixing practices similar to those used by George Martin and Alan Parsons.
Foxtrot achieved notable chart positions in the United Kingdom and European markets, placing Genesis among charting acts such as Deep Purple and Black Sabbath. The album later received certifications in several territories through labels like Charisma Records and reissues by Virgin Records.
Category:1972 albums Category:Genesis albums Category:Progressive rock albums