FOXTROT

This is one of those albums that, when you hear it for the first time, you can never really forget about. From beginning to end it is a subtle yet energenic masterpiece, full of tapping guitar solos, keyboard suites and strange drum signatures. Nonetheless, this album shows the tru creativity of the band thus far, and shall remain. When Watcher of the Skies first kicks in, it's awe inspiring, with breaks and drum fills in perfect rythm with keyboard harmonies and great guitar licks. The song itself shows the more serious side of the album, far away from Supper's Ready, but that will come later. Time Table again shows a straightforward rock piece, with nice harmonies. Get Em' Out By Friday on the other hand displays Genesis' more immature side, which is not a bad thing by any sense. The song itself is a conversation between different people, but sung thus in a song form. Some parts song by P.G. have those kiddie tones to his voice (i.e. Return of the Giant Hogweed.) Moving on, Can-Utility and the Coastliners is yet another symphonic song full of energy. Acoustic guitars make the song much more soothing for the ears, although still full of energy, especially towards the end.

Now i have to seperate from the rest for the next section, because it deserves its own paragraph or four.

Horizons, the perfect introduction to an actual 20th century masterpiece. Acoustic 12 strings bring the mood just right in play and get you prepared for what's next...

SUPPER'S READY marks the pinnacle of Genesis for me, with so many different varieties of harmonies, rythmic suites and absolutely genius lyrics. Lover's Leap starts out nice and soft, like most Genesis songs, with a serenade of 2 12 string guitars from Hackett, Rutherford, and Banks, as well as Mellotron, and of course, Peter Gabriel on flute. With a 2 minute interlude, we are introduced to The Guaranteed Eternal Sanctuary Man, the first part with drums and a continuation of Mellotron. The range of melodies in this section really stands out because the amount going on at once makes his vocals stand out more than they really do, thus seeming very ryhtmic. Next, Ikhnaton and Itsacon and Their Band of Merry Men, the introduction of electric guitars and organ, one of the most energenic parts of the whole song (along with Willow Farm and Apocalypse in 9/8.) As Steve Hackett and Tony Banks work their magic on a layered keyboard/guitar solo, the music fades eerily to only the voice of P.G. How Dare I Be So Beautiful? is a quiet interlude, with subtle keyboard keys. Until the end, P.G. says, We watched in reverance as Narcissus was turned to a flower, but questions himself in the process, and this is the most energenic and imaginative section, Willow Farm. Organs, Bass, Drums, high pitched vocals, mini characture voices, silly vocals, this section has everything you could ever want from Genesis!!!!!! As hard as it is sitting here explaining it to you all, this section is only easier by listening to it for yourself. Once the festivities of Willow Farm end, the keyboard harmony sounds reminiscent of the alarms from the movie Alien, but seeing as this was before that, it is just a coinidence. Flute is again introduced to the listener as a sort of relaxer. But as the music picks up once again, you are introduced to the abstract but amazingly chaotic Apocalypse in 9/8 (featuring the delicious talents of Gabble Ratchet), the true test of virtuosity for the band, and it shows. As the title suggests, the suite is in 9/8 time signatue. Fantasy lyrics and one long keyboard solo are reflected in this truly awe inspiring section, and as the title suggests, it sounds somewhat like an Apocalypse. After the end, we reach the end, with a reprisal suite; As Sure as Eggs is Eggs (Aching Men's Feet). The keyboard on this song is always prevelant, which makes it 20 times better for me, as symphonys are the backbone of prog rock. I hope you all can appreciate the technicallity and true heart that went into making this album, not only by P.G., but everyone else as well.