Heard 30 seconds upon entering the Hamilton Record Fair this afternoon:
“Wow! It totally smells like weed in here”.
Not “Oh boy! RECORDS!”, or “Okay, I’m going over there to look for…”, maybe a “Gee, I really hope if I can find a…yaddayaddayadda”.
Hey, at the very least, how about a:
“Hey, thanks Sir Step-daddy Sir, for bringing me, treating me to breakfast, paying the $5.00 cover charge and, most of all, for not completely loosing your shit when I spilled my Strawberry’s & Cream Cocoa-Choco-bullshit-Chiller in your car. You’re the best Step-daddy ever!”
Not my step-daughter.
Right to the calling out of the obvious (at the very near top of her lungs, I might add).
Anyway, maybe she was riding a mild contact high – who knows – but this is the album is she found about 2 minutes, 47 seconds later; something she’d been hunting for unsuccessfully since the early Spring no less: ‘Foxtrot‘ by Genesis.
Genesis. Peter Gabriel Genesis.
What can I say?
The girl digs her Prog Rock.
And this is certainly a good album to like if you also dig your Prog Rock.
‘Foxtrot’ is the 4th studio album by the band, released in October, 1972 on Charisma Records. The album was recorded following the tour in support of their previous album,’ Nursery Cryme’ (1971). Side two features ‘Supper’s Ready‘, a 23-minute track that is considered a key work in progressive rock and has been described by an “undisputed masterpiece”. In fact, it’s the song that hooked her in from the backseat of my CRV sometime this past April when it played over the radio. This was the bands greatest commercial and critical success at the time of its release, reaching #12 in the UK and receiving largely positive reviews. As with their previous two albums, ‘Foxtrot’ initially failed to chart in the United States (stupid yanks!).
Maybe that’s why it’s been so elusive for her up to this point?
‘Foxtrot‘ is where Genesis began to pull all of its varied inspirations into a cohesive sound – which doesn’t necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening ‘Watcher of the Skies‘ is that it’s arguably the first time that Genesis attacked like a rock band, playing with a visceral power. There’s might and majesty here, and it, along with ‘Get ‘Em Out by Friday‘, is the truest sign that the band grew muscle without abandoning the whimsy. Certainly, they’ve rarely sounded as fantastical or odd as they do on the epic 22-minute closer ‘Supper’s Ready‘, a nearly side-long suite that remains one of the group’s signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose. But what impresses most about the album is how that precociousness is delivered with pure musical force. This is the rare art-rock album that excels at both the art and the rock, and it’s a pinnacle of the genre (and decade) because of it.
Oh, and most important: it may or may not smell like weed.