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 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 Genesis has grown 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 Peter 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 Foxtrot  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.AMG Review by  Stephen Thomas Erlewine
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