Skip to main content

Genesis - Supper's Ready

Clocking in at nearly 23 minutes, Supper's Ready was the first extended composition that Genesis attempted in the studio. It appeared on 1972's Foxtrot. With Steve Hackett's ornate and chiming guitars, Tony Banks classical sounding keys, Phil Collins' athletic drumming (hitting 9/8 in section VI) and, of course, Peter Gabriel's dramatic voice -- lifting from an ethereal hush to a fantastic shriek throughout, it's a prog-rock masterpiece. This was Genesis firing on all cylinders. They were in their formative stage as a band and in love with composing together. Ultimately, the tune would provide a perfect opportunity for Gabriel to develop costumes and portray a host of fanciful characters, including a giant daisy (pictured here).

Lyrically, the song is expansive, dealing with themes of good and evil, particularly allusions to the Book of Revelations. Gabriel based the lyrics for the first section, Lover's Leap, on two otherworldly experiences. On one occasion, his wife, during a late night conversation, began speaking in a voice (not her own). Gabriel quickly formed a cross with a candlestick and another object, to which she responded erratically. Eventually she calmed down and was taken to bed. Sometime later, while looking out the window of his inlaws' house, he saw a lawn that was entirely different than the actual view (like an alternate reality). Across the lawn... seven hooded figures crossed. Yikes! Both of these experiences figure into the opening lyrics. I love this song, but some of the imagery definitely spooks me. It's some of Gabriel's freakiest.

Supper's Ready is one of those rock epics that you can listen to repeatedly. With each listen, a new layer, sound or lyric strikes you. Today, the song might seem pretentious or overly ambitious. However, when you consider the era in which it was conceived, it's easier to appreciate the adventurous nature of the music.

The song contains seven distinct sections:
I: "Lover's Leap" (0:00 - 3:47)
II: "The Guaranteed Eternal Sanctuary Man" (3:48 - 5:43)
III: "Ikhnaton and Itsacon and Their Band of Merry Men" (5:44 - 9:42)
IV: "How Dare I Be So Beautiful?" (9:43 - 11:04)
V: "Willow Farm" (11:05 - 15:36)
VI: "Apocalypse in 9/8 (Co-Starring the Delicious Talents of Gabble Ratchet)" (15:36 - 20:50)
VII: "As Sure As Eggs Is Eggs (Aching Men's Feet)" (20:51 - 22:54)

Supper's Ready! Press play and begin your first course.

Comments

Trending Tracks

Sweet - Love Is Like Oxygen

I've always loved glam rock -- Bowie , The New York Dolls , Mott The Hoople ,  Queen , T. Rex . The flamboyant and gender-bending style. The attitude, sparkly and swagger. The first time I heard Sweet was Fox On The Run . It was my favorite song on the Dazed and Confused Soundtrack. I think it was the swirling, bubbling synthesizer that drew me in. At the time I had no idea that Sweet was a part of the 1970s glam world. Later, I found out that they sang Ballroom Blitz . That's the same band? Then, in college, I bought Action and fell in love with tunes like Lady Starlight and the title track . As I pieced together their discography (in a pre-Internet age), I noticed that the band's sound inexplicably wavered between hard rock, glam and bubble-gum pop. I could never put my finger on what Sweet was all about. I just loved a lot of their songs. This week, I picked up a copy of their 1977 album, Level Headed . The album is anything but steady (as the title would have yo...

Yes - The Revealing Science of God (Dance of the Dawn)

Looking for cosmically lofty and conceptually dense ideas in 70s progressive rock?  One only needs to spend an evening with the 1973 album,  Tale from Topographic Oceans , by Yes. The experience is unique and... long. In it's time, the record was one of the most ambitious endeavors attempted. Four sides. Four songs. After their prior album,  Close to the Edge,  which featured their most extended compositions to date, Yes decided to go even further outside the realm of rock norms on Tales. The four, conceptually-linked songs were   massive, featuring an arsenal of complex movements and repeated musical motifs. This was as sonically expansive as Yes would ever get on record. Lyrically, Jon Anderson based his ideas on Paramahansa Yoganda's Autobiography of a Yogi . At the time, Anderson told New Musical Express, "We're close to the edge of spiritual awareness within the framework of the group, making music. We have this long song, which we felt could hold ...