Customer Reviews

From Genesis To Revelation (1st Album)

5 star:		(3)
4 star:		(7)
3 star:		(5)
2 star:		(3)
1 star:		(0)

 

 

It's not the Peter Gabriel-era Genesis we're all familiar with, but the album still works. It's not in the same class as Nursery Cryme, Foxtrot, Selling England, or even Trespass. But once you get past the realization that this album isn't like one of those, or even meant to be, you may find that you really adore it. Keep in mind that they were teenagers, who were still in school, in a band that hadn't even turned professional yet. Certain songs, like "Am I Very Wrong," "In the Wilderness," and "The Conqueror" are really a sign of things to come for Genesis. The thing that really struck me were the lyrics, which was always a Genesis staple. I mean, these guys were around 17-years-old and they wrote such beautiful songs with very meaningful, intricate lyrics. I'm 24 and I can't even fathom writing anything with as much intensity. A lot of critics don't like the strings on this album, but I think on some songs they work. For instance, on "In the Wilderness," the string arrangement really enhances the song's beauty and driving force. I like the version on the box set, but when I hear it, I find I miss the strings. Plus the song fades into a beautiful piano solo and then breaks into "The Conqueror." That's something you won't hear on the box set, and it really makes the two songs one. Pretty clever for a bunch of rank amateurs who had never recorded an album, nevertheless a song before. Give credit to the producer, Jonathan King, for this one. Another highlight of the album is the plush beauty of "The Fireside Song," which is very unique, and a type of song that was never really done again by Genesis. The last song I'll comment on is "A Place to Call My Own," which has a brass section, of french horns and trumpets, mixed with vocals from the band that, whenever I hear it reminds me of the Beatles' "Penny Lane" with the alternate french horn ending, and Oasis' "All Around the World" (reprise). All in all, the album is very listenable and admired by every Genesis fan I know. I've used the word beautiful a lot, and that pretty much sums up the album.

Considering the fact that they were between 16 and 17 years old when they recorded this album, and despite the posthumus addition of strings at every turn this recording holds up. From Genesis To Revelation provides an interesting glimpse at what would come later. Songs like "Am I Very Wrong?" and "In Hiding" serve as pre-cursors to "Stagnation" (Trespass) and 'Musical Box" (Nursery Cryme). Also of note is "One Eyed Hound" with it's Hendrix like guitar, and it's "Counting Out Time"(Lamb Lies Down On Broadway) like humour. Oddly enough this recording is at it's best once you've plumbed the depths of the afformentioned later efforts by Genesis.

From Genesis to Revelation is the end result of the collaboration between the young men from Charterhouse College in Surrey and record producer Jonathan King. Peter Gabriel, Tony Banks, Mike Rutherford and Anthony Phillips were sending demos to King, which included the Bee Gee-ish "Silent Sun," in the hopes that he could advance their careers. King decided they should release an album (a big step in early 1969 when singles usually predominated). Wanting to name the band Genesis (i.e. a "new beginning" in music), King learned there was already an American R&B band with that name, so he did not give the band a name on their first studio album, but gave them a concept of "From Genesis to Revelation" for which to write their music. They were to start the album with "From the Beginning" and go through the history of man through Revelation. Quite an undertaking for such young men with little experience in the music business.

The music on From Genesis to Revelation is raw but very innovative with a lot of variety from the soft peaceful songs like "The Fireside Song" to cute love songs like "One Day" to rockers like "That's Me," "One Eyed Hound," and "In the Beginning" (Gabriel's voice on the latter actually sounds like Ozzy Osbourne's and the dark sound of the track could have even fit on an early Black Sabbath release). The songs are simple with piano and acoustic guitar. King wanted them to release a soft sounding album to set them apart from the prevailing music of the time. A lot of strings and brass are added to the tracks ostensibly to give the songs a fuller sound. According to Armando Gallo's book I Know What I Like, the band members were not very pleased with the addition of strings to their music. Often, they do not blend in well with the music and sound like "add-ons." On this album, Tony Banks really stands out. He was definitely the more accomplished musician of the group in these very early years. His piano in the opening of "In Limbo" is amazing as it is throughout "Where the Sour Turns to Sweet" and parts of "Am I Very Wrong?." I really enjoy this album. The songs are interesting and have a lot of depth. I recommend it to anyone interested in the roots of Genesis or overlooked gems of the 1960s. This album does not have the complex 7-minute plus pieces to which many fans of early Genesis are accustomed (the longest track here is 4:32). It is also nothing like the more commercial music of the Phil Collins era. Although there is supposed to be a concept here, it sounds like a late 1960s singles oriented album. Those buying it to hear another Foxtrot may be disappointed. Keep an opened mind and you'll appreciate these 17 examples of young brilliance.

Their first. This Criminally underated album was how they started off, as an almost Cat Stevens like band. Don't dudge this album by what Genesis became but dudge for what it is-a gentle little album. The music here is so cool, mellow and relaxing. Beautiful-not Genesis, but great...

"From Genesis To Revelation" is the first of a long line of albums from a gifted and talented group of musicians known as Genesis. The music on this CD can be described as a cross between early The Moody Blues and early The Bee Gees. The music on FGTR is easy listening throughout, and has pleasant tracks like "Am I Very Wrong, "The Conquerer", "One Day", "In Hiding", "A Place To Call My Own" and "The Silent Sun", which was Genesis' first single released in Britain. Not bad for a group's first album. FGTR is produced by Johnathan King, who had a hit with "Everyone's Gone To The Moon" in 1965. The members of Genesis at the time of FGTR were students at London's famous Charterhouse School, and graduated soon afterward. Personnel and managerial changes would develop by the time Genesis started work on their second album, "Trespass." FGTR is a nice collection of songs for any Genesis fan to have in their repertoire.

The first Genesis album lies in radical contrast to nearly all of the group's later output, but still gives some indication of their future direction. It is comprised mainly of gentle, orchestrated late 60s folk-pop numbers, played amateurishly but earnestly. The sound quality and production is horrific, with the orchestrations (added posthumously and against the group's wishes by Jonathan King) smothering whatever humble charm the original takes possessed; additionally, King persuaded them to tie the tracks together into an unwieldy concept about mankind's history which was way beyond the capabilities of the still-teenaged bandmembers. Nevertheless, knowing what Genesis later became gives "From Genesis To Revelation" an aura of authentic nostalgia--hearing Peter Gabriel's youthful, slightly nervous vocal performance is worth the price of admission all by itself! Several of the songs, most notably "The Serpent" and "A Place To Call My Own", do point in the band's future direction. In all, hearing this album is somewhat akin to viewing old home movies of yourself as a baby taking your first uncertain steps (complete with the overbearing parent, Jonathan King, watching the proceedings). I give it three stars instead of two mainly for the smile which still crosses my face whenever I occassionally give it a spin.

The first release of Genesis overall is a very enjoyable album. A mixture of classic English pop but with a few new twists that threw it out of the norm. There are some all out love songs on this album, but behind some of the tranquil sights there is torment and pain. The inverted expression of isolation gives a nice balance from some the fluff. Although I like both the fluff and the darker offerings of this collection. Overall this is a good starting point for Genesis, and a commendable freshman album.

A LONG, LONG TIME AGO I PICKED UP A BOOTLEG VERSION OF THIS RECORD. (YOU DO REMBMBER RECORDS DON'T YOU?) "AND THEN THERE WERE THREE" HAD JUST COME OUT, AND PEOPLE WERE PREDICTING THAT HACKETT'S DEPARTURE WAS THE FINAL NAIL IN THE COFFIN OF THIS ONCE GREAT "ART ROCK" BAND. LITTLE DID THESE CRITICS KNOW JUST HOW WRONG THEY WOULD BE. BUT, IN ORDER TO TRUELY APPRECIATE THE SUCCESS OF THIS BAND IN ITS LATER YEARS, ONE HAS TO GO BACK TO THE BEGINNING TO EXPLORE THE ROOTS WHICH LED TO THIS TRANSFORMATION. WITH THIS IN MIND, I CAN'T BEGIN TO RECOMMEND THIS CD ENOUGH. AS IT IS THE LONG MISSING PIECE TO THE GENESIS HISTORICAL PUZZLE. TECHNICALLY AHEAD OF ITS TIME, IT RAISED THE STANDARD FOR ART, POETRY AND FREE FLOWING PROSE IN ROCK AND ROLL. 1969 BROUGHT WITH IT MORE THAN JUST POINTLESS SENTIMENT OF FALSE PEACE, LOVE AND FREE SEX. I LOVE HENDRIX, BUT THIS TIME PERIOD WAS OFFERING SOMETHING JUST A BIT MORE...IT WAS OFFERING GENESIS. BUY IT, ENJOY IT, AND REMEMBER THAT YOU HEARD IT HERE. -STEPHEN

Well, considering what style Genesis had starting from the album "Invisible Touch", I don't think there is any room for criticism of this early work. This was one of the albums I got in 1983 after their self-titled album garnished the airwaves with songs like "That's all". I was blown away with how much this band had changed. I love the religious tone of the lyrics and it's heavy folk-orchestral background. Genesis may have gotten more progressive, but the classical influence remained in the latter albums, even if the echoed orchestra wasn't there.

Another thing, I actually like Gabriel's voice better here. So, he was between age 17-19 when the sessions were going on, and hadn't quite finished puberty, but I've always found his mature voice difficult to listen to unless he's doing his usual "vocal experiments". He's actually carrying soft folk tunes fluently with a sustained voice, something he would struggle to do today.

If you don't like Chad & Jeremy, the old BeeGees, and the old Moody Blues, then you won't like this album. It will sound dated to you. But if you appreciate good music of any genre, then you may want to add this to your collection.

Probably the most important aspect of this album is the crucial turning point it represented for the band: after this album they took themselves seriously as career musicians and gained hordes of confidence to go on recording and become the band Genesis. They could have been doctors, lawyers, accountants, etc., but the producer of this album (according to one of the interviews included on disc 2) encouraged the band (who also gained their name during these sessions) to continue on in the music business.

This album clearly lacks the "umph" of later Genesis recordings. It's by no means terrible, but it's so different from other albums the group went on to record that it's hard to compare it to anything else in their catalog. It sounds like a late 60s/early 70s recording. Deep reverb and walls of strings right out of the era decorate the songs. Gabriel's singing is much less confident here than on the follow-up "Trespass" where he's more or less found his voice. On "From Genesis to Revelation" he sounds frightened at times, or at the very least weak (the liner notes reveal that he was incredibly nervous and supposedly had to take a cold shower before recording to calm his nerves). The musicianship is also lackluster compared to subsequent recordings (much of it is hidden by the sometimes boisterous strings), which may explain the band's changing members over the next few years.

There are some very good songs on this album. They have a different energy than other Genesis recordings, but they still have energy. The producer, whom they never worked with again supposedly by choice of the producer, obviously had a vision in mind for this album: pop hits. The longest song is 4:38, the shortest one 1:59. The music is not incredibly challenging overall, but it's a great effort for a group of guys in their late teens who weren't yet sure if they wanted to be musicians.

The 2 disc set of this album includes over 20 minutes of an interview with the producer, Jonathan King. He mostly talks about himself, how "ahead of his time" he always is, and even has the gall to take credit for an aspect of the Beatles' Sgt. Pepper concept. He's obviously concerned about his legacy. The interviews finally become interesting when he talks about Genesis, about the differences between Phil Collins and Peter Gabriel, and about the recording of "From Genesis to Revelation." The interviews in general could have been dramatically shortened.

Genesis fans will doubtless love this album for what it is and stands for. The population in general will probably be less enthusiastic. It sold poorly when first released, and disappeared into the rare bins after Genesis signed with Chrysalis. It does not stand up to subsequent Genesis recordings, but it remains a fascinating document of the origins of a great band.