Customer Reviews

From Genesis to Revelation

5 star:		(2)
4 star:		(6)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Ah, their first. It has been re-released many times with different songs, but it is important to know that the original album contained only the following songs:

Where The Sour Turns to Sweet
In The Beginning
Fireside Song
The Serpent
Am I Very Wrong?
In the Wilderness
The Conqueror
In Hiding
One Day
Window
In Limbo
Silent Sun
A Place to Call My Own

This concept album is the band's interpretation of the book of Genesis. Yes, the bible book. It was actually written by Peter Gabriel, Tony Banks, Anthony Phillips, and Mike Rutherford when they were still in highschool. Many were developed from earlier songs and rewritten to fit the bible theme. It's clear that they were influenced by The Moody Blues concept album "Days of Future Past", as the sound is often very similar. There is also quite a bit of BeeGees influence heard on this album, as evidenced by the their first single in 1968, The Silent Sun.

Perhaps if this album came out a few years earlier, it would have been a smash hit. As it stands, it does sound a bit dated, and probably sounded so even then. By 1969, this sort of brit pop was going out of style. Even so, there are some very original things on this album. First and foremost is the primary use of the piano and the acoustic guitar over electric instruments. It is heavily reliant on chord structures rather than riffs, as Genesis music tends to be from their first album to their last. Gabriel's voice is also very distinctive, although he sings much more softly and more reserved on this album than we're used to hearing. But it's clear, even at this early point, that there is something very special to that voice of his.

Don't expect something like Selling England by the Pound when you hear this album. What you have here is a very young band with very little experience but a lot of good ideas that don't quite come out as well as they could have. Nevertheless, the brilliance is there, the band just isn't experienced enough to pull it off as professionally as they would later be able to.

It's still a very pleasant album, and with this edition you get more songs from their early recording days from 1967-1969.

It's hard to believe this is the same band that later became the very epitome of synth-laden '80s arena rock. But then, in a way, it's not the same band.

Long before Phil Collins took the wheel, a bit before he'd even come on board for that matter, several years before the myriad side-long song suites and ambitious concept albums, there were five friends from prep school who made pretty and very British songs together. Their big break came when then-pop star Jonathan King heard a demo tape and was impressed with Peter Gabriel's vocals. They still sound great. So does the mostly mellow music backing him up, even if the band themselves thought it was a bit too mellow at the time. Their youth at the time does show through in some of the lyrics, which have all the usual prog-rock markings of royalty and chess and love and isolation and concern with the meaning of it all. But for the most part, the songs work well not inspite of the fact that they were obviously written by well-read teenagers, but because of it. It's the sort of youthful pretention and ambition that can't be faked, and it sounds entirely real as a result.

And just what do those songs sound like? They remind me of very early Pink Floyd with a bit more real world sensibility, or the early Bee Gees without the pervasive mopiness. The musical style is a bit more folk-ish than most other prog-rock (much more so than later Genesis), with acoustic guitar and piano riffs figuring prominently in most of the songs. The same is true to a lesser extent of the extra tracks that did not appear on the original album, but they do sound even further removed from the later Genesis sound. The two single B-sides, "One Eyed Hound" and "That's Me," are perhaps the one and only indication that these guys grew up listening to The Beatles and the like. While they have the same art-rock styling heard on the album tracks, they also have a touch of the poppiness that defined early British rock.

Fans of their later work might not like what they hear here, and those who loved to hate Genesis in the '80s might find they love it. It's worth a listen for anyone who likes folk-rock and early prog-rock, in any case.

Lovely to hear a first rate re-master of a classic disc! "from genesis to revelation" is a must have for all true Genesis fans. The songs are soothing,gentle, inquisitive, challenging, provocative, moving. Very melodic with a fine mix of arrangement from sparse instrumentation to lush string accompaniment. Gabriels' voice is amazing at this young age. Searching, sensitive, bold! The first disc is true to the original album along with the art design. As a rule I am generally averse to much of the bonus material offered on re-masters. Thankfully all the bonus stuff is on the 2nd ,separate disc. I'll confess I only played it once, but my overall impression was that it detracted rather than attracted. Rough sketches that ultimately interfere with your appreciation of the finished masterpiece. That said I still implore the serious fan to get this important piece of rock history.

This is an interesting compilation of the original album and a bonus disc featuring thirteen demo's and rare tracks. This might be THE copy to get, unless another version of the album here tops thirteen bonus tracks, but I don't think so. The album is ethereal and charming, or as Peter decribes in the liner notes, 'pleasant'. It's nice to hear the beautiful piano playing of Tony Banks up against some nice strings. Perhaps at the time the band didn't want string arrangements in their music but in retrospect it's nice to hear a Genesis album that actually features string arrangements.

It tells a Biblical kind of story that is the history of mankind, though don't take it on for Spiritual purposes, for it's not an exact account for what is in the bible. My favourite tracks are the less Biblical tracks, like 'Conquerer', which is a comment on corrupt power. The bonus tracks have a more 'relationship failure' thing happening, and be sure to get it for 'One eyed hound', a cool pop-rock song. The original '67 demo's are my faovurite of the demos. Image Blown Out is a fine Beatlesque pop song. Some of the material does sound a bit like 'To our children's children' by the Moody Blues.

But it's a nice experience to hear what is one of the most fondly remembered progressive rock bands finding themselves at such a young age. PS There's a photo of a young Peter Gabriel looking very angry, which was well reflected in the music he made at this time.

This is real good stuff considering they were only 17, 18 years old and right out of prep school. If you like early Bee Gee's (Odessa) you'll like this.

Okay...this is the TRUE first Genesis album , before "Trespass". A lot of people dismiss it because it doesn't "sound" like what Genesis was soon to become. Much shorter songs , with a "pop" feel. But , still Gabriel's talents shine through.....there have been many versions of this available; this is the one to get..Superior sound , full lyrics , bonus tracks. Listen to it for what it is , not for what they were yet to become.

The first cd, was a little different than my album. That is what I like about imports. The first cd even comes with the words !
The second Cd, is just packed with bonuses ! Fron Demos, single hits + roigh mixes, are excellent ! A must buy for any Genesis fan !

Can't say that I've really wanted to explore Genesis albums. Some months back I checked out "Prog" magazine's reader poll on the greatest prog albums of all time and noticed that Genesis were very prominent in that. In the past I've tended to avoid prog music, but recently I've been exploring it a little. Thought I'd start with Genesis at their start.

Bought the 2005 release of this, which has a bonus disc and Peter Gabriel's original liner notes. The sound quality is very good. Sometimes you get that faux stereo soundscape which albums at this time had, but it's not as annoying as in earlier Beatles albums. Both speakers do fill out. My bonus disc doesn't have the interviews on it which this particular version has, I think.

Musically, the songs are pleasant and pretty. Occasionally they're a little more rock. You get proggy instruments like violins and horns as well as brass instruments, piano and acoustic guitar. Thought I may have brought a new observation to the discussion of this album, but it's already been said...you can hear a Bee Gees influence on some of the tracks here. The other liner notes on the album acknowledge this fact (i.e. not the Peter Gabriel notes). The album itself is of the "concept" variety...biblical references etc. Not being a huge one for pouring over the lyrics and mythology of albums, I can't say how strong the concept is, but you do notice thematic coherence.

Initially I was planning on giving this album 4/5, but on second listen I marked down many songs which I liked...ones that hadn't really seemed particularly noteworthy on first listen. In other words, the album grew on me second time around, and I'd say it definitely has repeat listen value.


The best song (on second listen):


Am I very wrong? - piano and harpsichord intro, followed by pleasant singing. Nice and cool piano melody at the start. Acoustic guitar, nice horn and backing singing. Some 'sticky' percussion, if I can read my notes properly here.


Next best songs (on second listen):


In the wilderness - piano, violins, cello (?), pretty melody/chorus. Gets more rock with the drum later. Piano outro.

One day - acoustic guitar, violins, then gets stronger. A hooky, melodic song, in a Broadway musical kind of way (uplifting chorus etc.). Piano, nice brass, cello and backing vocals.

Window - piano, acoustic guitar, pretty horn, pleasant singing and a nice chorus. Pretty violins, backing vocals. A pretty, pleasant song.


Best of the rest (on second listen):


In the beginning - spacey synthesiser intro, then bassy track (double bass?) with acoustic guitar. Piano, poetic lyrics, electric lead guitar, wide stereo type vocals which are catchy.

The serpent - instrumental preamble (bongos, acoustic guitar then electric guitar) then a theologically 'interesting' story covering, in part, how women are "the vessel of Satan's hold". 'Sticky' percussion, backing vocals.

In hiding - nice acoustic guitar strumming and singing. Piano, pleasant singing and violins. Backing vocals have that touch of the Bee Gees I mentioned earlier. Pleasant chorus.


The rest:


Where the sour turns to sweet - found the lyrics to the album opener sappy but parts of it are pretty enough. Simple intro - a vocal invitation (found that lyric daggy), finger clicks, brass, piano, then strings (violins) and choral singing.

Fireside song - prelude, then pleasant music. Acoustic guitar, violins, nice vocals but more sappy lyrics. Harmonies.

The conquerer - the intro carries the melody from the previous track ("In the wilderness") goes into something new. Piano...a little bit funky and rock. Acoustic guitar. Tambourine, nce backing vocals.

In limbo - harpsichord and piano at the start, then the piano becomes stronger. Good horn, acoustic guitar note plucking, tambourine. Backing vocals, hand claps.

Silent sun - piano, sort of 1960s pop harmonising a la the Bee Gees. Violins, acoustic guitar.

A place to call my own - quiet piano and vocal song. Violins, horns, backing vocals.


Selected bonus tracks:


A winters tale - nice track...touch of the Righteous Brothers to it.

She is beautiful - another nice track.

Patricia - an instrumental version of "Am I very wrong?"

One-eyed hound - has Hendrix type licks on it. Cool backing vocals. Good song.



Recommendations from around this time:


Cream - Wheels of fire
Frank Zappa and The Mothers of Invention - Freak out!
The Velvet Underground - The Velvet Underground
Bee Gees - (I don't know any of their studio albums...try something from before this Genesis release).

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.

In the beginning (1969), there was the first Genesis record. The gentleman they call Phil was nowhere to be found. The drums were courtesy of John Mayhew. The guitar was not Steve Hackett but a young Anthony Phillips.

While the prototypical sound would not be born until October 1970's "Trespass", the band's offering of a mix of some Moody Blues and the Bee Gees "Odessa" should never have been maligned from various critics of the past.

You don't compare this record to other ones by Genesis. You judge it on its own merits. While Peter Gabriel and company were in search of the perfect note and direction, they weren't devoid of an early vision.

"When The Sour Turns To Sweet" is a wonderful opening track and there is no better way to enjoy the days of yesteryear then with this version of the first recording. The bonus tracks of singles and unreleased material give you a plethora of tasty treats to sink your teeth into. Anthony Phillips guitar sounds as if it he is strumming in your living room. This is the best fidelity yet!

"The Serpent" is a tune with a haunting musical path. An attention grabber and a strong composition.

"In The Wilderness" drops a bit of 60's psychedelia at your door. Gabriel sounds convincing as he delivers the vocals.

"The Conqueror" is a more upbeat rocker. Many find this an immediate choice cut the first time out.

"In Hiding" is a well-crafted vocal by Gabriel. There is no hoarseness in his presentation. The smooth delivery is worth a few listenings.

"The Silent Sun" mixes the Moody Blues and Bee Gees sound of the times and pays nice homage to both.

The first time you hear the CD listen to it straight through. Lock into the time, the foundation of the songs and the flow. Then pick your favorites and you'll see it doesn't matter album doesn't contain "Watcher Of The Skies" or "Back In New York City." It has the sounds that make for a pleasant day.

Enjoy the music and be well,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"