In some ways I would actually like to, but I think it sets the groundwork for who they were somewhat. The Moody Blues and possibly Procul Harum influence is interesting and sets them on a path to becoming their own band
A very good song. I was referencing a moment in the Rainbow Theatre show from 1973, right before Danicng with the Moonlit Knight when someone yells out for Battle of Epping Forest and Gabriel simply responds with “wrong”. Just a nice little moment of the show.
We must explore FGTR - we don't want to be left in the wilderness. Also, if I remember correctly, Silent Sun was a single from this album.
Oh gotcha ha. I thought my reference might’ve been too obscure and insignificant for most people, but I guess one should never doubt the SH Music Forums!
Well for those that are ready, and it seems some are chomping at the bit ... we'll start the From Genesis to Revelation discussion tonight .... I'll probably post the first song tomorrow and that'll give @The Zodiac a chance to get his post thoughts together. I'm not rushing, If I start rushing pull me back guys ... sometimes I get carried away From Genesis To Revelation - From Genesis to Revelation Studio album by Genesis Released 7 March 1969 Recorded December 1967–August 1968 Studio Regent Sound Studios, Soho, London Genre Psychedelic rock baroque pop folk rock art rock[1] Length 43:25 Label Decca Producer Jonathan King Genesis chronology From Genesis to Revelation (1969) Trespass (1970) Singles from From Genesis to Revelation "The Silent Sun" Released: 2 February 1968 "A Winter's Tale" Released: 10 May 1968 "Where the Sour Turns to Sweet" Released: 27 June 1969 From Genesis to Revelation is the first studio album by the English rock band Genesis, released in March 1969 on Decca Records. The album originated from a collection of demos recorded in 1967 while the members of Genesis were pupils of Charterhouse School in Godalming, Surrey. It caught the attention of Jonathan King who named the group, organised deals with his publishing company and Decca, and studio time at Regent Sound Studios to record a series of singles and a full album. A string section arranged and conducted by Arthur Greenslade was added later on some songs. By the time Genesis had finished recording, John Silver had replaced original drummer Chris Stewart. The album and its singles were a commercial flop, and received a mixed to negative reaction from critics. By mid-1969, the group had severed ties with King and resumed education until they reformed and turned Genesis into a full time band. The album spawned three singles; "The Silent Sun" and "A Winter's Tale" were released in 1968, followed by "Where the Sour Turns to Sweet" in 1969. In October 1974, after the group had grown in popularity, it peaked at No. 170 on the Billboard 200 in the US. King retains the rights to the album which has been reissued multiple times since, including a 1974 release as In the Beginning and a 1987 release as And the Word Was.... A reissue in 1990 and 2005 included a bonus disc with extra tracks. King offered his support to the band and paid them £40 to record four songs. He pressed for more simple arrangements, but maintained that his suggestion for the group to avoid playing electric instruments was because acoustic instruments were cheaper, rather than his personal taste.[9] These early sessions took place between August and December 1967 at Regent Sound Studios on Denmark Street, London, with the intent on releasing them as singles.[10] They four tracks put down were new arrangements of "She's Beautiful" and "Try a Little Sadness", with "Where the Sour Turns to Sweet" and "The Image Blown Out", the latter ultimately rejected from the album.[7][6][9] King was happy with the results enough to sign them, offering a ten-year deal with his publishing company JonJo Music with a five-year option, and a five-year recording deal with Decca Records with an optional second year. However, the group's parents expressed concern as they were aged between 15 and 17 at the time, and preferred their children to pursue careers away from music. Upon their insistence for a one-year deal with an optional second, King agreed.[6][7][9] King noticed the band's tendency to expand and complicate their arrangements, which he disliked and suggested they stick to straightforward pop songs. This culminated in King either trimming Banks's solo spots or removing them entirely, much to his annoyance.[7][11] In response, Gabriel and Banks wrote "The Silent Sun" as a pastiche of the Bee Gees, one of King's favourite bands, though King later clarified the Bee Gees pastiche description as inaccurate.[12] The song was recorded at Regent Sound studio A in December 1967, with a section arranged and conducted by Arthur Greenslade added later in production.[7][6] It was released on 22 February 1968 with "That's Me" on the B-side as the first Genesis single.[12] King came up with the group's name, thinking it marked the beginning of a "new sound and a new feeling", and that it was the true start of his career as a producer.[7] Other names included King's suggestion of Gabriel's Angels[13] and Phillips's idea, Champagne Meadow.[14] In May 1968, the second single of "A Winter's Tale" with "One-Eyed Hound", was released and, like their first, also flopped.[6][15] Stewart then left the group to continue with his studies.[16] Despite their lack of success King continued to support the group and, by mid-1968, suggested that a studio album might reverse their fortunes. The group were a little overwhelmed in working with a greater amount of available time on an LP, so King suggested the idea of a loose concept album that told a story about the Book of Genesis at the start and the Book of Revelation at the end, with linked instrumental tracks.[7] The idea worked, and the group began to write at a faster pace.[17] The band recruited fellow Charterhouse pupil John Silver on the drums, and wrote and rehearsed their new material at his parents' country home in Oxford and the parents of school friend David Thomas.[6][17] In August 1968, during the school summer holidays, the band returned to Regent Sound studio 2 to record From Genesis to Revelation.[7] The music was recorded within two days, and the album was put together in ten.[18] King was the producer and brought in former Charterhouse pupil Tom Allom, along with Brian Roberts, as recording engineers.[19][7] The sessions involved two four-track recording machines, and marked Banks's first time playing an organ.[20][5] The material put down, Greenslade and Lou Warburton then added more string and horn arrangements to one stereo channel while mixing the band's performance on the other.[17][6] This was done without the band's knowledge, which they thought compromised the strength of the songs. Phillips was particularly angered at the decision and was the only member to express his feelings towards it by stomping out of the studio on the last day.[21][22] The album was released in March 1969 and failed to chart.[26] "Where the Sour Turns to Sweet" was released as a single on 27 June 1969 in an attempt to stimulate new interest.[27] In October 1974, after the group had grown in popularity, it peaked at No. 170 on the Billboard 200 in the US.[28] Prior to its release, Decca discovered that an American act had also called themselves Genesis and asked the band to change its name to avoid confusion. King reached a compromise so the band's name be omitted from the sleeve, leaving the album's title written in gold text in a Gothic style in order to evoke mystery when presented in music shops.[7][26] The American Genesis in question was likely a Los Angeles-based group that released In the Beginning on the Mercury label in 1967.[1] Banks later said that they remained Genesis in the UK and put themselves down as Revelation in the US, giving additional meaning to the album's title.[19][5]However, King's for the sleeve failed after shops had placed the album in their religious sections, "and it sank without trace".[7] He later said that Decca was unable to promote the album effectively and get the exposure it needed to succeed, leaving him to carry out much of the work himself which he lacked enough experience in at the time.[11] The album sold 650 copies.[13] Many record shops filed the album in their religious music sections, since the title From Genesis to Revelation was the only descriptive text on the album.[13] Banks later deemed the material as merely poor renditions of their songs, rating "Silent Sun" and "In the Wilderness" as the strongest cuts.[5] Noel Gallagher is a fan of the album, saying, "I became obsessed with early Genesis" despite being a frequent critic of the group's later work, particularly Phil Collins. The track "If Love is the Law" from his album Who Built the Moon? was written as a pastiche of "The Conqueror".[29] Aftermath When the album failed to become a success, the group decided to split and resume education.[27] This marked the end of their association with King, who had grown increasingly dissatisfied with the band directing their material away from mainstream pop.[22] In addition, Genesis had fulfilled their contractual obligation with Decca with the release of "Where the Sour Turns to Sweet", and neither they or King were interested in renewing the deal.[7] In September 1969 Gabriel, Banks, Rutherford, and Phillips decided to make Genesis a full time band and write on their own musical terms which had developed to what Phillips described as "original and dramatic".[5][30]They replaced Silver with drummer John Mayhew, and toured England for six months. Their residency at Ronnie Scott's club in Soho, London caught the attention of Tony Stratton-Smith who signed them to his label, Charisma Records. Genesis began formulating the music that would be recorded on their next album, Trespass. Material that was put onto tape during this time but remained unreleased was included on the Genesis Archive 1967–75 box set, in 1998. This included tracks on From Genesis to Revelation without the string arrangements.[11] Some of the tapes had been in storage in Phillips's attic, and he initially pleaded the group not to release them due to what he considered was poor guitar work.[22] On 27 July 1990, the album was reissued in a two disc set. The second disc included the four tracks included on And the Word Was....., four early versions of songs on the album, and ten interviews.[1] On 25 October 2010, the album was released as a special edition on iTunes. It includes the bonus tracks from the 1990 reissue.[31] Genesis Peter Gabriel – lead vocals, flute Tony Banks – organ, piano, backing vocals Anthony Phillips – guitars, backing vocals Mike Rutherford – bass guitar, guitar, backing vocals John Silver – drums (except on "Silent Sun") Additional musicians Chris Stewart – drums on "Silent Sun" Arthur Greenslade – strings and horn arrangement, conducting Lou Warburton – strings and horn arrangement, conducting Production Jonathan King – producer Brian Roberts – recording engineer Tom Allom – recording engineer Robert Stace – printing ---------------------------------------------------- I only listened to this particular album for the first time yesterday. I have no idea why it took me so long to get around to it .... nearly forty years, but anyhow. I quite enjoyed it on first listen. I heard, what appeared to be Moody Blues and Procul Harum influences and a general feel of some of the early progressive bands. I am very much looking forward to having a deeper listen as we go through the tracks and also hearing the input that many folks here may well have. My apologies that I am not very well versed in this album. So, how do you see this album? When did you first hear it? What do like, dislike about it? Let us know anything that comes to mind and give us your perspective. Cheers, Mark
Its funny. I've never actually owned an album entitled "From Genesis To Revelation." For some odd reason my local record stores didn't carry that album per sé, they always carried the French Import label 'Rock Machine' version with bonus cuts, re-dubbed "Where The Sour Turns To Sweet." That was true when I bought the vinyl, it was true when I got the CD roughly 30 years ago. At any rate, I first heard FGTR through a friend who had a home made cassette, minus the bonus cuts. Back in those days we were both learning acoustic guitar. And though already Genesis fans, this was different but also up our alley. I learned every song on the album quickly, there was nothing complicated about them, but through that experience I learned to love that record. It has some catchy melodies. I especially enjoy the somber piano as Banks plays the "Music - all I hear is music..." refrain as the final bars of In The Wilderness fade away. No vocals, just piano. Beautiful. So yeah, From Genesis To Revelation is a different kind of Genesis album. The strings added by King are overstated and overbearing. They make Silent Sun sound like a Bee Gees knockoff. But the rough, yet still interesting melodies of the band's early venture into song writing is not without merit. I dig this album, I think its great. It showcases a moment in time of a band finding their way in the world of making music.
Having heard and read nothing but negativity about FGTR, I bought the Rock Machine CD mentioned above for a buck at the flea market two years ago. I love the way the original album starts with the 'we're waiting for you... come and jpin us now' lyric off 'Where the Sour Turns to Sweet', an effect that gets lost on said CD - reprogramming this into the original order is not hard to do, luckily. Well, and what do we have? Many hints at things to come, songs like In the Wilderness are actually quite stunning to think about, imagining it without all of King's strings. Yes, it's clearly rooted in late-60s pop trends, but I was pleasantly surprised to find there were actually a lot of Moody Blues-y moments on the album - listen to In Hiding or The Silent Sun for example and try to overhear the strings: almost like a short cut from 'Days of Future Passed', if you ask me. No, this is no way near my favorite Genesis albums and I haven't listened to it very often, to be honest. But it's a very important milestone in the development of my favorite band and, thus, essential listening for fanatic fans in my ears. Had Genesis re-recorded FGTR two or three years later, it would be right up there among their best work. The promising sketches are there, it's just they weren't allowed to record them the way they wanted to.
A few words about the oft added bonus cuts on the various editions of the album. (And yes, I hate how Rock Machine added two of these tracks to the beginning and two to the end, messing with the continuity.) "The Silent Sun" (single edit in mono) I find it redundant and unnecessary. The mix varies slightly to the album. Not a big fan. "That's Me" is an interesting, albeit depressing take on life. Again, its Gabriel finding his way with lyrics. A simple song, but melodically pleasant. The b-side to Silent Sun. "A Winter's Tale" is the best of the bonus cuts, in my opinion. Great backing vocals on this one. "One Eyed Hound" is a bit bizarre to be honest. I like the tune but man is it recorded too hot. Distortion is off the charts. I remember it being especially distorted on vinyl. And the lyrics puzzle me. I've no idea what Pete was on about lyrically with this song. The b-side to Winter's Tale.
The flexi of Twilight Alehouse was first released as part of the ''compendium'' in october 1973. Compendium - October 1973 I Know What I Like/Twilight Alehouse 7'' single was released on 25th january 1974. Selling England tour advert and single advert for IKWIL – MM – 12th January Furthermore, the flexi included the full length version (7:30 or so), while the 7'' was an edit (5.30 or so).
Genesis is shear brilliance! They are my #2 band right behind Rush.......I love all eras of Genesis, I can't see only liking one era, for me at least. My introduction came in mid-end 70's with Seconds Out, as I was always a fan of live albums and was about a yr or so into progressive rock, I was about 13yrs old. I love the album, the songs were amazing I thought. So that got me into the back catalog and it was love at first listen, I did not understand most of the lyrics meanings, I was too young, but I loved the music and I love long songs. Now that I understand the lyric meanings, the past 35+ yrs of Genesis has been nothing but shear joy! For me there is no better line up ever assembled in rock music......Peter, Steve, Tony, Mike and Phil, it just gets no better than that, period! Incredibly talented musicians, writers and arrangers and Peter remains one of the greatest stage performers ever.
From Genesis to Revelation (Funny, whenever I read that album title I always get the tune for "Police and Thieves" by the Clash stuck in my head. From genesis to revelation / The next generation will be...) I really enjoy this album for what it is. It isn't perfect, of course, but it really is an impressive batch of songs from a group of sheltered British public school boys in their late teens. I listened to it on my way home from work today and enjoyed it very much, as I always do whenever I get in the mood to play it. I haven't worn it down like I have other Genesis albums, but I've listened to it a lot and I think it's a fine debut for the band. I've heard people say it's not worth the vinyl it's pressed on, but I just don't hear that. There are some very nice melodies and performances on here and I don't think the guys should be ashamed of it at all. They were still in their infancy as a group and they did quite well for themselves. I will state that I agree with @Thievius about the string arrangements--they are completely overbearing and I wish they could just be scrubbed off. There are points on the album when you can't even hear the band...just Peter and that darn string section sawing away. I also think the comparisons to the Bee Gees are overdone and not entirely accurate to what the record actually sounds like. The band said they wrote "The Silent Sun" to sound like the Bee Gees, but the whole record doesn't sound like that first single. I've always thought that "In the Beginning" (an album highlight) sounds a ton like Syd Barrett-era Pink Floyd (like 'Lucifer Sam' or something!). My favorite on the record has always been "Am I Very Wrong?" (love that descending piano lick!) and I also really enjoy "The Serpent," "In the Beginning," "The Conqueror," "When the Sour Turns to Sweet" and "In Limbo." The horns on that one remind me of something but I can't put my finger on it...Kind of like late '60s radio pop hits, but I can't say what exactly. I also like the background vocals on many of the songs, Peter already has a fairly interesting voice for someone so young (and that will just keep on getting better) and I like that most of the songs start with little 10-30 second instrumental interludes before they really get going. Lots of nice little piano bits from Tony, too. It helps the whole thing feel kind of 'conceptual'--even if the concept is very thin and falls apart quickly. Most CD copies include the singles and their b-sides as bonus tracks. My favorite of those is 'One Eyed Hound.' I love that one. Very catchy ("This man committed a sin / This man he never can win") and it isn't slathered with an orchestra so you can actually hear the band playing. I think From Genesis to Revelation is kind of misunderstood and overlooked. It's got kind of a poor reputation, but I wonder how many folks have actually listened to it. I know the band thinks it's pretty crap, but I think it's charming.
When a friend played this record for me in the eighties I said 'It is like the Bee Gees!!'. Afterwards I have learned that the similarities were intentional. Not a fan of this record and almost never have played it. Played it today: it is not so bad. I could identify moments in which the prog Genesis could be anticipated. And when listening to 'The Conqueror' I was surprised by the Oasis similarities.
Very interesting information of the different masterings (prior to the DE remastering) of the Genesis CDs can be found in this thread: Genesis - early CD versions thread (Ver. 2)
believe it or not from genesis to revelation was the first genesis album I owned. no I am not that old or claiming to be the original fan but I had heard a lot about genesis and knew some stuff and my dad was also a fan so I was far from a novice but I tend to like to start at the beginning when I explore a band and I happened to find a nice 2 disc set of it with ample bonus tracks so that was where I really did start my more in depth investigation of genesis and hey I liked it! I admit I don't go back to it that often but I think it is far from terrible as many people paint it to be.
I just stumbled upon this and thought it worth posting. The singer can't quite hang with Gabriel, but the instrumentation is worth checking out. Never thought I'd see a cover of that song.
"Am I very wrong to hide behind the glare of an open minded stare" "Death is easy as a substitute for pride" "I have a mind of my own, in hiding - Far from the city of night And the factories of truth I stand upon the mountain A million miles from my home And the faces of fear I have freedom to think In hiding" Love some of those lyrics
At the Tower Records where I worked, we had every incarnation of FGTR there was. The CD buyer was a certified Genesis nut. Where the Sour Turns to Sweet, In the Beginning, The Early Days of Genesis, And the Word Was..., all FGTR clones. Oh yes, and we had 2 different CD pressings named "From Genesis to Revelation" proper.
Hey, pretty neat cover! Yes, I wonder how this orchestra decided upon covering such an obscurity! Still love the horns in that song and they sound cool in this version as well. Jonathan King has made sure that this record remains in print, that's for sure!
