Written by Thomas Schrage


Genesis‘ first album was not called Trespass but From Genesis To Revelation. Many fans tend to count it as their zeroeth album. It shows no or at best only the most minuscule traces of the style that would make them well-known later, and therefore frequently meets with a refusal and lack of affection. Justly so?

The band did not have the line-up they got known with yet. One could say they did not even exist. They came together to record demo-tapes in the first place. All of them knew each other from Charterhouse public school. The songwriter team Rutherford and Anthony Phillips asked Tony Banks to play the piano for them; Banks only agreed if he could bring his songwriting partner Peter Gabriel to record a song. Soon they were convinced that Gabriel’s voice sounded better than Phillips’ so he ended up singing on all the songs.

When he did not sing, Phillips played the guitar, a position he would retain up to Trespass. Initially, the drums were played by one Chris Stewart, though the drumming on the album would be done by John Silver. The drummer’s stool would not be filled permanently until Phil Collins joined Genesis. Only with him did the band find someone who was accepted as a full member and could incorporate himself.

These boys (most of them were around 17 at the time) managed to land a record contract with Jonjo Music in August 1967. That only meant that a single would be released. King was an alumnus of Charterhouse and had had quite a successful hit with Everyone’s Gone To The Moon. A shallow pop song though that may have been, he nevertheless seemed to be a person of success and influence, and they found it very promising that they could have him produce them.

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The year was 1969. Among the many discoveries made that year was something called "the import record" - albums from England that were either different from those released here, or just plain never released in Athens.

I remember pulling together a stack of domestic promotional albums and heading to a downtown rendezvous, near Acropolis to a place called Plaka, where in a small records shop they were traded for a decidedly smaller stack of imports. One of them was a little item that had a black cover with gold lettering proclaiming FROM GENESIS TO REVELATION. It was the first effort of a British group that couldn't decide on their name, although the music was much more decisive - I immediately vowed to become a fan once they figured out what to call themselves....


Genesis Group Members
Peter Brian Gabriel Gemesis 1970 - 1975
BORN: February 13, 1950, London, England
As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. In his solo career, Gabriel was no less ambitious, but he was more subtle in his methods.
Anthony George Banks Gemesis 1970 - 1975
BORN: March 27th, 1950, East Sussex, England
Tony Banks started his career with Genesis in 1967 as the pianist/keyboardist, after the emergence of the Charterhouse School Bands The Garden Wall, which Tony was a member,..
Michael John Rutherford Gemesis 1970 - 1975
BORN: October 2nd, 1950, Guildford, Surrey, England
A founding member of the long-running art-rock band Genesis, Mike Rutherford also made the occasional excursion into solo projects, most notably the pop combo Mike + the Mechanics.
Phillip David Charles Collins Gemesis 1970 - 1975
BORN: January 31, 1951, Chiswick, London, England
Phil Collins' ascent to the status of one of the most successful pop and adult-contemporary singers of the '80s and beyond was probably as much of a surprise to him as it was to many others.
Steven Richard Hackett Gemesis 1970 - 1975
BORN: February 12th, 1951, England
Formerly a member of various minor bands, including Canterbury Glass, Heel Pier, Sarabande and Quiet World, the latter releasing a solitary album on Dawn Records in 1970, Hackett joined Genesis as guitarist in early 1971.


March 16th, 2015 By Jim Laugelli

I could have very easily chosen a number of other Genesis albums but I decided on this one simply because it features what is perhaps the most significant song in all of progressive rock: “Supper’s Ready.” My introduction to Genesis occurred 41 years ago and had one of the most profound impacts on my personal musical journey. On that night, in May of 1974, a friend asked if I wanted to see a concert. He had a few extra tickets for a Genesis show and no one to join him. I never heard of the band and for some reason thought they were probably some sort of acoustic act. As far as I recall, my friend knew little about the band as well. I believe someone just gave him the tickets. With nothing better to do I decided to check it out. When we arrived at the venue and had taken our seats I remember my curiosity ratcheting up when the pre-concert music over the P.A. was Mike Oldfield’s Tubular Bells. This signaled to me that I was probably going to hear something unexpected. Sure enough, when the lights went down and the crowd quieted, the opening chords to “Watcher Of The Skies” begins. I immediately leaned forward in my seat totally consumed by the sound of the mellotron.

As that instrument eases, the staccato rhythm of the bass begins and in the darkness a pair eyes appear, they seem to be searching, radiating, only to reveal a figure in a cape with bat wings wrapped around his head. The vocals then begin and until the end of the show I remain completely and utterly captivated. My mind was officially blown. It was a revelation. I left that show a changed person. This was music that went beyond my imagination. It was presented like theater, it told stories. In fact, before many songs, Gabriel told surreal little tales as a way of introducing the tunes. The next day I bought Foxtrot, and then Selling England By The Pound, Nursery Cryme and Trespass all in short order. I immersed myself in their music.

Foxtrot begins the band’s high point of three consecutive outstanding albums. It was released in 1972, a banner year for progressive rock that also saw the release of Close To The Edge by Yes, Thick As A Brick from Jethro Tull, Trilogy by ELP, Three Friends from Gentle Giant and a slew of other incredible records. For Genesis, Foxtrot saw them tackle ideas they started with their two previous releases, Trespass and Nursery Cryme. The level of complexity in song structure, the emphasis on theatricality and drama, storytelling and extended song form all reached a new level of sophistication on Foxtrot.

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1967 - 1975
Discography Comments Compiled by Ikon Designing
Aside from a portion of the box set, this is the only commercially available live document of vintage Gabriel-era Genesis.
Official Album Releases Compiled by Ikon Designing
That's it. Genesis' most ambitious work to date that ultimately led to the shock departure of their much loved singer Peter Gabriel.
Genesis Album Artwork Compiled by Ikon Designing
The painterly texture of the album art is a very nuanced addition to the artwork., but with a plain light yellow-tan border, the artwork itself can feel a bit drab.
Jonathan King and the Name Compiled by Ikon Designing
In 1963 Peter Gabriel and Tony Banks met at Charterhouse, a boarding-school, that layed in the English county Surrey in the middle 1960s.
Before Phil Compiled by Ikon Designing
Once upon a time, in a land far, far away. . . England, I think it was called. . . There lived four young men. . Their names were Ant Phillips, Michael Rutherford, Tony Banks and Peter Gabriel.
The Glory Years Compiled by Ikon Designing
While recovering from this, he began writing Genesis' most ambitious project to date, "Supper's Ready," a 23-minute masterpiece
Touch of the Jaggers Compiled by Ikon Designing
On every level the band transcend any kind of expected performance standard. Musically they are so proficient they make that part of the job look like a secondary exercise.
Man behind the Mask Compiled by Ikon Designing
Genesis obviously differ from the dressed-up 12-bar that most bands unravel. And because of these very differences, the band have been slated over over their motives.
Hall of Mutant King Compiled by Ikon Designing
Lifeless was the performance of leader Peter Gabriel; the protagonist's name is Rael so it's surely no accident that Gabriel is a Roger Daltry sound alike.

Article Index



At this point Rael blacks out. He awakens to find himself in a cocoon. It's dark and dank. This is purgatory. He feels secure, but he is in denial. "Don't tell me this is dying, 'cos I ain't changed that much." The traumatic experience of death leaves him in disbelief of what has happened. This begins his soul's journey. He is in purgatory because of his acts on earth and yet he's not in hell because of the circumstances that surrounded what he did. During this journey, Rael will visit hell, go back home, and go through a series of tests to determine if he ends up in heaven or hell.

 He awakes in the cave after drifting into sleep in his cocoon. Then a cage begins to form around him. The reason he is in a cage is that he is trapped by his past decisions in his physical life. This is keeping him back and not allowing his soul to move freely. His brother John comes and looks at him in the cage. Rael yells for help, but John looks at him with a vacant look and says nothing. As he leaves, Rael feels pains shooting throughout his body and as John leaves his sight, the cage dissolves and Rael is left spinning.

After he is done spinning, he finds himself in the lobby of the doll factory. Thus begins his trip to hell. The Grand Parade of Lifeless packaging is hell. Rael wanders around the factory and comes to a line of dolls. He notices some of his old gang is a part of the line. Once he realizes he is in danger, Rael scurries from the factory. On his way out, he sees his brother John with a number 9 stamped on his forehead. When you go to hell, you become a plastic, lifeless doll. Your soul no longer lives as it is transformed into a plastic, lifeless doll. It's interesting that no one takes up the chase after Rael. He does not belong in hell. The reason John could not help Rael in the cage was that he could not help him on the right path.

He then enters a reconstruction of his life above ground. An interesting line here is that Rael "was better off dead than slow in the head" in his old life, above ground." Notice how he has moved to above ground. This means the doll factory is below ground. Keep in mind that as the story progresses, the higher Rael goes. This fits into the old world thinking that heaven was above and hell was below ground.

Here we learn the reason for Rael's deviancy. His mother and father apparently were always on his back. They gave him a hard time. He left home and joined a gang. To gain the respect the gang, he had to end up in the Pontiac reformatory. This was his only way of acceptance. His gang are the only people who ever accepted him.

Now Rael is walking home from a raid in this reconstruction and begins to cuddle his sleeping porcupine. We get a sense of his life in the song Back in NYC. He has a destructive personality. His hairy heart is being shaved clean, after this song, as he recalls his first romantic encounter. I think you may be able to figure out on your own what he's cuddling.

His memories of his first romantic encounter reveal a lot about Rael. His self-confidence is obviously very weak as he turns to a book for guidance on love making. Again the final line of the song returns to his 'cuddling', "Without you, mankind handkinds thru the blues." He doesn't trust he'll get it right on his own so he buys a book, Erogenous Zones and the Difficult Problem of How To Find Them, from a discount bookstore. He's a very self-conscious person. This is why he joins the gang and adopts his destructive attitude. He just wants acceptance. This is why he is in purgatory. He needs to be tested to find out what his true self is without outside pressures.

He leaves his "mixed up memories" and now finds himself in a passage way and finds a long carpeted corridor. This begins the testing of Rael to determine where he does belong. He finds people crawling toward the heavy wooden door. After heading through the heavy wooden door and climbs up the staircase to the chamber of 32 doors. This is where Rael is tested to see if he can trust another person. "I need someone to believe in, someone to trust." He meets Lilywhite Lilith who leads him through the correct door. This is the first step in the direction of heaven. Although she is blind, Rael trusts in her to lead him down the right path. She brings him to a cave and tells him that "they will come for you soon. Don't be afraid." This is another test of trust. His fear gets to him. When the light enters the tunnel, he begins to shake with fear. He panics and fires a stone at the light. The sound of glass echoes as the stone impacts. Two golden globes enter the room and when they disappear, the room begins to collapse around him. He is trapped again. The reason why he is trapped is that his trust left him and his fear took over. He has failed this character test.

At this point in time, Rael is panicking and is going through a series of rambling thoughts. This is where Rael meets Death. Death helps him out of quandary by releasing gas leading through the rubble. Although Rael meets Death, his soul does not die and he gets a second chance. This may be because Rael did learn trust to a certain point and thus did not merit Death yet. Death was willing to give him a second chance to make it.

 
From the rubble, Rael reaches the pink-water pool inhabited by the Lamia. This is a very interesting scene. The Lamia begin to eat him and when they nibble his flesh, they die. Again in the song The Lamia, the line "Putting fear beside him, he trusts in beauty blind." He not only learns trust, but he learns love in a way. He is distraught as they die and eats their bodies in order to "bring what is left of them into his being." This is what we look for in a relationship. To bring a part of another person into our own being.

After leaving the pool, Rael finds himself in a freak's ghetto. This is where Rael meets the Slippermen. He has become a Slipperman because he let his passion overrun him. He did learn to love in a way, but let his physical needs overtake his sensibility as it did in his Physical life. The Slipperman test is designed to see if he can live without the tool for absolute physical pleasure. It's a test of his priorities. He meets his Brother John who has succumbed to the same pleasures. They visit the Doktor who castrates them and gives them their yellow tubes holding the source of their problems. Here Rael has taken another step toward salvation.

Rael's yellow tube is taken from him from the raven. John leaves him and tells him he will not help him. This is one of the reasons why John has ended up in hell. John appears not for his own benefit in Rael's journey. He is there to help in testing Rael. Rael goes off and chases the raven to an enormous ravine. The raven drops his tube in the rapids at the bottom of the ravine. He runs along a path along the top of the ravine watching his tube racing down the rapids. As he walks around the corner he sees a sky light above him built into the bank. He can see home through the bank. He starts to run for it. As he does, he hears his brother John struggling in the rapids below. This is his final test to see if he has learned true love.

If he goes through the gate, then he will probably go back to the reconstruction and begin again. If that doesn't happen, then he probably ends up in hell. Nevertheless, he decides to jump into the rapids below. He catches John's arm and pulls his body onto the bank. When he looks into John's face, he sees his own. Rael has saved himself. By choosing to save John, he has saved himself. He has learned what life is all about. It's not about yourself, but about others. He has learned the importance of family. By saving John, he has saved him self. There is a question as to whether he has saved John for both of their physical bodies melt into a purple haze. Rael's soul has now left his body and has gone on to heaven. It is heaven. Just think of all the things mentioned in the song. They are all exhilarating experiences and that's what heaven is.Rael will now live on forever. He doesn't have to worry about making a name for himself. That doesn't really matter. Salvation is what matters. To get there, you have to learn to trust and love others. That is the whole point of the Lamb in my wonderful opinion.


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