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

Peter Brian Gabriel

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

Anthony George Banks

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

Michael John Rutherford

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

Phillip David Charles Collins

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

Steven Richard Hackett

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

Discography Comments

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

Official Album Releases

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

Genesis Album Artwork

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

Jonathan King and the Name

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

Before Phil

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

The Glory Years

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

Touch of the Jaggers

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

Man behind the Mask

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

Hall of Mutant King

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

Genesis  ‎–  Live
Label: Charisma ‎– 6499 593
Format: Vinyl, LP, Album
Country:  Germany
Released:  1973
Style: Alternative Rock, Prog Rock
 

Tracklist
Watcher Of The Skies 8:10
Get 'Em Out By Friday 8:58
The Return Of The Giant Hogweed 8:07
Musical Box 10:33
The Knife 9:12

Mixed At Island Studios

Credits

Photography By – Bob Gruen
Producer – Genesis, John Burns
Written-By M. Rutherford, P. Gabriel, P. Collins, S. Hackett, T. Banks

Notes
All recordings made at The De Montfort Hall, Leicester and The Free Trade Hall, Manchester, February 1973.
Album mixed at Island Studios, Basing St., London W11.

This album is dedicated to Richard Macphail who left April, 1973.

1973's "Genesis Live" is the only live album in the Genesis catalog from the Peter Gabriel era, documenting the band on tour for their 1972 album, "Foxtrot." It's a brilliant but much-too-brief live Genesis set, leaving the listener hungry for more.




Still, what the album does contain on it is classic live Genesis, with Gabriel, Tony Banks, Phil Collins, Mike Rutherford & Steve Hackett rocking through their prog classics "Watcher Of The Skies," "Get 'Em Out By Friday," "The Return Of The Giant Hogweed," "The Musical Box," and the grand finale, "The Knife," with great relish. Also featuring the occasional bit of song introductions from Gabriel, "Genesis Live" also gives glimpses into what a grand showman Gabriel was as the group's flamboyant frontman.But with just five tracks on it (albeit long tracks), "Genesis Live" is still too darn short.

It was originally planned as a double live album that also would've included the band's magnum opus, "Supper's Ready," at the album's conclusion, but was trimmed at the last minute in order to make the album more affordable. Thankfully, the problem has been corrected somewhat, as there's now more live Gabriel-era stuff to be found on the band's "Genesis Archives Vol. 1" box set, including the coveted live version of "Supper's Ready." However, keep in mind that that's a bigger, separate purchase (though totally worth it).Still, "Genesis Live" is a great little slice of vintage live Genesis, so if you love the band's early days with Peter Gabriel, you can't go wrong by adding "Genesis Live" to your collection.

Many remember Genesis live shows as Broadway-esque affairs with laser light shows, smoke machines, medleys and Phil Collins in chinos shaking his tambourine. Those were certainly fun, but in the early days Genesis concerts were an altogether different beast. I'm not old enough to have experienced them, but "Genesis Live" offers a tantalizing snapshot of the band's performances from the Peter Gabriel era.

Gabriel was best known for wearing bizarre costumes during Genesis concerts, to illustrate the whimsical characters from his lyrics (the old man of "The Musical Box," the title character of "The Return of the Giant Hogweed"). The cover gives you some idea of the visual aspect. More importantly, you get the music - a rawer, more energetic brand of progressive rock than that presented on "Seconds Out" or "Three Sides Live."

The song selection isn't perfect, mainly due to the time constraints of the vinyl era. Most notably absent are "Supper's Ready" and "Can-Utility and the Coastliners." But you get a representative sample of songs from "Trespass," "Nursery Cryme" and "Foxtrot." While the live versions remain essentially true to the studio versions, the band infuses the music with new levels of energy, particularly on "Watcher of the Skies," "The Musical Box," and "The Knife."

"Genesis Live" is a great introduction to the band's early years. In terms of running time, it's less generous than the band's subsequent live albums. But in its ability to capture the power of Genesis live, it's unmatched.

They were such an interesting band -- visually, lyrically, musically. As brilliant as they are in the studio, they often perform their songs even better live. "The Musical Box" is a real highlight here; it sounds like there are dueling lead guitars in the middle, but actually it's Steve Hackett on guitar dueling with Tony Banks on a clavinet; you also get to hear Peter Gabriel and Phil Collins sing in a call & response manner -- the sort of thing that's been missing since Pete's departure; and let's not forget Mike Rutherford's unacompanied bass pedal solo (though don't we hear him tuning his cello there?).

One thing that made them so interesting to listen to is that they went to great lenghts to get a variety of tones and it worked out really beautifully. You hear both Mike and Steve using 6-string electric and 12-string accoustic guitars. Mike would also use a double-neck instrument that allowed him to instantly switch between electric bass and electric 12-string guitar while supplementing his sound with bass pedals. Tony was already using several different keyboard instruments, and he would also play a bit of 12-string guitar. Phil had his drum kit, but he also had a set of bells. Pete not only had the same unique, beautiful, powerful voice he does today, but you also hear him playing wonderful flute lines as well as suplementary bits of percussion.

If you are lucky enough to see footage from this period, you will see that Pete was as much an actor & dancer as a musician when Genesis performed live.  The other thing that makes them so interesting to listen to is the way the songs are written. There is so much dramatic contrast, both from song to song, and within individual songs. One passage or song can be really mellow and pretty, while the next can be hard as nails. Either way, the rhythms, melodies, and harmonies were almost always worth many listenings.

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