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.

Following straight on from 'Horizons', a short but nonetheless very attractive Steve Hackett solo acoustic piece, with some nifty harmonics, comes Genesis' most celebrated epic, which takes up the whole of side two of the original vinyl album. The piece is sub-divided as follows: (1) Lovers' Leap, (2) The Guaranteed Eternal Sanctuary Man, (3) Ikhnaton And Itsacon and Their Band Of Merry Men, (4) How Dare I Be So Beautiful'? (5) Willow Farm, (6) Apocalypse In 9/8 (Co-Starring The Delicious Talents Of Gabble Ratchet), and (7) As Sure As Eggs Is Eggs (Aching Men's Feet). A 12-string guitar plays a beautiful melody to create a romantic mood before Gabriel sings 'Lovers' Leap', with its soulful cry of "Hey baby, don't you know our love is true."

The song is curiously at odds with the rest of the lyrics which become increasingly manic. Acoustic guitars beaver away, then an electric piano joins in the fun as the danse macabre begins. Peter breathes a lover's greeting: "It's been a long time. Hasn't it?" with gentle understatement, as the band finally make their appearance on 'Sanctuary Man'. Each piece tends to segue seamlessly into each other, as the musical moods change, but there is pause for thought and reflection. Children's voices chant a nursery rhyme during 'Sanctuary Man,' then Peter heralds a clash of dark forces. "Killing for peace... bang, bang, bang!" he yells as the combined forces of Hackett, Rutherford, Banks and Collins march into action.

A sudden halt creates a cliffhanging moment of tension before the main refrain is repeated. Gabriel's gift of extracting maximum meaning and sensual effect from well chosen words is exemplified on 'How Dare I Be So Beautiful'!' when in the aftermath of battle he says: "We climb up the mountain of human flesh." The final line of this piece "... Narcissus is turned to a flower," concludes with "A Flower?" The phrase was given much greater emphasis during 'live' performances. It was the signal for gasps and chuckles from the audience as Gabriel appeared dancing in tight black trousers with a huge flower wreathing his head, launching him into the camp and comic 'Willow Farm'. Gabriel, growing ever more surreal, chants over a suitably silly march, "There's Winston Churchill dressed in drag, he used to be a British flag, plastic bag... what a drag." This piece of eccentric nonsense, much in the tradition of Edward Lear and John Lennon, stops in its tracks with a cry of "All change!"

'Apocalypse' begins with doomy chords, heralding an Elizabethan style serenade on flute and guitar. This is supplanted by a grinding, angular organ solo over a pounding, relentless rhythm in 9/8. Phil's drums skitter around the Hammond as Tony's stabbing notes become increasingly hysterical during a lengthy instrumental interlude. Bells chime and the snare drum rolls as Gabriel sounds a return to the theme from 'Lovers' Leap'. The denouement of this massive work is reached with 'As Sure As Eggs Is Eggs,' where the tempo reverts to a slow but steady rock beat, with huge notes from Mike Rutherford's bass pedals underpinning an exultant guitar hymn. It sounds like the whole band is waving farewell, but the piece ends abruptly, right up against the stop grooves of the vinyl album. It's not a good ending, considering the epic scope of the piece, which suggests they simply have run out of tape. 'Supper's Ready' explores the complexities of human relationships, the threat of external forces and the ultimate power of love to heal.




Lyrics

 SUPPER'S READY
i. LOVERS' LEAP
 
Walking across the sitting-room, I turn the television off.
Sitting beside you, I look into your eyes.
As the sound of motor cars fades in the night time,
I swear I saw your face change, it didn't seem quite right.
...And it's hello babe with your guardian eyes so blue
Hey my baby don't you know our love is true.
 
Coming closer with our eyes, a distance falls around our bodies.
Out in the garden, the moon seems very bright,
Six saintly shrouded men move across the lawn slowly.
The seventh walks in front with a cross held high in hand.
...And it's hey babe your supper's waiting for you.
Hey my baby, don't you know our love is true.
 
I've been so far from here,
Far from your warm arms.
It's good to feel you again,
It's been a long long time. Hasn't it?
 
ii. THE GUARANTEED ETERNAL SANCTUARY MAN
 
I know a farmer who looks after the farm.
With water clear, he cares for all his harvest.
I know a fireman who looks after the fire.
 
You, can't you see he's fooled you all.
Yes, he's here again, can't you see he's fooled you all.
Share his peace,
Sign the lease.
He's a supersonic scientist,
He's the guaranteed eternal sanctuary man.
Look, look into my mouth he cries,
And all the children lost down many paths,
I bet my life you'll walk inside
Hand in hand,
gland in gland
With a spoonful of miracle,
He's the guaranteed eternal sanctuary man.
We will rock you, rock you little snake,
We will keep you snug and warm.
 
iii. IKHNATON AND ITSACON AND THEIR BAND OF MERRY MEN
 
Wearing feelings on our faces while our faces took a rest,
We walked across the fields to see the children of the West,
But we saw a host of dark skinned warriors
standing still below the ground,
Waiting for battle.
 
The fight's begun, they've been released.
Killing foe for peace...bang, bang, bang. Bang, bang, bang...
And they're giving me a wonderful potion,
'Cos I cannot contain my emotion.
And even though I'm feeling good,
Something tells me I'd better activate my prayer capsule.
 
Today's a day to celebrate, the foe have met their fate.
The order for rejoicing and dancing has come from our warlord.
 
iv. HOW DARE I BE SO BEAUTIFUL?
 
Wandering through the chaos the battle has left,
We climb up a mountain of human flesh,
To a plateau of green grass, and green trees full of life.
A young figure sits still by a pool,
He's been stamped "Human Bacon" by some butchery tool.
(He is you)
Social Security took care of this lad.
We watch in reverence, as Narcissus is turned to a flower.
A flower?
 
v. WILLOW FARM
 
If you go down to Willow Farm,
to look for butterflies, flutterbyes, gutterflies
Open your eyes, it's full of surprise, everyone lies,
like the focks on the rocks,
and the musical box.
Oh, there's Mum & Dad, and good and bad,
and everyone's happy to be here.
 
There's Winston Churchill dressed in drag,
he used to be a British flag, plastic bag, what a drag.
The frog was a prince, the prince was a brick, the brick was an egg,
the egg was a bird.
(Fly away you sweet little thing, they're hard on your tail)
Hadn't you heard?
(They're going to change you into a human being!)
Yes, we're happy as fish and gorgeous as geese,
and wonderfully clean in the morning.
 
We've got everything, we're growing everything,
We've got some in
We've got some out
We've got some wild things floating about
Everyone, we're changing everyone,
you name them all,
We've had them here,
And the real stars are still to appear.
 
ALL CHANGE!
 
Feel your body melt;
Mum to mud to mad to dad
Dad diddley office, Dad diddley office,
You're all full of ball.
 
Dad to dam to dum to mum
Mum diddley washing, Mum diddley washing,
You're all full of ball.
 
Let me hear you lies, we're living this up to the eyes.
Ooee-ooee-ooee-oowaa
Momma I want you now.
 
And as you listen to my voice
To look for hidden doors, tidy floors, more applause.
You've been here all the time,
Like it or not, like what you got,
You're under the soil (the soil, the soil),
Yes, deep in the soil (the soil, the soil, the soil!).
So we'll end with a whistle and end with a bang
and all of us fit in our places.
 
vi. APOCALYPSE IN 9/8 (CO-STARRING THE DELICIOUS TALENTS OF GABBLE RATCHET)
 
With the guards of Magog, swarming around,
The Pied Piper takes his children underground.
Dragons coming out of the sea,
Shimmering silver head of wisdom looking at me.
He brings down the fire from the skies,
You can tell he's doing well by the look in human eyes.
Better not compromise.
It won't be easy.
 
666 is no longer alone,
He's getting out the marrow in your back bone,
And the seven trumpets blowing sweet rock and roll,
Gonna blow right down inside your soul.
Pythagoras with the looking glass reflects the full moon,
In blood, he's writing the lyrics of a brand new tune.
 
And it's hey babe, with your guardian eyes so blue,
Hey my baby, don't you know our love is true,
I've been so far from here,
Far from your loving arms,
Now I'm back again, and babe it's gonna work out fine.
 
vii. AS SURE AS EGGS IS EGGS (ACHING MEN'S FEET)
 
Can't you feel our souls ignite
Shedding ever changing colours, in the darkness of the fading night,
Like the river joins the ocean, as the germ in a seed grows
We have finally been freed to get back home.
 
There's an angel standing in the sun, and he's crying with a loud voice,
"This is the supper of the mighty one",
Lord of Lords,
King of Kings,
Has returned to lead his children home,
To take them to the new Jerusalem.


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