Wher Your Sour Turn Sweet
Greenslade's strings tend to get in the way of another powerful song, full of quirky humour. Gabriel makes early use of a favourite device; emphasising a single word to extract full meaning, as he sings: "Come and join us NOW!" There are some jazzy, echoing 'finger pops' and Banks' firm piano chords to give a swing feel. The song has great charm, but the fade out ending is careiessly inconclusive. This was the last of their Decca single releases and it also failed to chart.
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In the Beginning
Strange whining noises, probably Regent Sound's hired synthesiser, are used – presurriably to symbolise the creation of the universe. This leads on to a pushing, thrusting vocal, with the sort of menacing urgency that was to become the hallmark of the classic Genesis style, the sort of thing Phil Collins would exploit much later in both his and the band's career. Peter furiously declaims key phrases in stabbing tones, as the musicai story of creation and Man's evolution unfolds. You have to admire their boldness in coping with such a vast subject, only few established bands would have attempted, let alone a bunch of novices.
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Fireside Song
Peter Gabriel may have been edgy during the recording of this first album but his vocals here are quite beautiful. He sings in a very English manner, "Once upon a time there was confusion, disappointment, fear and disillusion." Burdened by the perits of the world, he offers a warning hymn of peace. His phrases leap out from the somewhat mundane melody and wishy washy acoustic guitar accompaniment: "The trees defied the world and shook their leaves."
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The Serpent
The dramatic use of silence is quite instructive here, showing that Genesis knew all about the value of dynamics quite early on in their evolution. The album may have been ostensibly about the creation of the world, but it was really about the creation of a new group, taking its first tentative steps io a musical direction they were determined to pursue. There is more evidence of ideas that would recur in later works, notably 'The Lamb Lies Down On Broadway'. Sings Gabriel: "Creator made the serpent wise, evil in his tempting eyes." The lead guitar riff is quite strong, building up a head of steam as Peter chants: "Beware the future!"
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Am I Very Wrong
French horn and piano are blended with what sounds like a public school choir at an end of term concert. It's melodic, but flimsy material and it's hardly surprising that the album could not command any attention during an era dominated by heavy rock. Gabriel sings in a straightforward fashion some quite difficult 'words' Ivrics.
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In The Wilderness
By the close of side one, the patience of the most dedicated student of the Biblical theory of creation must have found their patience wearing thin and their enthusiasm flagging. But those who persevered were rewarded by hearing one of the more successful pieces. Gabriel chants, "Music, all I hear is music" with a spirit that recalls some of the wilder moments of The Who on their epic Tommy. A more sombre note is sounded by Tony Banks playing a solo reprise of the theme in the final bars.
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The Conqueror
Strangely enough, there are more hints of The Who as Peter sings: 'Justice day is coming as The Conqueror is on his way' but in truth the vocals sound a bit lost and flat. The whole piece is rendered duller than intended by the use of long drawn out backing notes. The omnipresent strings seem to drag the beat, even though the drummer does his best to pep things up. Potentially a good piece, like so much of the material, it gets bogged down. A distant guitar, not quite in tune, qets lost in the mix.
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In Hiding
Performed in 3/4 waltz time, this gentle concoction relies on Peter's angelic vocals for its effect. Sounding nervous, but charming, he warbles: "I have a mind of my own!" and adds, curiously enough: "I will take off my clothes that I wear on my face."
One Day
"Don't get me wrong, I think I'm in love," sings Peter over a Beatles' style trumpet backing. An appealing, fast and snappy song, once again the piano proves the strongest musical factor. This helps to explain why Tony Banks would later feel somewhat miffed when the band became famous and he perhaps received less credit than he deserved for his contribution. The final sustained chord has echoes of The Beatles 'A Day In The Lite.' Ideally the whole album should have been based on a series of piano and vocal duets and they could have safely dumped drums and strings as so much superfluous impedimenta.
Window
A hooky tonk piano is used here, doubtless with tin tacks pressed into the hammers to get hat riveting sound. Lyrically and vocally it's a flat, one-dimensional performance, probably due to the need to record virtually everything in one day. Peter sounds like he's reading the lyrics off scraps of paper in his vocal booth.
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In Limbo
Stronger brass playing enlivens this piece with stabbing "flares" behind a chanted cry of "Take me away!" Try as they might, a sense of ennui creeps into even the strongest pieces, and this particular item sounds very much like a rehearsal. It is in dire need of firm drums and less clutter, all priorities that would only receive attention when the band changed and enlarged its personnel.
