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.

The flickering needle jumps into red. New York crawls out of its bed.

And the lamb lies down on Broadway.

Early morning Manhattan, Ocean winds blow on the land.

The weary guests are asked to leave the warmth of the all-night theater, having slept on pictures others only dream on.

The Movie-Palace is now undone, The all-night watchmen have had their fun. Sleeping cheaply on the midnight show, It's the same old ending -- time to go. Get out! It seems they cannot leave their dream.

The un-paid extras disturb the Sleeping Broadway. WALK to the left DON'T WALK to the right: on Broadway, directions don't look so bright. Autoghosts keep the pace for the cabman's early mobile race.

There's something moving in the sidewalk steam,

["Give me steam, and how you feel can make it real Real as anything you've seen [place you've been]. Get a life with the dreamer's dream" Peter Gabriel, "Steam", 1992

The symbolism of "steam" illustrates the world of shadow we're about to be transported to. Steam is real, yet obviously at the point of intangibility. It is the stuff between which reality and dreams, sanity and insanity collide.

And what of the significance of "Rael"? Transpose the "a" and the "e" and you get "real", which is referred to in the end of "It": "it is Real, it is Rael".

The juxtaposition of "is" and "Rael" is interesting, since it forms the word "Israel" at the climactic point of the album. Since this album is full of metaphors and references to everything under the sun, it is not out of order to assume that this was intentional. If we go along with this, then we're talking about the children of Israel. According to the dictionary, the Hebrew word "yisrael" means to struggle against God. Judeo-Christian references played a major role in the music of Gabriel-era Genesis, starting with the band's very name. The Lamb's songs might be considered within the context of the New Testament. Some things may begin to fall into place. Carrying the metaphor further, we can assume Real is a Christ figure. "The lamb lies down on Broadway" would then mean "Jesus Christ dies in New York." At the end of the story, Rael sacrifices his life for his brother John, in spite of the numerous times John had forsaken him, and he loves him anyway. This is a very Christian attitude. On an unrelated note, "Rael" spelled backwards is "Lear", which may be an intentional reference to the mad king of Shakespear.

Since Brother John was mentioned here in this annotation, we must point out that Steve Hackett's brother was named John. If this has any significance, it has never been officially acknowledged.]

And the lamb lies down on Broadway.

Nightime's flyers feel their pains.

Drugstore takes down the chains.

Metal motion comes in bursts,

But the gas station can quench that thirst.

Suspension cracked on unmade road

The trucker's eyes read 'Overload'

Enough of this -- our hero is moving up the subway stairs into day- light. Beneath his leather jacket he holds a spray gun which has left the message R-A-E-L in big letters on the wall leading underground. It may not mean much to you but to Rael it is part of the process going towards 'making a name for yourself.' When you're not even a pure-bred Puerto Rican the going gets tough and the tough gets going.

And out of the subway, Rael Imperial Aerosol Kid Exits into daylight, spraygun hid,

With casual sideways glances along the wet street, he checks the motion in the steam to look for potential obstruction. Seeing none, he strides along the sidewalk, past the drugstore with iron guard being removed to reveal the smile of the toothpaste girl, past the nightladies and past Patrolman Frank Leonowich (48, married, two kids) who stands in the doorway of the wig-store. Patrolman Leonowich looks at Rael in much the same way that other Patrolmen look at him, and Rael only just hides that he is hiding something. Meanwhile from out of the steam a lamb lies down. This lamb has nothing whatsoever to do with Rael, or any other lamb -- it just lies down on Broadway.

And the lamb lies down on Broadway.

The lamb seems right out of place,

Yet the Broadway street scene finds a focus in its face.

Somehow it's lying there,

Brings a stillness to the air.

Though man-made light,

at night is very bright,

There's no whitewash victim, As the neons dim, to the coat of white.

Rael Imperial Aerosol Kid,

Wipes his gun -- he's forgotten what he did,

And the lamb lies down on Broadway.

Suzanne tired her work all done,

Thinks money -- honey -- be on -- neon.

[This may be a reference to the somewhat popular song entitled "Suzanne" by Leonard Cohen, 1966. The song "Suzanne" is about waking up and/or realization, which certainly parallels the "Lamb" epic. In the lyrics to Suzanne, it is obvious that her work is all done. Here's a sampling of the lyrics: "And you want to travel with her, and you want to travel blind, For she's touched your perfect body with her mind. "Now Jesus was a sailor when he walked upon the water, and he spent a long time watching from his lonely wooden tower, and when he knew for certain that only drowning men could see him, he said all men will be sailors then until the sea shall free them. But he himself was broken, long before the sky would open. Forsaken, almost human, he sank beneath your wisdom like a stone. "And you want to travel with him, and you want to travel blind, For he's touched your perfect body with his mind. This seemingly makes a tie to the suggestion that there is an undercurrent of Biblical references throughout the "Lamb" lyrics.]

Cabman's velvet glove sounds the horn

[This could be an obscure reference to Andy Warhol, a famous pop artist. He once arrived at at some important event driving a cab and was also very involved with the musical group, Velvet Underground. On another note, it's possible that Suzanne is riding in the cab. It also seems likely that since it is early morning and she is getting off work, that she may be a prostitute. This would encompass the "money" and "honey". Another reader said "I've always thought of it like this: neon signs are the 70's gauche way of attracting attention to what you have to sell, so..."]

And the sawdust king spits out his scorn.

Wonder women draw your blind!

Don't look at me! I'm not your kind.

I'm Rael! Something inside me has just begun,

Lord knows what I have done,

[This line is particularly hard to understand. It may, however, be a clue to what is about to happen to Rael. Has he taken a drug over- dose? Whatever, a possible interpretation of the entire story is that Rael dies in "Fly on a Windshield" and that most of what happens is Rael's spiritual journey through some purgatory. He escapes at the end in "It."]

And the lamb lies down on Broadway. On Broadway --

They say the lights are always bright on Broadway.

They say there's always magic in the air.

[These last two lines are a direct quote from "On Broadway", a classic Drifters song.]

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