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In March 1969, Genesis released their debut album, \u2018From Genesis To Revelation.\u2019 The record gave barely a hint as to what they would become over the next few years.<\/p>\n In March 1969, Genesis released their debut album, \u2018From Genesis To Revelation.\u2019 The record gave barely a hint as to what they would become over the next few years.<\/p>\n
\u201cI have quite a lot of affection for \u2018From Genesis To Revelation\u2019,\u201d recalled Genesis keyboardist Tony Banks in the official band biography, \u2018Genesis: Chapter And Verse,\u2019 \u201cI don\u2019t love it or anything, but it was part of my childhood.\u201d<\/p>\n
Genesis had formed in 1967 while the all members of the original lineup \u2014 Peter Gabriel on vocals, Mike Rutherford on bass and guitar, Anthony Phillips on guitar, Tony Banks on keyboard and drummer Chris Stewart \u2013 were still attending Charterhouse School. The band, all still in their teens, were caught up in the spirit of the day and wanted to pursue music full-time. \u201cAt that stage, pop music was a symbol of the revolution, about to overthrow the establishment,\u201d said Mike Rutherford in the documentary \u2018Genesis: A History.\u2019<\/p>\n
Enter Charthouse alumni Jonathan King who, in 1965, had a Top 20 worldwide hit with \u2018Everyone\u2019s Gone To The Moon.\u2019 Though his own musical career soon stalled, he became a talent agent for Decca Records. The band got a demo tape to King, and in 1968 he signed Genesis to the label. Initially struck by Peter\u2019s voice, King wanted to rename the band Gabriel\u2019s Angels, an idea the band politely vetoed.<\/p>\n
Their debut single, \u2018The Silent Sun\u2019 b\/w \u2018That\u2019s Me\u2019\u00a0 was issued prior to the album, but went nowhere. The song showed a definite influence of early Bee Gees, a favorite of King\u2019s. \u201cI was trying to imitate Robin Gibb, who had the more emotive soulful voice,\u201d said Gabriel in \u2018Genesis:Chapter & Verse.\u2019 Though the baroque-styled pop of that first single sounded like a hit, it failed to chart anywhere. The band forged ahead, recording the album and developing their songwriting style. \u201cFor many musicians it\u2019s all about playing rather than writing,\u201d\u00a0 Gabriel continued. \u201cWhereas for us, writing was the center of it all.\u201d<\/p>\n
The album starts off with the unassuming \u2018Where The Sour Turns To Sweet,\u2019 a gentle piano-based ballad that was also issued as their second single. Acoustic guitars and strings weave in and out as the world first hears the magnificent voice of Peter Gabriel. Brass and percussion adorn the short-but-sweet track, ultimately making a great opener to the album. Things turn upside down as the next song rumbles in. \u2018In The Beginning\u2019 ranks as one of the band\u2019s lost classics and possibly the highlight of the album. It shows the band in a darker light and hints, ever so slightly, at what was to come. Gabriel is in charge here with a more domineering vocal and in general, a more rock and roll approach.<\/p>\n
Aside from the Bee Gees, there are other influences of the era like the Moody Blues, the Byrds, and, of course, the Beatles that all helped to shape the early Genesis sound. \u2018The Serpent,\u2019 originally titled \u2018She Is Beautiful,\u2019 is another high point here that shows small-but-shimmering signs of a more progressive influence at work. \u201cDark night \/ The planets are set \/ Creator prepares for the dawn of man,\u201d sings Gabriel as the ethereal backing vocals entwine with Phillips\u2019 out-of-character biting guitar lines. \u2018In The Wilderness\u2019 is another that should have been a hit. Though never released as a single, it has a vibrancy that reeks of the pop charts of the era. Again, the Bee Gees influence is in full swing, with the incredibly catchy chorus of \u201cMusic \/ All I hear is music\u201d ringing out crystal clear. Another interesting aspect of the album is that it plays like a continuous piece with short musical interludes between the songs, each one based on the theme of the song it follows.![\"\"](\"https:\/\/2026.ikon2023.eu\/wp-content\/uploads\/2014\/12\/genesis-1969-f6f.jpg\")
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\u2018The Conqueror\u2019 is another acoustic guitar driven pop rocker showing a lean towards Moody Blues territory while\u00a0 \u2018In Limbo\u2019 shows off a soul influence. \u2018A Place To Call My Own,\u2019 which ends the album, was originally a long piece more in line with the next steps the band would take, but it was ultimately cut in short form to fit in with the rest of the album. \u201cThe recording was done very quickly,\u201d noted Gabriel, \u201cWe had no real control over the way things sounded, although you can hear where we were starting to explore things melodically.\u201d<\/p>\n
There is a loose-fitting lyrical theme to the album, based on the Bible, with various mythic references popping up throughout. \u201d\u2018From Genesis To Revelation\u2019 was really a composite of the best tracks we had up to that point,\u201d said Banks. \u201cIt felt easier to hide behind a big story\u2026In the early days, we tended to use myths and legends as a way of writing.\u201d<\/p>\n
\u201cThe concept of the album was broad enough to allow us to include all kinds of songs,\u201d added Gabriel.<\/p>\n
The album went on to sell a whopping 650 copies upon its initial release, something Jonathan King takes partial blame for. \u201cI had this brilliant idea to call it \u2018From Genesis To Revelation\u2019, and not have an artist\u2019s name on it,\u201d he said in \u2018Genesis: A History,\u2019 \u201cThis was a terrible mistake! It got bumped into all the religious bins of the record shops and nobody ever heard it.\u201d<\/p>\n
Sadly, to this day, \u2018From Genesis To Revelation\u2019 seems to be most remembered for its lack of sales, which is a real shame as there are many great songs here and makes for a very enjoyable ride from start to finish. Go give it another spin, or perhaps, a first spin and hear what this incredible band\u2019s first steps sounded like.<\/p>\n