It's not the Peter Gabriel-era Genesis we're all familiar with, but the album still works. It's not in the same class as Nursery Cryme, Foxtrot, Selling England, or even Trespass. But once you get past the realization that this album isn't like one of those, or even meant to be, you may find that you really adore it. Keep in mind that they were teenagers, who were still in school, in a band that hadn't even turned professional yet. Certain songs, like "Am I Very Wrong," "In the Wilderness," and "The Conqueror" are really a sign of things to come for Genesis. The thing that really struck me were the lyrics, which was always a Genesis staple. I mean, these guys were around 17-years-old and they wrote such beautiful songs with very meaningful, intricate lyrics. I'm 24 and I can't even fathom writing anything with as much intensity. A lot of critics don't like the strings on this album, but I think on some songs they work. For instance, on "In the Wilderness," the string arrangement really enhances the song's beauty and driving force. I like the version on the box set, but when I hear it, I find I miss the strings. Plus the song fades into a beautiful piano solo and then breaks into "The Conqueror." That's something you won't hear on the box set, and it really makes the two songs one. Pretty clever for a bunch of rank amateurs who had never recorded an album, nevertheless a song before. Give credit to the producer, Jonathan King, for this one. Another highlight of the album is the plush beauty of "The Fireside Song," which is very unique, and a type of song that was never really done again by Genesis. The last song I'll comment on is "A Place to Call My Own," which has a brass section, of french horns and trumpets, mixed with vocals from the band that, whenever I hear it reminds me of the Beatles' "Penny Lane" with the alternate french horn ending, and Oasis' "All Around the World" (reprise). All in all, the album is very listenable and admired by every Genesis fan I know. I've used the word beautiful a lot, and that pretty much sums up the album.

Considering the fact that they were between 16 and 17 years old when they recorded this album, and despite the posthumus addition of strings at every turn this recording holds up. From Genesis To Revelation provides an interesting glimpse at what would come later. Songs like "Am I Very Wrong?" and "In Hiding" serve as pre-cursors to "Stagnation" (Trespass) and 'Musical Box" (Nursery Cryme). Also of note is "One Eyed Hound" with it's Hendrix like guitar, and it's "Counting Out Time"(Lamb Lies Down On Broadway) like humour. Oddly enough this recording is at it's best once you've plumbed the depths of the afformentioned later efforts by Genesis.

From Genesis to Revelation is the end result of the collaboration between the young men from Charterhouse College in Surrey and record producer Jonathan King. Peter Gabriel, Tony Banks, Mike Rutherford and Anthony Phillips were sending demos to King, which included the Bee Gee-ish "Silent Sun," in the hopes that he could advance their careers. King decided they should release an album (a big step in early 1969 when singles usually predominated). Wanting to name the band Genesis (i.e. a "new beginning" in music), King learned there was already an American R&B band with that name, so he did not give the band a name on their first studio album, but gave them a concept of "From Genesis to Revelation" for which to write their music. They were to start the album with "From the Beginning" and go through the history of man through Revelation. Quite an undertaking for such young men with little experience in the music business.

The music on From Genesis to Revelation is raw but very innovative with a lot of variety from the soft peaceful songs like "The Fireside Song" to cute love songs like "One Day" to rockers like "That's Me," "One Eyed Hound," and "In the Beginning" (Gabriel's voice on the latter actually sounds like Ozzy Osbourne's and the dark sound of the track could have even fit on an early Black Sabbath release). The songs are simple with piano and acoustic guitar. King wanted them to release a soft sounding album to set them apart from the prevailing music of the time. A lot of strings and brass are added to the tracks ostensibly to give the songs a fuller sound. According to Armando Gallo's book I Know What I Like, the band members were not very pleased with the addition of strings to their music. Often, they do not blend in well with the music and sound like "add-ons." On this album, Tony Banks really stands out. He was definitely the more accomplished musician of the group in these very early years. His piano in the opening of "In Limbo" is amazing as it is throughout "Where the Sour Turns to Sweet" and parts of "Am I Very Wrong?." I really enjoy this album. The songs are interesting and have a lot of depth. I recommend it to anyone interested in the roots of Genesis or overlooked gems of the 1960s. This album does not have the complex 7-minute plus pieces to which many fans of early Genesis are accustomed (the longest track here is 4:32). It is also nothing like the more commercial music of the Phil Collins era. Although there is supposed to be a concept here, it sounds like a late 1960s singles oriented album. Those buying it to hear another Foxtrot may be disappointed. Keep an opened mind and you'll appreciate these 17 examples of young brilliance.

Their first. This Criminally underated album was how they started off, as an almost Cat Stevens like band. Don't dudge this album by what Genesis became but dudge for what it is-a gentle little album. The music here is so cool, mellow and relaxing. Beautiful-not Genesis, but great...

"From Genesis To Revelation" is the first of a long line of albums from a gifted and talented group of musicians known as Genesis. The music on this CD can be described as a cross between early The Moody Blues and early The Bee Gees. The music on FGTR is easy listening throughout, and has pleasant tracks like "Am I Very Wrong, "The Conquerer", "One Day", "In Hiding", "A Place To Call My Own" and "The Silent Sun", which was Genesis' first single released in Britain. Not bad for a group's first album. FGTR is produced by Johnathan King, who had a hit with "Everyone's Gone To The Moon" in 1965. The members of Genesis at the time of FGTR were students at London's famous Charterhouse School, and graduated soon afterward. Personnel and managerial changes would develop by the time Genesis started work on their second album, "Trespass." FGTR is a nice collection of songs for any Genesis fan to have in their repertoire.