Book of Revelation Lyrics: Oh let it begin / Let it begin / Let it begin / Oh let it begin / Let it begin / Let it begin / Oh darling / You are the son of an. Lyrics to "Book Of Revelation" song by The Drums: Oh let it begin Let it begin Let it begin Oh darling You are the son of an evil man I know you hat. Oh let it begin. Let it begin. Let it begin [x2] Oh darling. You are the son of an evil man. I know you hate yourself. But you're nothing like him. And it's over now.
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Book of Revelation by The Drums song meaning, lyric interpretation, video and chart position. Lyrics for Book Of Revelation by The Drums. Oh let it begin Let it begin Let it begin Oh let it begin Let it begin Let it begin Oh d. Book Of Revelation This song is by The Drums and appears on the album Portamento (). Oh let it begin, let it begin, let it begin Oh let it begin, let it begin.
Its rather threatening, and potentially troubling, portrayal of female vanity signifies a fear or bemusement around femininity that will permeate lyrics throughout Genesis's career. In what at this stage was likely a hangover from the then-Public School personification of women as an entirely different species to be avoided where possible thus setting up an inevitable counterintuitive curiosity, entirely unrealistic expectations or ingrained reservations , early lyrics often characterise females as figures of preying danger or betrayers of apparently innocent men a spectre inflated to fantastical levels on The Lamb- Phil Collins would later find his own reasons to lyrically angst over such issues.
Yet the pathetic yearning of "Give it up, baby, Honey give it up and come back to me" reveals the real agenda, compounded by the closing hilarity of "Don't take my love away from my arms, Oh no, I need her near me every single day, Please don't take her away, I need my love".
The woman is not so hard and undesirable after all, then- it's just sour grapes. All this makes for a genuinely entertaining and powerful song, but some counselling is surely going to be needed for the protagonist somewhere along the way. Phillips has stated that this contributed to the fragile mental state that would help build to his departure from the band just a year or so after- but it did later gift the world his lovely songs 'Lucy Will' on 's Sides album, and 'Lucy: An Illusion' on 's Private Parts and Pieces II: Back to the Pavilion.
Loving 'She is Beautiful' but failing to see how it could fit the conceptual sequence of From Genesis to Revelation, King appears to have persuaded the band to rewrite the words- while still retaining the female betrayal theme "And god created womankind, The vessel of Satan's hold".
While some of the raw impact of the original is lost, in its new guise 'The Serpent' remains one of the most memorable contributions to the record, full of atmosphere and a suitably dramatic hint of dread to announce the arrival of Devilish influence into Eden. With bass replacing the low piano notes of the original in another rare prominence for Rutherford, and the addition of distinctive clicking drumsticks in a very rare prominence for John Silver, assuming he is playing them replacing the hesitant chords of the bridging sequences, this strings and strums-free track stands out from the rest of the album.
The echoey stick strikes seem disturbing simply for being unexpected, aptly denoting perhaps the sudden presence of an outside force that doesn't quite belong there, while Banks's 'House of the Rising Sun'-style background organ adds an archly melodramatic horror-film feel to enhance the effect. The lyrics are sharp and inventive here, and fruitfully pantomimesque: "Creator made the serpent wise, Evil in his tempting eyes, Man is wonderful, very wonderful, Look at him- Beware the future.
Given the effectiveness of this more literal lyrical interpretation of the album's concept, it's perhaps surprising that such directness is shifted to more nebulous themes from hereon.
Then again, yet more direct Biblical references might have seen the album still filed in the 'Religious' racks today. That expansion, enforced as it may have been, clearly had a long-lasting influence on the direction Genesis would take as the next five years unfolded. The visions would get grander, deeper and darker, while an overtly religious take on good-against-evil would be revisited for 's 'Supper's Ready' just three years later. Remarkably, just before the fade, Phillips unexpectedly breaks into a stand-out riff that will eventually be recycled as the main theme of 'Twilight Alehouse', a song that would soon feature in the band's live sets and finally be recorded during the Foxtrot sessions, although this would not actually surface until its release as the B-side of 'I Know What I Like' in early It's a shame that moments like this were relegated to such fleeting glimpses at this stage, but the band never wasted good potential, sometimes storing riffs and whole passages up for years before calling them into service, as 'Genesis Plays Jackson' available online and on the extras disc of the remasters box set , which contains elements of several future Genesis classics, makes clear.
Following a reflective piano interlude, with a curious melody of spiky notes, it's as if some kind of time portal to Trespass unexpectedly opens up, with twinkling acoustic guitars plucked not strummed set against Gabriel's haunting flute, all making their debut in the Genesis soundscape in what sounds like a lost passage from 'White Mountain'.
Any From Genesis to Revelation doubters should by now be placated that this is very definitely the same group of their later affections. With the serpent's influence, self-doubt seems to be setting in as humankind asks itself whether life in a compulsory paradise is really the way to go. Is an eternal life of automated joy without choices actually freedom? Accordingly, as the chorus flies in, seemingly from another realm, Gabriel's mournful doubts are offset by what appears to be the angelic voice of the happiness machine itself, courtesy of a Phillips vocal, reinforcing the point as it attempts to pacify with syrupy tones: "Today's your birthday friend, everything alright, Let us our greetings to you send, Happy friend, everything all right, We hope your life will never end.
It has to be said that there's something endearingly sweet about Phillips's boyish, imploring and fragile tones here. He reportedly had ambitions to be the singer before giving in to Gabriel's obvious talents. Phillips's delicate voice would mature and find its own niche in his solo years. In general, the band's ensemble vocals, which are something of a feature in the early years not least in the choirboy layers , fade away as the albums go by, especially with the arrival of Collins, whose own obvious talents in the backing vocal department were quickly utilized and would soon begin to dominate, culminating in his seemingly predestined with hindsight elevation after Gabriel's departure.
The tones of the happiness machine clearly still waft down, but people have turned their backs on it: "Music, all I hear is music, Guaranteed to please, And I look for something else".
The minus of this is that they now have no protection against the violence from the likes of the coming conqueror, hinted at with "Fighting enemies with weapons made to kill, Death is easy as a substitute for pride".
There is little else there and no middle eight beyond a brief repeat of the opening arpeggio where Silver manages to throw in a rare big fill without getting snipped out by King before the irrepressible chorus returns. The strings work well here- again sounding uncannily like the Mellotron flourishes that will soon replace them- and make they no apology for their dominance.
Gabriel rises to the task by giving one of his best performances on the album in a voice closer to the harder tones he would soon develop, even if he had to go to desperate measures to achieve it: "It was pitched above my range. You could hear this desperate sort of retching noise as I struggled for the high notes.
I had to keep taking showers, anything to try and keep me awake. As the main song fades, the chorus melody crossfades back in with just Banks on piano, now in a minor key, sounding a sudden note of melancholic doubt, perhaps about the wisdom of choosing wilderness over paradise.
As this itself fades, we have the perfect close to Side One, temporarily closing the narrative to allow for a handy toilet break and a cup of tea in the days when intervals were unavoidable but were made something of.
Turning over a record was on one hand an annoyance, but on the other it offered opportunities for dramatic pauses and creative enterprise the vinyl first side of 's Peter Gabriel II, for instance, plays the old but effective trick of continuing into the run-out groove, the twinkling synths of 'White Shadow's dreamy coda thus looping forever on non-automatic turntables.
The continuity now neatly picked up, the album quickly throws off this melancholia with the bold lower-octave piano stabs fanfaring the arrival of 'The Conqueror'. This piano rundown as with the 'She is Beautiful' demo provides the main backbone of the whole track, which, like 'In the Wilderness' before it, sticks to a solid verse-chorus cycle with no variation or middle eights until the final stop and restart of the coda.
What the song lacks in variety it makes up for in spirit, with its breezy upbeat insistency providing one of the dancier moments of the album- not an opportunity Genesis would provide too often, even in their pop years, as famously self-referenced in a much later album title. In some ways 'The Conqueror' is a precedent to the following album's 'The Knife', both lyrically and in its propulsive major key verses.
The approaching Conqueror sounds a lot like the latter's angry protagonist, with his unstoppable idealism and heads rolling in his wake.
Does this version represent the pharaoh that enslaves the Israelites 'In Hiding', which follows, suggests a period of exile , or just one of the myriad psychopathic kings and tribal leaders that seem to infest the Old Testament?
If so, there's a hefty lyrical anachronism here that seems to anticipate the invention of firearms a few thousand years too early: "Hey look out son, There's a gun they're pointing at your pretty face. In reality the conceptual lyrics pretty much go off-piste from hereon, into generalization that might refer to scenes from Exodus and the following biblical books which record tribal wanderings, relationships and conquests, but equally they might not.
By now, the listener probably isn't too concerned about narrative consistency if they've even been following it this far. There is, however, a warning about not taking action against the rise of fascists: "He's bought the castle on the hill, He's bought it just to knock it down, The local power shout him down, They say he's just an empty-headed clown".
For all that, the Conqueror remains firmly on his way and the heads will soon be rolling; which is what usually happens when the rise of tyrants remains unchecked. The relentless verse-chorus cycle finally ends when the song unexpectedly stops for breath nearly three minutes in, leaving just Gabriel's voice, backed by a few sparse chords from Banks, to state rather mysteriously "And the words of love were lying on an empty floor, Just in the place where the Conqueror lay".
The main riff then cranks up again at full pelt, at which point something entirely unexpected occurs- Anthony Phillips gets a guitar solo. There's been a valiant effort throughout the song to make his mark with a continuously squirling top-line on the edge of feedback , underpinning the verses. With no strings or brass to contend with, when the final cycle returns it's as if Phillips seizes what he knows may be a rare opportunity and lets himself go before King can pull down the faders, which happens soon enough but not before the guitarist gets a brief moment of satisfaction.
It's not his best solo, and Phillips sounds as if he's standing in a bathroom a couple of blocks away, but it nonetheless allows for a moment of trippy 60s acid noodling that successfully sustains the slightly anarchic energy of the track until the end.
While it might have been nice to have heard more of this kind of improvisation elsewhere on the record, it's still something. Stand-out solos for the sake of showing off a player's skills were never really part of what Genesis did, for all the group's famed dexterity; the needs of a track and the welfare of the ensemble effect always came first although Steve Hackett might disagree over 'The Cinema Show'.
As such, it could be argued that 'The Conqueror' provides one of only six full electric 'solos' that Phillips ever got to give in his Genesis years, the others being the B-side 'That's Me', elements of the demos 'Build Me a Mountain' and 'Going Out to Get You', and his two big moments in 'The Knife'. His soloing style at this stage- although it can still be heard as late as 's 'The Women Were Watching' on his Invisible Men album- has a high-register wailing style, fascinatingly bending the notes almost to the point of being off-key.
Phillips's full and rich post-Trespass career would eventually give more than enough exposure to his unquestionable musical genius. It's an effective attention-grabber for another softer piece in the standard production style. The very simple backing of piano, acoustic guitar and strings playing in a waltz rhythm, a rare time signature for Genesis, allows room for Gabriel's honeyed vocals to breathe here, as he gives one of his most sensitive performances on the album.
The ensemble chorus of "Pick me up, put me down, Push me in, turn me round, Switch me on, let me go- I have a mind of my own" implies what the character is actually in hiding from. Now escaped from the tyranny of the Conqueror and his "Factories of truth", the verses suggest a time of repose, perhaps of exile, or simply a self-imposed escape to be at one with nature: "I walk among the tall trees, This is beauty I know, I'm in love with it all.
The back-to-nature theme has the feel of a Phillips lyric, but the words were actually written by Gabriel. Musically, 'In Hiding' is a direct re-use of another early demo, 'Patricia', a instrumental first made available on the Archive set, the earliest publicly available recording of Genesis that exists not including the 'Pennsylvania Flickhouse' demo by Charterhouse band Anon.
Mighty oaks would grow from such little acorns. There's an odd moment in the revised song where the words appear to get a little suggestive: "In hiding, I will take off my clothes"- but this is then qualified by the line " This facial undressing appears to come full circle from the rather peculiar instruction of 'Where the Sour Turns to Sweet' to "Paint your face all white, To show the peace inside".
Tony and Ant during the recording sessions. Some catharsis is achieved, to be fair, when the band suddenly pause to play the reboot trick again, at which point Banks strikes up a sunny piano arpeggio to introduce the main song. Another strong chorus is then pulled out of the hat as further compensation, with its memorable brass fanfares complimenting the vocals and with the choirboy backing to the fore. The consistently high quality of the album's choruses, never failing to hook, is one of the more impressive features of From Genesis to Revelation, and at no point is there a feeling of being cheated in this department.
Even so, there's a growing sense that by now we've pretty much heard everything the album is going to offer, with no avant-garde instrumental jams and barely any minor key moodiness left to offset the sugariness, while the repeated resort to simple verse-chorus structure, adhered to yet again here, starts to feel like a lack of ambition. With the songs not appearing to have been written in order, this dearth of variety suggests a flaw in King's sequencing of the album rather than a deficiency of the writers.
Lyrical plans to "fly away" with a lover to "the kingdom of my dreams", after perhaps over-cutely gaining advice from birds, cherry trees and animals, suggest an unrequited fantasy love, rather than anything too real. This is a universe away from 's 'Please Don't Ask'. But the nature theme of 'One Day' holds continuity with 'In Hiding' even if any sense of a story has now blurred into extreme vagueness, perhaps another sign of production weariness setting in and someone simply saying "that one will go into the sequence fine there".
The same riff will be recycled on Hammond organ for 'Visions of Angels' just a year later. What this piano interlude lacks in playing accuracy, with one stark bum note, it makes up for with jauntiness.
Sadly, the promise of a new mood to refresh the crucial two-thirds point of the album isn't fulfilled, and instead we get 'Window'.
No, it was all good we let it all go over our heads in a way, but it was great publicity. We were on that show every week because they played the clip and we were on it performing. Between and the band had great success; do you have a standout moment from that time?
It was great to go to places like that and play our music in front of music loving people. It was fantastic. After four studio albums, Reef disbanded in Why did you all choose to call time on the band? We had just had enough.
I think Dominic Greensmith our drummer left about six months previous and we already had a tour booked in Japan, so we got a stand-in drummer who was cool.
To find the love of music again was vital for me because I love music so much. The band reformed in and In Jesse Wood replaced original guitarist Kenwyn House after he amicably left the group.
How did Jesse fit in with the band dynamic? Its just shaken things up a bit and he works really well with George Drakoulias. The suffering of the World and the innocence lost. The album takes a turn slowing in pace but not intensity with the next song, Falling.
Wonderful vocals and guitar solos stand out here as you could sometimes be reminiscent of David Gilmour at times. Impending doom seems certain yet gives complete hope to the masses of people with the lyrics here as the story continues.
Liars, is a powerful track throughout and a fan favorite. You will really see here all of the talent of the musicians in the band here with rolling swirling keyboard solos from Chelsea, and sweet guitar work from Graeme. Tom Bender throws his voice into high gear on this number. The tight rhythm on bass and drums are superb.
I've decided not to review every track. I would not want to spoil the album before you download it and hear it for yourself. However, I will tell you what is to come. The story continues on taking you with them in the vision of the end of days. Millennium, the next song has so much feeling which makes the listener sad for the past world but shows hope and promise of the beginning of the future arrival of the new coming glory. This song is reminiscent of the bands Genesis or Shadow Gallery.
Tom Bender sings his heart out here and you feel the emotion in his voice. Harmonies abound on this track. All I can say is it is delightful listen.
If a tear comes to your eyes or you get a chill down your spine, you will when you hear this composition. This song both dramatic and emotional is I dare say even like the master writer himself, Neal Morse. Finally, the theme comes flooding back as in the beginning on the song, Delivered. Hope and faith are the message here.