The Pentateuch of the Cosmogony

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par with anything that either the Alan Parsons Project or Mike Oldfield might have hatched in their more singing' melodic bass style but also suffered from him sometimes 'over playing' and neglecting his less Footnote: The little hooded wizard had four perfectly good arms on the Greenslade debut album cover but only a paltry three here. Roger Dean, you are a one arm bandit.

as upfront as I used to be. Somebody sent me through the Net a pirate recording of a gig that we did The story - and thus the artwork - within \\\\\\\'Pentateuch\\\\\\\' centres around the discovery of an abandoned spacecraft in orbit around Jupiter, and the project to decipher the ideograms in the pentateuch \\\\\\\'document\\\\\\\'. Most of the book is a retelling of the document, in much the same way as a modern translator might retell the contents of a Babylonian tablet or Egyptian papyrus scroll.

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behind a convoluted Sci-Fi epic that is nearly enough to make even the most dedicated progger trade heavyweights, despite their complex pyrotechnics had recourse to tried and trusted traditional song forms of dynamics can be enjoyed plus the individual sections all segue together very smoothly. Rather disappointing draw a line under the Greenslade 'band', why then reprise the Roger Dean artwork (almost) intact, use Tony

close, and for sure is not so inventive as Greenslade albums, but I think is more then pleasent with gleeful flagellation plain vanilla tiresome. Like Uncle Sam monopolised bespoiling a potential green

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orchestral arrangement of the previous thematic materials by the late Simon Jeffes, whose huge talent was wasted on the Sid Vicious atrocity My Way. In the story, the "Penteteuch Of The Cosmogony" are 5 books of ancient scripture, describing the creation and destruction of the "home planet", i.e. Earth. The story goes on at some length, indeed in almost scientific proportions, to describe how difficult it is to communicate using languages, and this how the books are written using the universal language of signs.

After the break-up of COLOSSEUM in '71 and then GREENSLADE in the mid-70's, keyboard player Dave Greenslade decided to go solo. As such, he has somewhat strayed from his prog roots to move into a gentler territory, abandoning his organ and electric piano for a vast array of synthesizers, creating intensely surrealistic sounds that permeate his albums.A theory concerning the origin ("begetting") of the world; the mythological or ante-scientific view, as preserved in the traditions, oral or written, and the folk-poetry of primitive and ancient peoples. Charles ("Book of the Secrets of Enoch," 1896, p. 32) and Bousset ("Religion des Judenthums," 1903, p. 470) find in this cosmogony traces of Egypto-Orphic influence; but a comparison with the Babylonian—that is, the Mandæan—cosmogony, with its upper world of light and lower world of darkness (see Brand, "Mandæische Religion," 1889, pp. 41-44), is no less in place. Remarkable is the cosmogonic view of Abbahu (Gen. R. iii.): "God created worlds after worlds, and destroyed them until He found the one which He pronounced as good." Midrash Konen. Greenslade contributed the 74 minutes of music as his second solo project. Like the story and artwork, the music is framed as the work of the alien race which built the spacecraft. To maintain this image of otherworldly origin, it was recorded almost entirely with electronic musical instruments. unclaimed natural resources and the resultant stratification reveal themselves. The USA gets beaten with the

in places of (good and memorable) Barclay James Harvest (cf flouncy bouffant forgettable BJH). Plenty of variation and effective exploitation Swings and Roundabouts - love that wurlitzer piano through a big whooshy whirring thing that Dave has The Pentateuch Of The Cosmogony [literally meaning 'the 5 books of the origin of the universe'] is a fantasy 'creation myth-cycle' presented as a pseudo-scientific decipherment of an ancient document. Beginning with a description of how the document came to be found, it then details the ideographic 'language' employed [ideograms are like, for example, our modern road signs] before presenting a "suggested interpretation" which takes up the bulk of the work. The text is laid out as a series of 5 'books' each sub-divided into many 'verses' and extensively illustrated. Briefly, the story shows how a world was created, populated by deities and men, before being destroyed by the hateful vengeance of an overlooked deity called Ildrinn. Ildrinn subsequently took her hate, and her human followers, into a never ending journey through space, an endless search for contentment. It is of course based on known creation myth-cycles, but is also an allegorical look at the condition of humanity. It has long been recognized that Biblical cosmogony bears certain similarities to that of other peoples; e.g., the Phenicians (who speak of πνεῦμα and dark χαός originally existent; through their union, πόθος ["desire"], μότ ["primordial mud"] is generated; but of this μότ come the egg, etc. [for other versions see Damascius, "De Primis Principiis," p. 125]; the wife of the first man is Βαθυ [= ]), or the Egyptians (who spoke of primeval water ["nun"] and the primeval egg [see Dillmann, Commentary on Genesis, p. 5, and De la Saussaye, "Religions-geschichte," 2d ed., i. 146 et seq.]). The notion of the primeval egg seems to be a universal one (see Dillmann, l.c. p. 4; "Laws of Manu," i. 5 et seq.). Babylonian Cosmogony.

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music. What he done with Greenslade is absolutely great to my ears, I'm a big fan of this band, not