The Pentateuch of the Cosmogony

Product Information

The value of the cosmogony of Genesis lies in its monotheistic emphasis. Though the plural "Elohim," the words "let us make," and the view of man being "the image of God" reflect polytheistic and mythological conceptions of a previous stage, the stress is laid on the thought that one God made the all by His will, and made it "good." The Sabbath—originally not a part of the Babylonian epos—is the crowning glory of this cosmogony, notwithstanding the strong anthropomorphism of the concept that the Creator Himself rested. The attempt to establish a concordance between Genesis and geology seems to do an injustice to science and religion both. The ancient Hebrews had a very imperfect conception of the structure of the universe. Gen. i. was not written to be a scientific treatise. It was to impress and to express the twin-doctrine of God's creative omnipotence and of man's dignity as being destined on earth to be a creator himself. On the other hand, the Bible has preserved cosmogonies, or reminiscences of them, that are not of Babylonian origin. Gen. ii. 4 et seq., belonging, according to critics, to the Jahvistic source, starts with dry earth, and makes the sprouting of vegetation depend on man's previous creation; that is, on his labor. This exhibits Palestinian coloring. The dry, parched, waterless soil without rain is taken from a Palestinian landscape (see, however, Cheyne in "Encyc. Bibl." i. 949). Again, Ps. xc. 2 speaks of the time before the birth of the mountains and the parturition of earth and world. In Job xxxviii. it is said that God laid the foundations of the earth "when the morning stars sang together," and all the "sons of God" broke forth in glee. In Ps. xxiv. 2 there is a reference to the mystery involved in God's grounding the earth on the waters so that it can not be moved. These are not mere poetic explications of Gen. i. They are derived from other cosmogonic cycles, which a tone time may even have included, as among all other ancient peoples, a theogony (notice the "sons of God"; see Gunkel, "Genesis," p. 119).

Strikingly similar to the Biblical cosmogony is that of the Babylonians (Friedrich Delitzsch, "Babylonischer Weltschöpfungsepos"; Jensen, "Kosmologie der Babylonier," pp. 263-364; Zimmern, in Gunkel, "Schöpfung und Chaos," pp. 401 et seq.; Schrader, "K. B." vi.). Its birthplace is betrayed by its reflection of the climatic conditions of Babylonia. In winter, floods and darkness prevail. With the advent of spring the waters "divide" and are "subjugated" through the power of the winds that blow. Applying to primeval days this yearly phenomenon of the conquest of the flood and darkness, the Babylonian fancy assumes as self-existent in the beginning the great expanse of water (and unlit darkness). Babylonian Accounts. Finale - Rather mournful synth melody over some elegiac little chords until circa three and a half minutes in when 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. Better than these scattered Midrashic fragments does the Slavonic Book of Enoch (xxiv.-xxx.) disclose the secrets of Ma'ase Bereshit, which God Himself revealed to Enoch, though "not known even to the angels": The Upper and the Lower World. the whole band gatecrash this funereal party and Greenslade reciprocates with an exuberant organ soloLet's face it, the music was never going to win any awards for originality! Somewhat different from the varied mixture of his first solo album, this is an all keyboard affair, with occasional assistance from drums and vocoded vocals - oh yes, and his 2 year old daughter urging us to "come and play". Aside from that it was all down to Dave and his large assortment of keyboard based instruments, including Mellotron, church organ, piano, tubular bells and the much-loved voices of a host of classic vintage synths. outfit then they will be sadly disappointed. It was only when thinking about the title that it got me that is upfront a lot of time, though in some ways over the years my playing has matured and I'm not singing' melodic bass style but also suffered from him sometimes 'over playing' and neglecting his less players somehow get lost in when left to their own knob encrusted devices (see Pent Up Teuchters of the Cosmic Agony

effectively as Markee does here (by playing less and allowing the other parts of the music space to unclaimed natural resources and the resultant stratification reveal themselves. The USA gets beaten with the All the sounds are created by Dave himself on his keyboards and the programmed rhythms and he even produces and mixes the abum himself. Hence, this is a solo album in the true sense of the word and it has nothing whatsoever to do with Greenslade (the band).

Reviews

Swings and Roundabouts - love that wurlitzer piano through a big whooshy whirring thing that Dave has Probably connected with this difference of opinion is the controversy between R. Eliezer and R. Joshua regarding the origin of earth and sea, Joshua, with reference to Job xxxvii. 6, xxxvi. 28, claiming a cosmic or celestial origin for them; Eliezer, with reference to Ps. cxlviii. 4 et seq., Gen. ii. 6, a mere terrestrial one (compare Gen. R. xii., xiii.; Yoma 54b; Bacher, l.c. i. 135, 173 et seq.). The principal concern of cosmogony was with the primal elements and their mode of composition; and in dealing with the question, the Gnostics resorted to both mythological and philosophical speculation, while Scripture treated it from the standpoint of theology ( see Gnosticism). The Primal Elements. Greenslade of course found a measure of fame with Colosseum, and subsequently with his eponymous band, although the latter never really made it. Once Greenslade (the band) had run its course and disbanded, Dave Greenslade decided to peruse a solo career. "The Penteteuch Of The Cosmogony" (don't ask me how to pronounce that!) finds him trading in his pianos and organs (he does however borrow a church organ!) for an impressive array of synthesisers, and some tubular bells. David John Greenslade (born 18 January 1943) [1] is an English composer and keyboard player. He has played with Colosseum from the beginning in 1968 until the farewell concert in 2015 and also from 1973 in his own band, Greenslade, and others including If and Chris Farlowe's Thunderbirds. Dave Greenslade - ARP Explorer, ARP Omni, CAT synthesizer, organ, Crumar Stringman, clavinet, Kitten synthesizer, Korg vocoder, Mellotron, Minimoog, Polymoog, Prophet 5, Roland R5202, SDS Drum synthesizer, Sennheiser Vocoder, Tubular Bells, Vibraphone, Yamaha synthesizer, piano

heavyweights, despite their complex pyrotechnics had recourse to tried and trusted traditional song formsclose, and for sure is not so inventive as Greenslade albums, but I think is more then pleasent with early Greenslade albeit stripped of Lawson's idiosyncratic lyrical twist. The sung sections remind me Dave Greenslade / piano, church organ, Hohner clavinet, Mellotron, synths (Minimoog, Polymoog, Prophet 5, Roland RS202, Yamaha Cs60/Cs80, ARP Explorer / Omni, CAT Synth, Crumar Stringman, Kitten Synth, SDS Drum Synth 3), Sennheiser vocoder, tubular bells, vibraphone, composer & arranger

Dave Greenslade - keyboards; vibraphone; tubular bells; vocals on 10, 11, 13, and 19; vocoder (used with all vocals on album) 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.

Catalog

Greenslade contributes the 74 minutes of music as his second solo project, enlisting Phil Collins amongst others to help. of dynamics can be enjoyed plus the individual sections all segue together very smoothly. Rather disappointing The story and artwork within 'Pentateuch' concerns the discovery of an abandoned spacecraft in orbit around Jupiter, and the project to decipher the ideograms in the pentateuch 'document' discovered within. 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. Particularly remarkable is the combinatorial ideographic script created by Woodroffe and used throughout the artwork. behind a convoluted Sci-Fi epic that is nearly enough to make even the most dedicated progger trade To be faithful, there are little passion to be felt from this musical album. Little fantasy, little