“Genesis and the Third Verse” is a lesser-known track by Lou Christie, released in 1968 as a 7-inch single on Buddah Records, with “Rake Up the Leaves” as its B-side. The song, clocking in at approximately 3:57, marks a departure from Christie’s earlier pop hits like “Lightnin’ Strikes” (1966) and “Two Faces Have I” (1963), embracing a blend of blue-eyed soul, psychedelic pop, and bubblegum influences. Written by Christie and his long-time collaborator Twyla Herbert, the track features his signature falsetto and a distinctive arrangement that incorporates fuzz guitar and Beatles-esque trumpet flourishes, reflecting the experimental sounds of the late 1960s. While it did not achieve significant chart success, the song is part of Christie’s adventurous Buddah Records era, later compiled in the 1992 collection Glory River: The Buddah Years 1968–1972. Its unique sound and introspective lyrics make it a notable entry in Christie’s discography, showcasing his willingness to push beyond mainstream pop conventions.
---> Scroll down for the VIDEO
Reasons Behind the Song’s Creation
By 1968, Lou Christie was navigating a transitional phase in his career. After achieving fame with MGM Records through hits like “Lightnin’ Strikes” and “Rhapsody in the Rain,” he faced challenges with subsequent singles that failed to chart, leading to his departure from MGM. A brief, unproductive stint with Columbia Records in 1967, where the label pushed him toward a “beach party” persona akin to Frankie Avalon, left Christie disillusioned with industry expectations. His move to Buddah Records in 1968, facilitated by manager Stan Polley and bubblegum music producer Tony Romeo, offered a fresh start. Buddah, known for its eclectic roster and bubblegum pop hits, provided Christie with creative freedom to explore new sounds, aligning with the era’s psychedelic and experimental trends.
The creation of “Genesis and the Third Verse” was influenced by Christie’s desire to evolve as an artist and respond to the changing musical landscape. The late 1960s saw pop music diversifying, with artists like The Beatles and The Beach Boys incorporating psychedelic elements and introspective themes into their work. Christie, who had always been a versatile songwriter alongside Twyla Herbert, sought to blend his soulful falsetto with these contemporary influences. The song’s title and lyrical content suggest an ambition to tackle weightier themes, possibly inspired by the cultural fascination with spirituality, mysticism, and social change during the era. Herbert’s classical music background likely contributed to the song’s ambitious arrangement, while Christie’s Pittsburgh roots and personal experiences informed its emotional depth.
---> Scroll down for the VIDEO
The choice to release “Genesis and the Third Verse” as a single reflects Buddah’s willingness to take risks with Christie’s material, even if it diverged from the commercial formula of his earlier hits. The song’s production, featuring psychedelic touches like fuzz guitar and orchestral flourishes, was a nod to the era’s studio experimentation, akin to works by The Four Seasons or The Monkees. However, its lack of chart success may be attributed to Buddah’s focus on promoting Christie’s later 1969 hit “I’m Gonna Make You Mine,” written by Tony Romeo, which better captured the label’s bubblegum pop aesthetic. Despite its commercial oversight, the song represents Christie’s artistic growth and his attempt to carve out a unique space in a competitive industry, as noted in reviews of Glory River: The Buddah Years 1968–1972, which praise its adventurous spirit.
Content Conveyed Through the Song
“Genesis and the Third Verse” is a complex and evocative track that blends introspective lyricism with a psychedelic pop framework, creating a soundscape that feels both personal and expansive. The song’s title suggests a reference to the Book of Genesis, hinting at themes of creation, spirituality, or a new beginning, though the lyrics are abstract enough to invite multiple interpretations. Christie’s vocal performance, marked by his soaring falsetto and emotive delivery, serves as the emotional anchor, conveying a sense of searching or longing that resonates with the countercultural ethos of the late 1960s.
Lyrically, the song appears to explore the tension between personal identity and external expectations, a theme that aligns with Christie’s own career struggles during this period. While the exact lyrics are not widely documented, analyses of the song describe it as combining “Frankie Valli-like blue-eyed soul” with “psychedelic touches,” suggesting a narrative that oscillates between soulful introspection and experimental imagery. The mention of “Genesis” in the title may symbolize a fresh start or a return to one’s roots, possibly reflecting Christie’s attempt to redefine himself artistically after his MGM and Columbia setbacks. The “Third Verse” could imply a continuation or evolution of a story, perhaps alluding to the next chapter in his musical journey.
Musically, the track is distinctive for its fusion of genres. The fuzz guitar, a hallmark of 1960s psychedelic rock, adds a gritty edge, while the trumpet flourishes evoke The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band or Magical Mystery Tour, albums that redefined pop music’s possibilities. These elements create a layered, almost cinematic quality, amplifying the song’s emotional stakes. Christie’s falsetto, which shifts effortlessly between smooth crooning and high-pitched wails, imbues the track with a sense of urgency and vulnerability. This vocal versatility, a hallmark of his style since “The Gypsy Cried” (1962), allows him to convey complex emotions, from hope to disillusionment, within the song’s relatively short runtime.
Thematically, “Genesis and the Third Verse” taps into the late 1960s’ fascination with spirituality and self-discovery. The era was marked by a surge in interest in Eastern mysticism, existential philosophy, and alternative religions, as seen in the works of artists like Donovan or The Moody Blues. While Christie’s song is less overtly mystical than, say, “She Sold Me Magic” (1969), its title and abstract lyrics suggest a contemplation of life’s deeper questions. The song may also reflect Christie’s personal experiences, including his frustration with the music industry’s attempts to mold him into a teen idol or actor, as noted during his Columbia tenure. His collaboration with Twyla Herbert, a classically trained musician whose influence often brought a sophisticated edge to his work, likely shaped the song’s ambitious scope, blending pop accessibility with art-rock experimentation.
The production, likely overseen by Buddah’s in-house team and influenced by Tony Romeo’s bubblegum expertise, balances commercial appeal with artistic risk. The use of fuzz guitar and orchestral elements creates a dynamic contrast to Christie’s soulful vocals, mirroring the era’s push toward genre-blending. The song’s structure, while not as unconventional as some of Christie’s earlier hits like “Lightnin’ Strikes,” incorporates enough variation to keep listeners engaged, with shifts in tempo and texture that underscore its thematic depth. This approach aligns with Christie’s reputation as a singer-songwriter who wrote much of his own material, infusing his work with a personal touch that set him apart from many pop acts of the time.
Culturally, the song captures the spirit of 1968—a year of social upheaval, political unrest, and artistic innovation. The Vietnam War, civil rights struggles, and the assassinations of Martin Luther King Jr. and Robert F. Kennedy created a backdrop of uncertainty, prompting artists to explore introspective and experimental themes. While “Genesis and the Third Verse” is not explicitly political, its reflective tone and spiritual undertones resonate with the era’s search for meaning. For Christie, the song may have been a way to reclaim his artistic identity after years of industry meddling, as he later expressed frustration with the constant pressure to conform to commercial expectations.
The song’s inclusion in Glory River: The Buddah Years 1968–1972 highlights its significance within Christie’s oeuvre, even if it remained underappreciated during its initial release. Reviews of the compilation praise its “adventurous” quality, noting how it combines Christie’s soulful roots with psychedelic and bubblegum influences to create something “more than just failed pop-chart fodder.” For fans, the track offers a glimpse into Christie’s creative evolution, showcasing his ability to adapt to new trends while retaining the emotional intensity that defined his earlier work. Its relative obscurity only adds to its allure, making it a hidden gem for those exploring the breadth of his Buddah-era output.