When the World Was Young: Genesis Musical Song 1

Gary Whittaker

When the World Was Young: Scoring the Moment Before Everything Breaks

A creator-first look at Genesis-inspired storytelling, plus practical Suno meta tags you can use today.

Before conflict. Before consequence. Before the story fractures.

Every great narrative begins with a moment of wonder — a space where possibility exists, but nothing has gone wrong yet. That is one of the hardest moments to score in music, especially for AI music creators.

This song, “When the World Was Young,” lives in that fragile space.

It isn’t about rules. It isn’t about punishment. It’s about attention.

Why This Moment Matters for AI Music Creators

When creators score moments of origin — creation stories, beginnings, innocence — they often overproduce them. Too much drama. Too much triumph. Too much certainty.

But beginnings are rarely loud.

  • They’re curious.
  • They’re unfinished.
  • They carry beauty and unease at the same time.

AI music tools are powerful here because they let you explore tone and mood without needing to resolve the story too quickly.

This track was designed to feel like a campfire story — something you lean into, not something that overwhelms you.

AI Meta-Tag Blueprint (From the Song Itself)

If you’re using Suno and want to study or remix this approach, here are the intentional building blocks used in this track.

Genre Tags: Tribal Reggae, Broadway, African Fusion, Jamaican Influence

Mood Tags: Reflective, Curious, Uplifting

Tempo & Structure: 90 BPM • 4/4

Instrumentation Tags: Djembe, Kalimba, Acoustic Guitar, Ensemble Vocals, Shakers, Bass Pulse

Narrative Tags: Creation, Origin Story, Foreshadowing, Mythic Tone, Unseen Threat

Notice what’s not here: no aggression, no urgency, no early climax. That restraint is deliberate.

Faith, Story, and Creative Interpretation

For people of faith, creation stories are often presented as answers.

For artists, creation stories work best as questions.

This musical exists because I wanted to re-approach Genesis not as something to defend, but as something to feel. As a child of the 70s, I grew up with these stories presented as fixed explanations — and later realized that many modern listeners simply don’t experience them that way anymore.

Rather than abandon faith, I chose to re-enter it creatively. If Genesis were introduced through music, rhythm, and emotion — not instruction — what would it sound like?

Creator Prompt (Drop Yours in the Comments)

If you were scoring the creation moment:

  • What genre would you choose?
  • Would it sound ancient, futuristic, peaceful, or uneasy?
  • What instruments feel “pre-civilization” to you?
  • Would your version include a warning — or only wonder?

If you’re a Suno creator, share the tags you’d start with. If you’re coming from a faith background, share the genre you’d use to tell this part of Genesis in a way today’s kids would actually remember.

Listen + Watch (The First Fall)

🎧 Spotify: If the song hits, tap Like and Follow so you don’t miss the next releases from Jack Righteous.

🎬 Suno Playlist (Animated Covers): Watch the cover animations and hear the full 4-song set here:

https://suno.com/playlist/97967ce3-e9ff-47ee-91e5-3750566d5a04

Note: The cover concepts were created in ChatGPT and then animated using Suno’s new “Animate Your Cover” feature.

Where This Series Is Going Next

This article is the first of a four-song arc from the Broadway-inspired AI musical “The First Fall”. Each article features one song, plus creator-ready meta tags and prompts to help you imagine what you would create on the same themes.

  • Article 2: The Enemy — writing songs where the villain has no face
  • Article 3: The Temptation of Eve — writing songs that ask dangerous questions
  • Article 4: Bee Righteous — writing the song of the one who warned

The goal isn’t to argue theology. It’s to bring new life to the story through music — in a way modern listeners can actually connect with.

Question for you: if you could score Genesis as a musical, what genre would Act One be — and why?

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