Given all the overt literary references
of Selling
England by the Pound, along with their taste for epic suites such as
"Supper's Ready," it was only a matter of time before Genesis attempted a
full-fledged concept album, and 1974's The
Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding
story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made
some tentative moves toward developing this story into a movie with William
Friedkin but it never took off, perhaps it's just as well; even with the lengthy
libretto included with the album, the story never makes sense. But just because
the story is rather impenetrable doesn't mean that the album is as well,
because it is a forceful, imaginative piece of work that showcases the original
Genesis lineup at a
peak. Even if the story is rather hard to piece together, the album is set up in
a remarkable fashion, with the first LP being devoted to pop-oriented rock songs
and the second being largely devoted to instrumentals. This means that The
Lamb Lies Down on Broadway contains both Genesis' most immediate
music to date and its most elliptical. Depending on a listener's taste, they may
gravitate toward the first LP with its tight collection of ten rock songs, or
the nightmarish landscapes of the second, where Rael descends into darkness and
ultimately redemption (or so it would seem), but there's little question that
the first album is far more direct than the second and it contains a number of
masterpieces, from the opening fanfare of the title song to the surging "In the
Cage," from the frightening "Back in NYC" to the soothing conclusion "The Carpet
Crawlers." In retrospect, this first LP plays a bit more like the first Gabriel solo album than
the final Genesis
album, but there's also little question that the band helps form and shape this
music (with Brian
Eno adding extra coloring on occasion), while Genesis shines as a
group shines on the impressionistic second half. In every way, it's a
considerable, lasting achievement and it's little wonder that Peter Gabriel had
to leave the band after this record: they had gone as far as they could go
together, and could never top this extraordinary album.
Released
18 November 1974
Recorded
August–October 1974at Island Mobile Studios, Wales
Length
94:22
Label:
Charisma, Atco
Producer:
John Burns and Genesis
------------------------
By Hornell Fred
The Lamb Lies Down on Broadway is the single greatest accomplishment of progressive rock. The only way to review it is to do it in 4 sides, because that's the way it was written. Peter Gabriel or the band never even got close to playing music like this again. They peaked in 1973, we just didn't know it at the time.
------------------------
By Hornell Fred
The Lamb Lies Down on Broadway is the single greatest accomplishment of progressive rock. The only way to review it is to do it in 4 sides, because that's the way it was written. Peter Gabriel or the band never even got close to playing music like this again. They peaked in 1973, we just didn't know it at the time.
Side One starts with the title track, one of their most famous songs. Cuts 4 and 5, "Cuckoo Coccon" and "In The Cage" are as good as it gets folks. The keyboards by Tony Banks on cage along with Phil Collins on drums: WOW. Brings me back to the first time I ever heard it and then I knew what music was supposed to sound like. "The Grand Parade of Lifeless Packaging" is an underrated song, Phil Collins is the best drummer in prog rock and proves it here.
Side Two starts with "Back in NYC" and is the one song on this that I seen Peter perform live. "No time for romantic escape. When your fluffy heart is ready for rape. No" Steve Hackett is featured on the "Hairless Heart" a great piece of music and it goes right into "Counting Out Time" a fun song that sounds like a lot of Peter songs to come. "The Carpet Crawlers" and "The Chamber of 32 Doors" finish off side two in grand fashion. Two incredible songs both musically and vocally. This was a great side of an album and probably the worst of the 4. That's how good this masterpiece is.
Side Three is the most progressive of the album and starts with "Lilywhite Lilith" and she gonna lead you right. A wonderful piece of music, with both Peter and Phil adding vocals. Every time I listen to this CD I am amazed at the skill of these musicians. Especially Phil Collins, this music is not possible without him, he is just so damn good. "The Waiting Room" is a strange number and one that CD reproduces better than vinyl or tape. "Anyway" and "The Supernatural Anaesthetist" keep the story moving and the side ends with the classic "The Lamia" one of the best songs ever written by Peter Gabriel, and then "Silent Sorrow in Empty Boats."
Side Four is my favorite side of the album and starts with "The Colony of Slippermen" my favorite song on the album. "Don't delay, dock the dick": Ouch! "Ravine" is another instrumental that features some nice acoustic guitar from Steve. "The Light Dies Down on Broadway" continues the title track, though Rael is now in a lot rougher shape. "Riding The Scree" has some great keyboards from Tony and great guitar work from Steve on "In the Rapids." The last number is "It" with great guitar and vocals. "It is warm, just watch it grow." It is great.
Summary: This is it, the single greatest album in Progressive rock history. It is everything progressive music should be and when it came out it was one of a kind. There was nothing like it and it's never been topped. From the title track to "It." There are a few weak instrumental parts that were used in the stage shows for Peter to change costumes. Even those are 5 star in my book. "It's only knock and knowall but I like it."
Side Two starts with "Back in NYC" and is the one song on this that I seen Peter perform live. "No time for romantic escape. When your fluffy heart is ready for rape. No" Steve Hackett is featured on the "Hairless Heart" a great piece of music and it goes right into "Counting Out Time" a fun song that sounds like a lot of Peter songs to come. "The Carpet Crawlers" and "The Chamber of 32 Doors" finish off side two in grand fashion. Two incredible songs both musically and vocally. This was a great side of an album and probably the worst of the 4. That's how good this masterpiece is.
Side Three is the most progressive of the album and starts with "Lilywhite Lilith" and she gonna lead you right. A wonderful piece of music, with both Peter and Phil adding vocals. Every time I listen to this CD I am amazed at the skill of these musicians. Especially Phil Collins, this music is not possible without him, he is just so damn good. "The Waiting Room" is a strange number and one that CD reproduces better than vinyl or tape. "Anyway" and "The Supernatural Anaesthetist" keep the story moving and the side ends with the classic "The Lamia" one of the best songs ever written by Peter Gabriel, and then "Silent Sorrow in Empty Boats."
Side Four is my favorite side of the album and starts with "The Colony of Slippermen" my favorite song on the album. "Don't delay, dock the dick": Ouch! "Ravine" is another instrumental that features some nice acoustic guitar from Steve. "The Light Dies Down on Broadway" continues the title track, though Rael is now in a lot rougher shape. "Riding The Scree" has some great keyboards from Tony and great guitar work from Steve on "In the Rapids." The last number is "It" with great guitar and vocals. "It is warm, just watch it grow." It is great.
Summary: This is it, the single greatest album in Progressive rock history. It is everything progressive music should be and when it came out it was one of a kind. There was nothing like it and it's never been topped. From the title track to "It." There are a few weak instrumental parts that were used in the stage shows for Peter to change costumes. Even those are 5 star in my book. "It's only knock and knowall but I like it."
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