November 18, 1974 - The Lamb Lies Down On Broadway
Ten days after my last release, and a year after "Selling England By The Pound", Genesis released their sixth album "The Lamb Lies Down On Broadway" on November 18, 1974. After the huge success of their last album, Genesis decided to make a double album and also wanted it to be a concept album. While the previous album was very British, this one is more American-influenced as the story takes place in New York City. It's centered around main character Rael, a youth living in the city, and his journey of self-discovery, and it is quite the journey as this story plays out over the two records. This whole idea was devised by Peter Gabriel and although normally all members would contribute to all songs, this album saw Gabriel write all the lyrics himself and the rest of the band to write the music. This process alienated Gabriel from the other members and he refused to let anyone else contribute lyrics, which angered everyone else. This is certainly different than the usual Genesis recording procedure, but I'm excited to hear a double album by these guys. Let's dive in!
Side two begins with "Back In N.Y.C." as Rael has a flashback of returning from a gang raid in New York City. This song is carried by some more cool keyboards by Banks as he plays lots of different keyboards, all to great effect, on this album. Gabriel sings with lots of emotion again and I love when he really gets into it. Collins plays some solid drums as well, but once again Banks is the star as he continues to play lots of great stuff. I really like Gabriel's singing in this cool song that has no solos, but is solid the whole way through. Track 8 is called "Hairless Heart" and it begins with trippy background keyboards and a cool acoustic guitar riff. Banks plays a different kind of keyboard to add to the mix, and then takes over the main riff with yet another different keyboard (I'm sorry I'm not an expert, can't tell what is what). They go back and forth between soft acoustic and loud keyboards in this short instrumental that is pretty cool. It leads right into "Counting Out Time" as Gabriel and Collins sing together on this song and it sounds pretty good as they have similar voices. Hackett plays a sweet guitar riff and Rutherford's bass is pretty cool as well. They go pretty heavy in the chorus and this makes for a pretty good rock song. We hear a very weird solo that sounds like some odd synthesizer setting , but it's actually played by Hackett on guitar. It's an unusual tone for sure, but it seems to fit this quirky rock song and I like it. They play one more verse and it slowly segues into "The Carpet Crawlers" which has some really quick keyboards by Banks that sound quite good as he carries the song with his repeated scales. Gabriel sings lightly overtop and he sounds pretty good and I like the phrase "You gotta get in to get out". Collins joins in for the second verse but Banks has not stopped playing his quick riff since they started! Gabriel sings with more emotion in the third verse and everyone has joined in to jam around Banks central riff. Gabriel layers his vocals for a cool effect at the end and this is another song that never jumps out, but is just solid the whole way through. Banks fingers must have been sore after that great performance. The side ends with "The Chamber Of 32 Doors", a place where Rael and all the carpet crawlers cannot escape. It starts with a slow cool guitar riff and crashing cymbals and drums by Collins. Gabriel sings nicely overtop this slow beat as he lets us know in the chorus that Rael needs "someone to believe in, someone to trust". Banks adds some nice piano to this slow riff that sounds quite good and everyone combines really well together for this really great closer to the first record.
Side three begins with "Lilywhite Lilith" and the lyrics are about Lilith, a blind woman who helps to lead Rael out of the chamber of 32 doors. Rutherford plays a mean bass riff that sounds pretty heavy as Banks and Hackett play some good keyboards and guitar. Gabriel sings along to the music well and this song has a pretty nice rock riff, with some solid drums by Collins. It segues into "The Waiting Room" which opens with some trippy keyboards and wind chimes. Hackett joins in with some really trippy guitar noises as Banks continues to play lots of strange stuff on the synths. It's a very eerie part that certainly would fit a drug trip very well! After several minutes of absolute craziness, the song shifts to a more typical structure, as Collins plays some sweet drums to back a cool Banks keyboard riff. He leads the way with some good stuff as Hackett wanders on guitar in the second half of this trippy cool instrumental song. Track 14 is "Anyway" and is led by a wonderful piano riff by Banks. Gabriel sings quickly along and sounds pretty great as usual. Banks piano is just amazing, and he somehow steps it up with a really fast riff paired with a nice heavy build-up by the rest of the band. It all leads to a pretty sweet Hackett guitar solo and it was a really nice movement overall, as they return for another piano-led verse. This leads right into the next song "Here Comes The Supernatural Anaesthetist". Gabriel sings a bit oddly, but not for long as we hear some acoustic guitar by Hackett. He switches to electric for a pretty cool little solo with Banks backing with some nice keyboards. Hackett really takes off and plays some great stuff in this mostly instrumental song. Track 16 is called "The Lamia" and Banks plays some beautiful piano and also adds some cool synths to this nice opening. Gabriel sings about the lamia, which are beautiful mermaid-like creatures, but with snake tails instead of a fin. The lyrics tell of Rael having sex with the lamia, but they all die after drinking his blood. Banks plays some epic keyboards to back Gabriel's singing and it quiets down and returns to the first part with Banks back playing more beautiful piano. They play another verse and then we hear a pretty good guitar solo by Hackett. He plays a slow, but cool solo that takes it to the end of the song. This side ends with "Silent Sorrow In Empty Boats", an instrumental that gets it's name from a line in the last song. It has some epic-sounding wordless vocals and is led by a slow guitar riff. This riff carries the song as we hear some cool, trippy keyboards throughout this short song that is supposed to convey Rael leaving the lamia pool in an empty boat.
The fourth and final side begins with "The Colony Of Slippermen" which starts with some cool percussion by Collins as well as trippy guitar and keyboards that sound pretty good. It's very much like "The Waiting Room" with lots of weird noises that form a cool, psychedelic beat. A more standard Genesis riff emerges from nowhere as Banks leads the way with cool keyboards. Gabriel sings well as usual, telling us of the horribly deformed Slippermen he sees from his boat. He changes his voice to a kind of sinister, raspy tone to voice the Slippermen as they tell Rael this is what happens to those who sleep with the lamia, and Rael realizes he has become one of them! Banks starts a really great keyboard riff right at this point in the story, and it sounds so amazing! He plays some truly fantastic stuff and Gabriel steps up his singing in the next part as we hear that Rael finds his brother John among the Slippermen. John tells Rael the only way to become human again is to see the doktor and get castrated. They both go to the doctor, who Gabriel has a separate voice for, and wear their removed penises in boxes around their necks. Well if the lamia weren't messed up enough for ya, throw in some castration! What a very odd plot this is that Gabriel developed. Back to the music, Banks lets loose for a full-blown solo on this amazing keyboard and holy cow does that sound great! In the next verse we learn after leaving, a raven steals Rael's box and he abandons John to chase after it. The raven leads him on a chase and Rael watches it drop the box in a ravine. It's quite amazing I think that Gabriel can tell this whole story, in particular this song, in such detail while also making it flow so well as a song. An odd one indeed, but a masterpiece of storytelling, as well as some master-class keyboard playing. Banks plays a ton of great stuff in this 8-minute song that is one of many favourites I have so far. Up next is "Ravine", a short instrumental song with some trippy, whistling keyboards and an echo-y guitar riff. A weird little interlude that brings us to the next song, "The Light Dies Down On Broadway". While following the ravine, some sort of portal opens up where Rael can see back home to Broadway. The music is similar to the opening song of the album, but it's toned down a little, much quieter and slower than before, but still with cool keyboards by Banks. Gabriel continues to sing his story well, as we hear that Rael sees John struggling in the water and he must decide whether to go back home or save his brother. He jumps in the water to save John as the portal closes. The song ends with Gabriel on flute and Banks on more trippy keyboards that segue right into "Riding The Scree". It opens with some really excellent keyboards, and Tony Banks is doing such a great job this album! He leads this song with what's pretty much an extended solo and it all sounds fantastic! Words don't do justice, give it a listen! Rael tries to save John and I like the line "evil knievel, you got nothin' on me". Collins adds some great drumming to back Banks and this is yet another fantastic song from this epic story. Track 22 is "In The Rapids" and is led by some slow, epic-sounding guitar by Hackett as Gabriel sings low overtop. His low voice sounds pretty good and the rest of the band form a slow rock riff around Hackett's guitar. Rael pulls John out of the water, but realizes that it's not John's face, it's his own! This realization leads to the final song of the album "It", and Banks kicks off on an epic riff right from the get-go and Hackett plays a cool, quick guitar riff as well. Rutherford's bass is sweet too, and with Collins quick drumming everyone is rockin' out! Gabriel's voice sounds great as well as we learn that Rael dissolves and becomes one with everything in a spiritual end to his journey. The whole band continues to play great stuff in this cool rock song as this is certainly a good way to end this double album.
That is the end of "The Lamb Lies Down On Broadway", and I thought it was an excellent album. Peter Gabriel came up with one hell of a story that doesn't make a whole lot of sense, but boy is it an epic tale! It's just this kind of craziness that you would expect from a progressive rock band, especially one making a double, concept album. Gabriel tells his story really well through his lyrics, and we haven't even got to the fantastic music! I thought this album had some of Genesis' best work yet, and if you couldn't tell, I thought Tony Banks did an absolutely phenomenal job. He plays so many different, amazing things on this album and I thoroughly enjoyed most of the 23 songs, with only a couple that didn't have something interesting to offer. But how does it compare to their previous albums? I think this new album goes straight to the top, as I believe it to be their best album yet! Since "Trespass" Genesis have continued to evolve and make lots of great music, and my previous favourite by them was "Foxtrot". I thought that this newest album was a very complete record and contains lots of great songs throughout the album, propelling it to the top of my rankings. Perhaps Genesis have hit their peak, but I hope not!
The album begins with the title track, "The Lamb Lies Down On Broadway" and Tony Banks opens the song with some really good, very quick piano. He switches to some other keyboards that also sound cool and Mike Rutherford plays some sweet bass as well. Gabriel's singing is good as usual and I love the emotion he brings to his voice. They slow it down for another part with some great guitar by Steve Hackett, then bring it back to the solid chorus with a nice drum fill by Phil Collins. The regular verse/chorus sounds wonderful with great contributions from everyone in this fantastic opening song. Track 2 is "Fly On A Windshield" which starts with some slow acoustic guitar and Gabriel singing softly and smoothly. It's a pretty trippy instrumental the rest of the way with some interesting guitar and keyboards leading. Banks plays some cool stuff and Collins adds some some more great drumming. This song leads directly into "Broadway Melody Of 1974" with a heavy guitar-led riff and some cool organ backing. Gabriel sings in a few different voices, as he likes to do for different characters in the story. He's almost rambling as he makes several references to American culture in this odd, but cool little song. It ends with a very peaceful instrumental part that leads right into "Cuckoo Cocoon", another short song led by a cool guitar riff by Hackett as Gabriel's voice sounds pretty good. He sings about being trapped in some sort of cocoon and Banks adds some cool keyboards. Gabriel plays some soft flute that fits the mood of the song well and while it's not flashy, it sounds great. Banks plays some excellent piano in the next verse and it continues as Gabriel plays another short flute bit that moves right into the 8-minute "In The Cage". It begins with slow trippy keyboards by Banks and a nice low voice by Gabriel to start. Banks starts a catchy keyboard riff as Collins steps up the tempo with a cool drum beat. Gabriel sings more normally, and by normal I mean some great higher vocals. It's a great riff that continues for a bit until we hear a nice bass segue by Rutherford. Banks takes off for a keyboard solo that is pretty fucking sweet! The great keyboards (synths I think, but not sure) are amazing, and they continue in a new cool interlude part. Gabriel sings from Rael's perspective, he sees his brother John and cries for help, but he walks away and leaves him. Banks plays some really fantastic stuff and then it's back to the great rockin' riff from the beginning of the song. After some more great music, it seems the song is over, but there's one final minute featuring Gabriel on flute and Banks with some slow, trippy keyboards. It's an interesting bit, but a weird way to end this song, which was otherwise quite amazing! The first side concludes with "The Grand Parade Of Lifeless Packaging" which is led by some slow, stop and start keyboards. Gabriel's voice is a little distorted, but sounds pretty good still. The lyrics describe Rael being taken through a factory where people are being made on production lines, including his brother John. It's a little tough to follow the plot of this crazy story, and this song is a bit of an odd one, but I still think it has some good music.
Side two begins with "Back In N.Y.C." as Rael has a flashback of returning from a gang raid in New York City. This song is carried by some more cool keyboards by Banks as he plays lots of different keyboards, all to great effect, on this album. Gabriel sings with lots of emotion again and I love when he really gets into it. Collins plays some solid drums as well, but once again Banks is the star as he continues to play lots of great stuff. I really like Gabriel's singing in this cool song that has no solos, but is solid the whole way through. Track 8 is called "Hairless Heart" and it begins with trippy background keyboards and a cool acoustic guitar riff. Banks plays a different kind of keyboard to add to the mix, and then takes over the main riff with yet another different keyboard (I'm sorry I'm not an expert, can't tell what is what). They go back and forth between soft acoustic and loud keyboards in this short instrumental that is pretty cool. It leads right into "Counting Out Time" as Gabriel and Collins sing together on this song and it sounds pretty good as they have similar voices. Hackett plays a sweet guitar riff and Rutherford's bass is pretty cool as well. They go pretty heavy in the chorus and this makes for a pretty good rock song. We hear a very weird solo that sounds like some odd synthesizer setting , but it's actually played by Hackett on guitar. It's an unusual tone for sure, but it seems to fit this quirky rock song and I like it. They play one more verse and it slowly segues into "The Carpet Crawlers" which has some really quick keyboards by Banks that sound quite good as he carries the song with his repeated scales. Gabriel sings lightly overtop and he sounds pretty good and I like the phrase "You gotta get in to get out". Collins joins in for the second verse but Banks has not stopped playing his quick riff since they started! Gabriel sings with more emotion in the third verse and everyone has joined in to jam around Banks central riff. Gabriel layers his vocals for a cool effect at the end and this is another song that never jumps out, but is just solid the whole way through. Banks fingers must have been sore after that great performance. The side ends with "The Chamber Of 32 Doors", a place where Rael and all the carpet crawlers cannot escape. It starts with a slow cool guitar riff and crashing cymbals and drums by Collins. Gabriel sings nicely overtop this slow beat as he lets us know in the chorus that Rael needs "someone to believe in, someone to trust". Banks adds some nice piano to this slow riff that sounds quite good and everyone combines really well together for this really great closer to the first record.
Side three begins with "Lilywhite Lilith" and the lyrics are about Lilith, a blind woman who helps to lead Rael out of the chamber of 32 doors. Rutherford plays a mean bass riff that sounds pretty heavy as Banks and Hackett play some good keyboards and guitar. Gabriel sings along to the music well and this song has a pretty nice rock riff, with some solid drums by Collins. It segues into "The Waiting Room" which opens with some trippy keyboards and wind chimes. Hackett joins in with some really trippy guitar noises as Banks continues to play lots of strange stuff on the synths. It's a very eerie part that certainly would fit a drug trip very well! After several minutes of absolute craziness, the song shifts to a more typical structure, as Collins plays some sweet drums to back a cool Banks keyboard riff. He leads the way with some good stuff as Hackett wanders on guitar in the second half of this trippy cool instrumental song. Track 14 is "Anyway" and is led by a wonderful piano riff by Banks. Gabriel sings quickly along and sounds pretty great as usual. Banks piano is just amazing, and he somehow steps it up with a really fast riff paired with a nice heavy build-up by the rest of the band. It all leads to a pretty sweet Hackett guitar solo and it was a really nice movement overall, as they return for another piano-led verse. This leads right into the next song "Here Comes The Supernatural Anaesthetist". Gabriel sings a bit oddly, but not for long as we hear some acoustic guitar by Hackett. He switches to electric for a pretty cool little solo with Banks backing with some nice keyboards. Hackett really takes off and plays some great stuff in this mostly instrumental song. Track 16 is called "The Lamia" and Banks plays some beautiful piano and also adds some cool synths to this nice opening. Gabriel sings about the lamia, which are beautiful mermaid-like creatures, but with snake tails instead of a fin. The lyrics tell of Rael having sex with the lamia, but they all die after drinking his blood. Banks plays some epic keyboards to back Gabriel's singing and it quiets down and returns to the first part with Banks back playing more beautiful piano. They play another verse and then we hear a pretty good guitar solo by Hackett. He plays a slow, but cool solo that takes it to the end of the song. This side ends with "Silent Sorrow In Empty Boats", an instrumental that gets it's name from a line in the last song. It has some epic-sounding wordless vocals and is led by a slow guitar riff. This riff carries the song as we hear some cool, trippy keyboards throughout this short song that is supposed to convey Rael leaving the lamia pool in an empty boat.
The fourth and final side begins with "The Colony Of Slippermen" which starts with some cool percussion by Collins as well as trippy guitar and keyboards that sound pretty good. It's very much like "The Waiting Room" with lots of weird noises that form a cool, psychedelic beat. A more standard Genesis riff emerges from nowhere as Banks leads the way with cool keyboards. Gabriel sings well as usual, telling us of the horribly deformed Slippermen he sees from his boat. He changes his voice to a kind of sinister, raspy tone to voice the Slippermen as they tell Rael this is what happens to those who sleep with the lamia, and Rael realizes he has become one of them! Banks starts a really great keyboard riff right at this point in the story, and it sounds so amazing! He plays some truly fantastic stuff and Gabriel steps up his singing in the next part as we hear that Rael finds his brother John among the Slippermen. John tells Rael the only way to become human again is to see the doktor and get castrated. They both go to the doctor, who Gabriel has a separate voice for, and wear their removed penises in boxes around their necks. Well if the lamia weren't messed up enough for ya, throw in some castration! What a very odd plot this is that Gabriel developed. Back to the music, Banks lets loose for a full-blown solo on this amazing keyboard and holy cow does that sound great! In the next verse we learn after leaving, a raven steals Rael's box and he abandons John to chase after it. The raven leads him on a chase and Rael watches it drop the box in a ravine. It's quite amazing I think that Gabriel can tell this whole story, in particular this song, in such detail while also making it flow so well as a song. An odd one indeed, but a masterpiece of storytelling, as well as some master-class keyboard playing. Banks plays a ton of great stuff in this 8-minute song that is one of many favourites I have so far. Up next is "Ravine", a short instrumental song with some trippy, whistling keyboards and an echo-y guitar riff. A weird little interlude that brings us to the next song, "The Light Dies Down On Broadway". While following the ravine, some sort of portal opens up where Rael can see back home to Broadway. The music is similar to the opening song of the album, but it's toned down a little, much quieter and slower than before, but still with cool keyboards by Banks. Gabriel continues to sing his story well, as we hear that Rael sees John struggling in the water and he must decide whether to go back home or save his brother. He jumps in the water to save John as the portal closes. The song ends with Gabriel on flute and Banks on more trippy keyboards that segue right into "Riding The Scree". It opens with some really excellent keyboards, and Tony Banks is doing such a great job this album! He leads this song with what's pretty much an extended solo and it all sounds fantastic! Words don't do justice, give it a listen! Rael tries to save John and I like the line "evil knievel, you got nothin' on me". Collins adds some great drumming to back Banks and this is yet another fantastic song from this epic story. Track 22 is "In The Rapids" and is led by some slow, epic-sounding guitar by Hackett as Gabriel sings low overtop. His low voice sounds pretty good and the rest of the band form a slow rock riff around Hackett's guitar. Rael pulls John out of the water, but realizes that it's not John's face, it's his own! This realization leads to the final song of the album "It", and Banks kicks off on an epic riff right from the get-go and Hackett plays a cool, quick guitar riff as well. Rutherford's bass is sweet too, and with Collins quick drumming everyone is rockin' out! Gabriel's voice sounds great as well as we learn that Rael dissolves and becomes one with everything in a spiritual end to his journey. The whole band continues to play great stuff in this cool rock song as this is certainly a good way to end this double album.
That is the end of "The Lamb Lies Down On Broadway", and I thought it was an excellent album. Peter Gabriel came up with one hell of a story that doesn't make a whole lot of sense, but boy is it an epic tale! It's just this kind of craziness that you would expect from a progressive rock band, especially one making a double, concept album. Gabriel tells his story really well through his lyrics, and we haven't even got to the fantastic music! I thought this album had some of Genesis' best work yet, and if you couldn't tell, I thought Tony Banks did an absolutely phenomenal job. He plays so many different, amazing things on this album and I thoroughly enjoyed most of the 23 songs, with only a couple that didn't have something interesting to offer. But how does it compare to their previous albums? I think this new album goes straight to the top, as I believe it to be their best album yet! Since "Trespass" Genesis have continued to evolve and make lots of great music, and my previous favourite by them was "Foxtrot". I thought that this newest album was a very complete record and contains lots of great songs throughout the album, propelling it to the top of my rankings. Perhaps Genesis have hit their peak, but I hope not!
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