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The album continued to sell, and reached Gold certification by the British Phonographic Industry on 1 February ,  and Gold by the Recording Industry Association of America for sales in excess of , copies on 20 April Members of the group expressed some concern about the album's critical reception, and expected to receive some negative responses over its concept and extended format.
Gabriel knew the album's concept was ideal for critics "to get their teeth into". Welch wrote, "It sounded superb. Beautiful songs, fascinating lyrics, and sensitive, subtle playing, mixed with humour and harmonies. What more could a Genesis fan desire? She summarised The Lamb as a combination of the "musical proficiency" on Selling England by the Pound with the "grandiose illusions" on Foxtrot and "a culmination of past elements injected with present abilities and future directions".
Charone thought it had more high points than any previous Genesis album, apart from some "few awkward instrumental moments on side three". All members received praise for their performances, including Hackett coming across as a more dominant member of the group with his "frenetic, choppy style", Collins' backup harmony vocals and Rutherford's "thick, foreboding bass chords and gentle acoustics".
Since its release, the album has been met with critical acclaim. In , Nick Kent wrote for New Musical Express that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together".
He says that despite Gabriel's "lengthy libretto " on the sleeve "the story never makes sense", though its music is "forceful, imaginative piece of work that showcases the original Genesis lineup at a peak A Rolling Stone poll to rank readers' favourite progressive rock albums of all time placed The Lamb fifth in the list.
The magazine described it as "one of rock's more elaborate, beguiling and strangely rewarding concept albums". Banks later thought the album's concept the weakest thing about it, though the lyrics to some of the individual songs are "wonderful". Hackett remarked how his guitar was underutilized in comparison to past albums, but thought the album had a lot of beautiful moments and has grown on him over time. In Genesis: Together and Apart , Gabriel stated the album was one of his two high points with the band, along with " Supper's Ready ", Also in that documentary, Collins said the band created their best music on the album.
He also cites it as his favourite Genesis album. The included booklet features the lyrics and story printed on the original LP, though some of the inner sleeve artwork was not reproduced. Genesis supported the album with a date concert tour across North America and Europe,  playing the album in its entirety with one or two older songs usually " Watcher of the Skies " and " The Musical Box " as encores.
It was to begin on 29 October with an date tour of the UK that sold out within four hours of going on sale, but after Hackett crushed a wine glass in his left hand which severed a tendon, and needed time to recover, these dates were rescheduled for The group lost money, for they were unable to recoup deposits they had paid to the venues. The tour featured at the time some of the biggest instruments used by the band, including Rutherford's double-neck Rickenbacker and the largest drum kit ever used by Collins.
The tour's stage show involved three backdrop screens that displayed 1, slides, designed by Geoffrey Shaw, from eight projectors  and a laser lighting display. He changed his appearance with a short haircut and styled facial hair  and dressed as Rael in a leather jacket, T-shirt and jeans. During "The Lamia", he surrounded himself with a spinning cone-like structure decorated with images of snakes.
In the last verse, the cone would collapse to reveal Gabriel wearing a body suit that glowed from lights placed under the stage. For " it. The performance ended with Gabriel vanishing from the stage in a flash of light and a puff of smoke.
In one concert review, the theatrics for "The Musical Box", the show's encore and once the band's stage highlight, was seen as "crude and elementary" compared to the "sublime grandeur" of The Lamb During their stop in Cleveland in November , Gabriel told the band he would leave at the conclusion of the tour.
By August, the news had leaked to the media anyway, and Gabriel wrote a personal statement to the English music press to explain his reasons and his view of his career up to this point; the piece, titled "Out, Angels Out", was printed in several of the major rock music magazines. He was being portrayed as if he was 'the man' and it really wasn't like that.
It was a very difficult thing to accommodate. So it was actually a bit of a relief. No complete performance of the album has been officially released, except for the majority of the band's performance from 24 January at the Shrine Auditorium in Los Angeles, which was released as part of the Genesis Archive —75 box set. The album's reissue features the album with a visual reconstruction of the tour's stage show using the original backdrop slides, audience bootleg footage, and photographs.
From Wikipedia, the free encyclopedia. Progressive rock art rock . John Burns Genesis. The lyrics printed on the sleeve give the correct division between the two tracks. On the back cover it is presented in all caps , the same as all other songs.
Ultimate Classic Rock. Retrieved 2 March New Musical Express. Retrieved 23 April Reissues Interview bonus feature at — Philadelphia Daily News.
Retrieved 23 February — via Newspapers. Retrieved 22 April Melody Maker , 23 November Melody Maker. Retrieved 17 August Retrieved 31 December Archived from the original on 20 October The track itself is pretty good, but it does not achieve to be of the quality found in songs like 'In The Cage'. The next few tracks are mostly instrumental and not very interesting. Riding the Scree is worth talking about though.
IT is a synth-driven piece with flying moog solos in the beginning. AFter so much filler, the album ends in a high note that leaves you satisfied. It is 'It'. The Waiting Room 6. The Light Dies Down on Broadway 8. It is one of the early 70s successful concept albums, and this album influenced greatly Neal Morse. In Gabriel was messing around with film director William Friedkin, which might explain Peter's obsession with writing an epic drama about a young Puerto Rican New Yorker wandering thru the underworld of the megapolis and presumably searching for his true identity or whatever, who cares?!
I must admit I never passed the few first sentences of the album story liner notes because it was soooo boring and pseudo-intellectual text. Musically, however it is a very good effort with almost flawless Disc 1, where "Broadway melody ", "In the Cage" or "Carpet Crawlers" rank among the band's best moments. Disc 2 is much weaker and apart from jolly "The Colony of Slippermen" does not offer many memorable moments.
This album has very dark atmosphere stressed by some horror odd sounds and electronics courtesy of Brian Eno. Gabriel's voice is often stressed and agressive without necessity and in retrospect it is clear that he was giving his last bit of energy to the band before quitting and going solo.
It may sound controversial, but I would still recommend this album not only to the fans, because there is enough musical quality and musicianship.
At least it strives for a quirky surrealism, as opposed to the cheesy sci-fi and heroic fantasy concepts most prog-rock acts go for. And Side One is some of the best Genesis music ever, the pieces flowing together masterfully, reaching a fever pitch with the intense "In The Cage". Still, it's good that they managed to retain their integrity on a project that was probably a mite overambitious.
The Lamb Dies Down on Broadway opens with anxious synths that fade in with the rest of the band. This is where Rael, a Puerto Rican street kid, begins his journey. Instrumental breaks not spectacular, but good lead us to Cuckoo Cocoon, which has some awesome riffing from Hackett. Then the story progresses to In the Cage, which has some nice organ work from Banks and a strong vocal performance from Gabriel. The second half is nothing short of uninspired and contrived.
The story takes bizarre twists at this point, when Rael goes to the Colony of Slippermen and has to be castrated. Overall, one half genious and one half bizarre, this album is often revered as a masterpiece.
While it is quite good, there are better Genesis albums. Returning to the musical view there are at least 2 prog-classics: 'In the cage' and 'The Lamia' and some other songs always remembered: 'Back in NYC', 'Anyway', 'Countig out time', 'Cockoo cocoon' and the beautiful 'The carpet crawlers', probably the most known Gabriel-era song for a non-prog fan. The title-music is also remembered by many. Unlike other people I like Disc 2 although I have to recognize that Disc 1 is better but the distance between both is not so crashing.
Disc 2 contains the classic 'The Lamia' and also 2 other songs I appreciate too much: 'Silent sorrow in empty boats' and the final track 'it'. On the other hand I'll never recommend this album for a Genesis beginner or a prog beginner. This work is for people that 'ate much dust' within the prog-scene. Minus 1-star for the weak songs since this review is musical. Total: 4. After pulling off their brains 4 exquisite pieces of history, Genesis finally stepped into the hall of fame with none of it's members over 25 years old.
Try to beat that! Despite some incredible songs like Carpet Crawlers, Anyway, In the Cage and The Lamia, the thing has the strenght to stand up on it's own legs. The story is although suffering of severe cohesion lacking, whatever that guy Rael's going thru This story is written so fast and Gabriel's ego really went thru the roof, we have proof.
Did he thought he was all that? Who knows. Tony Banks said in the Genesis Songbook: 'I don't know what people's got with the Lamb, I believe we could've done much better This would've made a great single record Come on, when this record's good, it is pure gold.
To me, this shares a lot with Pink Floyd's The Wall: outrageaous talents backstabbing eachother in studio, creating the unhealthy environnement that kills a record. It's just too sad way to say goodbye, but with they did it with a bang. I would like to give a higher rating to this album, but sorry I can't! This is simply an overrated album, period! But sorry The Lamb lies down on Broadway is just not as good as many of those album.
Sure, it is a great addition to any collection, but the feeling is not there anymore, the show is over, this is the end of the track, Gabriel is now preparing his exit I had a hard time deciding between giving 3 or 4 stars to this album actually, I was hesitating between 3. Another question: is this prog anymore? I mean, there clearly are some prog songs there, but where is the feeling, the emotion? I enjoy very much the end of the second side, with lot of emotion, but very often there is some "filling" there and there because the album was made so it could be played theatrically and the musicians had to give some time to Gabriel for changing his costumes.
This is a good album, probably essential if you want to understand how Genesis imploded, but 3. The album starts well, with one of the better songs of the record. But through the course, you get the feeling that Peter Gabriel took over too much, making the music stale.
It appears too much to me like the band is playing background to Gabriel's vision. The term rock opera would apply well here. I sense no beauty in the notes, the feeling I get is one of a forced monotony, almost like the band members are bored to be there.
This seems less Genesis and more Gabriel solo effort. I'm sure that's not a bad thing for some, but for me it sounds all too dull. Perhaps you are aware that I am one of the few here who was never in awe of Genesis's works.
I find many other prog bands far more interesting, in addition to being better songwriters. It seems as though other Genesis's works said more with less, and that's usually a sought after quality in music. This is the story of a guy named Rael Puerto Rican? I don't really care for the story if the music doesn't get me there. All I can say is that the magic this band recreated on previous efforts is slightly forgotten, and the band has fallen in it's own weight.
Of course, the songs are not bad; but this is hardly the Genesis I like, just reworking much on "I Know What I Like", which, whilst is not bad, it's not essencial in understanding what Genesis was about. I guess making a song-by-song review would make a lenghty day for me, so I'll just take the parts of the album I found interesting.
The title track is catchy and memorable, and the piano intro says it all; the chorus is pop oriented and good pop at that. A staple to many post-Gabriel concerts not post- Hackett though. Then we get to the rap called "Broadway Melody Of ", which has thumping rhythm and interesting spoken lyrics by Gabriel in the same way he did in "Epping Forest". Cuckoo Cocoon is very mellow, and contains simple yet complementaty flute notes over some keyboard arpeggios.
Then "Hairless Heart" is again simplistic but with the Genesis' feel of previous albums. The rest of the album contains the most inspiring songs, starting from "The Colony Of Slippermen", through the amazing Banks' showcase yet again in "Riding The Scree" and the melancholic "In The Rapids". I'm more fond of the second disc because it's more filled with that Genesis vibe that was predominant on "Foxtrot" and "Selling England". But in the wholesome, the production here appears to be rushed and some things were done for the sake of making a double album.
Even so, the story appears sort of incomplete and uneven, despite the length. Who has never sung along with 'Counting Out Time'? And who will deny that with pieces like 'The Chamber of 32 Doors' or 'In the Rapids' Genesis moved into completely new territory?
The raw emotionality of such songs is unparallelled in the band's oeuvre; it would take several solo albums before Peter Gabriel so openly revealed his emotional insecurity again. As if all this were not enough, 'The Carpet Crawlers' is simply the most beautiful song in the Genesis canon. Nowhere else did they equal its simple beauty and grace. But since all of these things have already been discussed on Prog Archives, let me say a few words in praise of PG's lyrics. No matter how you twist or turn it, the storyline doesn't make much sense.
Gabriel simply cannot decide if he's on the mean streets of New York City, in a British boarding school 'The Lamia' was based on a poem by John Keats; 'Slippermen' opens with a quotation from Wordsworth , in Lewis Carroll's Wonderland or even in Hollywood But just listen to some of the lines he wrote!
More than on any other album, PG let his imagination run riot here, while his diction remained impeccable. No-one else in prog has such a richly absurd sense of humour; no-one else understands so completely how lyrics ought to SOUND. For example, take the way Gabriel declaims: 'Groucho, with his movies trailing, stands alone with his punchline failing. As far as I can tell, only Dylan ever was able to match this.
Some more examples: 'The fleas cling to the golden fleece, hoping they'll find peace. These final quotations are from songs that evoke a solemn and truly mysterious atmosphere. No, 'a masterpiece of progressive rock' really doesn't seem exaggerated.
We were very fortunate maybe they wanted to apologize from their previous concert from a year before - you can read my review for "Selling" for more details. It is the last album of what is generally considered as the ideal "Genesis" line-up.
It might also be considered as Peter 's first solo effort, maybe. At the time of release, since information was not as widespread as it is now no Internet, man : can you imagine? But, after all, most concept albums are in the same vein the reference for me being "Tommy". Short tracks, with even very short transition moments.
Logically I spun side one then side two etc. What intruigued me at once was the incredible story that is outlined in the inside of the album. For this review I have used some excerpts of the lyrics I mention it or put them into brackets. I also have used the story printed on the internal sleeve as a base to describe side one. Here we go!
Side one is really strong and consistent. Rael has a "brother" John. A sort of image of himself. But Rael does not like John. After spending a whole night in a theater, he is hanging around in the streets of Manhattan. Incidently, out of the steam, a lamb lies down. It just lies down on Broadway. It will soon starting to move slowly. Rael wants to escape the cloud and runs. There is so much dust in the air that Rael is completely covered by it.
The dust slowly creates a kind of coat which confines and surrounds Rael to such an extent that he can not move any longer. He feels like he is wrapped in a coccon Cockoo! Rael thinks, I quote the lyrics : "I wonder if I'm a prisoner locked in some Brooklyn jail, or some sort of Jonah shut up inside the whale".
He realized suddenly that he is in a kind of cave and, resigned, he falls asleep. When he wakes up, the cocoon has gone and stalactites and stalacmites are formed so quickly around him that he will soon be prisoner in some sort of cage. He has the impression that the bars of the cage are moving towards him and begins to press against his chest. All of a sudden, he sees his brother John and cries for help. But John seems to ignore and turns away, leaving Rael alone with his fears and pains.
At the same time, the cage dissolves The last track "The Grand Parade Side two opens with "Back in N. This song has strong sexual content. Rael will discover his erogenous zones. I quote the lyrics : "Touch and go with 1 to 6. Bit of trouble in zone No. Later on "Getting crucial responses with dilation of the pupils. Honey get hip! It' s time to unzip, to unzip zip, zip-a-zip, zip-a-zip. This side ends up with two of the best tracks where our hero Rael is really into big s h i t.
Peter's voice is really dramatic during this number. It is also the darkest side of the story. Our hero meets the blind Lillywhite Lilith who will lead him out of the Chamber. The crescendo will lead to a marvelous guitar break in the style of "Firth" but shorter, alas. The song enters into a true erotic novel. I quote : "Putting fear beside him, he trusts in beauty blind He slips into the nectar, leaving his shredded clothes behind. They move in a series of caresses That glide up and down my spine".
Just wonderful. Very emotional while played life. The last number of side three "Silent Sorrow" is a very weak instrumental.
It is said that it was necessary to allow Peter to transform into the Slipperman. Maybe it is true. This would mean that, at the time of writing, Peter already had a pretty good idea on how the show would look like.
Side four is somewhat emotional. Our hero will learn that his act with the lamias has a price : he will be turned into an awful Slipperman. But he can't believe what he sees although another Slipperman tells him : "We, like you, have tasted love. Don't be alarmed at what you see, You yourself are just the same as what you see in me.
Rael: "Don't delay, dock the dick! Rael will need to ride the scree and survive the rapids in which he jumped in to save his brother John I like this one also very much although it is a very quiet tune. In this track he meets his brother John again "Hang on John! We're out of this at last". At this time he just figures out that who he sees is not john, but his own face: "Something's changed, that's not your face. It's mine! Its mine! The lyrics are incredible.
The story ambiguous. I wonder why they never made a movie out of this Spielberg would have done a good job, I'm sure. Or a musical in The Lamb" is best experienced live. There is unfortunately no live footage of this tour which will be the last one of this legendary line-up. Since I have seen it, I cannot complain. On top of it, I have seen the show four times performed by the excellent cover band "The Musical Box" including a memorable one at the Royal Albert Hall.
Altough one can argue about the use of such bands, I really invite you to go and see them to get an idea of a "Genesis" show : they are reproducing every single details of them. Peter went to see TMB with his children, so that they could figure out how "Genesis" was performing on stage! The lyric parts of "The Lamb" deserve five stars, but musically it is not my preferred "Genesis" album there are six weak numbers. So, four stars. Although it is now regarded as one of the best concept album of all time, it only reached Nr.
The concept of this album deals with a man named Rael who embarks on a journey filled with challenges, chief of which is his alter ego, John, who never helps him when Rael is in need. Peter ignores time and space; Rael seems to pop up anywhere without notice.
The story loses itself many times throughout the album. I know that Peter put in filler to accomodate his costume changes throughout live shows, but the second disc is ruined by these breaks Waiting Room, Superantural Anaesthetist, Silent Sorrow.
I feel that a masterpeice could have been forged from one disc. Almost no song can be played out of context on this album; it makes Tommy look like an album of individual songs by comparison. Since the concept is too dense and drifts often, the album itself lacks focus. The band plays well as always, but Peter is the center on this album, and his vocal experimentations sometimes succeed but other times are cringe worthy.
I'm torn on how to rate this album. I believe every fan of Genesis and even symphonic prog should have this, but the large portion of filler and Peter's hit and miss vocals. It deserves three stars, but I still recommend this album. Read up on the full concept on websites, even among reviews on this site; that will help tremendously. Unfortunately when you start out on a high and the next few songs don't live up to that, the listener is sometimes turned off.
It's a good thing Tony Banks is out of the cage and able to pound away at his keys to produce the perfect sounds and melodies for "In The Cage". It is hard-hitting but not over bearing, and with some nice and subtle vocals. The second part is virtually an alter universe image of the first part. Where the first part was fairly stable with some remotely related songs, the second part is mellow and ambient at times and then it springs into some driving rock n' roll.
Almost no flow at all. Also, on top of that, only a limited few of the songs are worth seeking out. The first side is virtually skippable, with the only interesting number being the incredibly Beatles- esque "Lillywhite Lilith". The second half of part two is a big improvement, with the three-part "Colony of Slippermen" and "The Light Lies Down On Broadway" standing out as incredible songs.
Other than those mentioned, the only other enlightening tracks are the quirky but musically lacking songs like "Cuckoo Cocoon" and "The Supernatural Anaesthetist". Also, "The Waiting Room" has some good drumming near the end. Besides that, the rest is just filler to provide a build-up for the bigger numbers.
The one big thing that I enjoyed about this album is the fact that it is absolutely packed to bursting with music.
With over an hour and a half of playing time, you are guaranteed to find at least some things you like. Other than that fact, I don't see why this album is held at such high standards. I would suggest you find some of the other Genesis albums before this. If you can come across this at a fair price, by all means snatch it up.
However, I wouldn't recommend breaking your neck and draining your wallet to get this. Part of the problem was the way it was put together. This is what you get if you let the man do what he wants, ubfettered by group control. Fortunately for us all, he realised this himself and never tried anything like this in his solo career. If this album is the triumph others claim, why did he not do something similar again? And all this after such a promising start.
The first two tracks are wonderful: the mellotron moment in 'Fly on a Windshield' and the following commentary is superb. But although what follows makes an interesting collection of good and atrocious 'The Cage', 'Carpet Crawlers' good, 'Back in NYC', the whole second disc atrocious , it simply does not come together as a concept. And I so wanted it to. I still do, 30 years later. If someone could unlock the secret of this album I'd be grateful. Send me a message from my website at www.
And that second disc! Oh dear. So it stands or falls on the clarity and power of its concept. And, ladies and gentlemen, it falls. Come on, what are we really learning about ourselves here? How can we empathise with the central character? Isn't this just a 'Hogweed' or 'Salamacis'-like romp through classical myth? Out of control. Needs pruning. Needs focus. Borrow this album and give it a listen.
That way you'll save yourself some cash. But this miss sits in the midst of a collection of genre-defining hits, and so its flaws stand out all the brighter. Not quite the ratings king for old Genesis in terms of stars and quantity of ratings.
It's hard to believe I've been enjoying this album for nearly 30 years now. I didn't catch it when it was fresh. I'm rather amused by the reviewers that think this album is overrated or don't get what the concept. For those who go this track or that track is weak kind of miss the point. It's like looking at Dali's Hallucinogenic Toreador and saying "I don't like the little boy at the lower right or there's just way too many venus de milos.
But I think it is basically a concept album about a very strange dream. It's weird and irrational. Things aren't supposed to be coherent or consistent.
I have dreams like that regularly. One of the cooler facts about this album is that Eno provides "Enossification". Eno gets around. For whatever the Definitive Edition Remaster did improve on sound quality, the CD booklet only had a good reproduction of the front and back cover art. The inner sleeves on the vinyl version had the lyrics with some cool artwork.
Now you just get unadorned lyrics. The artwork that came with the written bit that occurs in the middle of the vinyl cover is also missing. I'm afraid that takes away from it really being a "Definitive Edition". First, I must say, the story is quite original, certainly a bit weird, and mostly confusing. That I actually do not mind so much. What bothers me the most is the format of the songs, the occasional period of incessant noodling, and the overuse of filler.
It clearly seems to me that Gabriel stretched the concept too far so that two whole LPs could be properly filled. The rest of the album is mediocre, bordering on good. In my opinion, I think this work could have been so much better if instead of separate short pieces that seem loosely tied together only because of the storyline, they would have consolidated the story into a grouping of maybe four minute mini-epics with a more ambitious musical palette.
If they really must have a 2-LP set, certainly Hackett and Banks could have provided some excellent extended instrumental sections. But alas, Genesis didn't live up to its expectations and Gabriel's farewell was on a mediocre note. Still many consider this work historically important. I thought about giving it four stars simply because of that, but I can't justify it on those grounds.
Thus, three stars it is. Good, but not essential. Definitely worth acquiring if you are a Genesis or Peter Gabriel fan. What an uplifting song, and check Banks out! Hackett shines as does Gabriel. Mellotron is back and it continues to flow right into the next song "Broadway Melody Of ". Passionate vocals are followed by a keyboard solo. What an intense song. Pulsating keys before 6 minutes. Pulsating keys from Banks, but it's Gabriel who steals the show.
What an amazing song! I said i would touch on my favourite songs, well that includes all the songs from the first disc as there's not even one average song in my opinion. Disc two starts off great with "Lilywhite Lilith" an uplifting song, especially the chorus and the mellotron doesn't hurt either.
And while disc two may not be as strong, this double album is one of the best double's i've ever heard. The simple fact is that the music is much reduced from previous, more democratic Genesis albums, and dominated by Peter Gabriel's singular vision.
If only it was a good one, eh? Here we have a muddled concept mired in lyrics which can be painfully vacant. I don't appreciate the way Hackett and company are kept on a leash, only allowed to really PLAY on the instrumentals "The Waiting Room" and "Riding the Scree" - Gabriel still interjects in the latter song but not enough to take the focus away from what Genesis were always so good at doing.
Some of the tracks are enjoyable and catchy - "The Lamia" is fairly luscious and enveloping, and progresses pleasantly with a melody that makes sense and a little playspace for Gabriel's bandmates.
The main theme, repeated in a few ways, is of course quite showstopping. From here there is a precipitous drop in quality, as many songs seemingly exist only to further the convoluted Lamb plot.
Frequently melodic but unfortunately predictable, Gabriel gets to sing his pick of the lead lines in a voice that gets gradually more irritating as the album unfolds, leaving solo spots few and far between. Sadly, some of these are not really capitalised on all that well - this, at least, is not Gabriel's fault - and meander, or worse, fail to sound new. I understand that my fellow reviewers see fit to forgive these various tresspasses as the concept's the thing on "The Lamb", but I can't agree - to me, the music is always the most important element on a prog disc.
I reward Genesis with the lowest mark possible, not because of the pretentiousness and uncalled-for expansiveness evident on the album, but because the music is unfulfilling and, following the exceptional "Selling England by the Pound", almost criminally disappointing. Like some reviewers pointed out, it would be a masterpiece if it was a Peter Gabriel solo project.
As a Genesis album it really disappoints in many aspects. I was expecting more instrumental parts, and more fine melodies too, from such a fantastic and talented line up. As an album, specially as a classic Genesis album, it lacks in melody and more dynamic playing. There are no really extended songs, although The Colony Of Slippermen and In The Cage are reasonably long, some of the songs move into psychedelic and ambient territory and the album has a much more American feel than anything Genesis had previously done; lastly, the excellent lyrics are always related to the concept, and are often narrative.
On the minus side of these developments, I feel that fades are overused, when they aren't generally needed or feel out of place. Overall, an album that is on a par with other Gabriel-era efforts, and certainly not to be missed. Beginning with a supple piano solo, The Lamb Lies Down On Broadway is very much representative of the album as a whole. Brief, with compelling drums and a great lead bass part, Hackett sounding suspiciously like a piano!
Great, biting lyrics and vocals from Gabriel, and an acceptable fade. Soulful guitar and vocals leads into the powerful, gripping Fly On A Windshield, with Hackett, Banks' and Collins driving right past the ears and into the brain. Intelligent, constructed, and brilliantly-delivered lyrics from Gabriel here. An absolutely stunning track. The highlight for disc 1, and one of Collins' best drum performances. The beautiful Broadway Melody of is tacked onto the end of this. Cuckoo Cocoon is decent, but doesn't really stand out.
Does what it was intended to do, lyrically and psychologically, and prepares neatly for the driving In The Cage, but doesn't really go beyond it. Also has a weird slightly delayed guitar sound that doesn't work that greatly here. Not bad, but unexceptional. In The Cage. What to say? No doubt the most widely-favoured track of the album, with a moving bass-and-vocals opening, leading to a driving, powerful keyboard riff, with good lyrics, occasional changes in mood to heavier or more serious-sounding sections, and then to lighter, more frivolous sections and back again.
A very strong song, and vital for those who consider Banks' solos and Gabriel's voice the highlights of Genesis. The Grand Parade of Lifeless packaging is brief, enjoyable, random, mostly mindless music, with a heavy focus on the chaotic distortion by Brian Eno.
Acceptable, but not my thing. Back In New York City is essentially a relatively normal song. Fairly weak, but probably concept-crucial lyrics, near-punk vocals from Gabriel, and a generally amusing main theme, though it gets a bit repetitive after a while.
The chorus is great, catchy and quirky, much like Jethro Tull's Locomotive Breath: embarrassing to sing along to, but I can't help it. Counting Out Time is, in my opinion, the funniest though not the best of the Genesis humourous songs, with a pretty amusing concept and lyrics, whimsical music held up by a guitar riff and bass and a hilarious guitar solo.
Carpet Crawlers simply doesn't interest me at all. I like the piano tune, I like the music, I like the vocals, but I don't like the song. I don't know why, but it leaves me absolutely cold every time, and occasionally even annoys me.
Still, one of the widely liked songs on the album, and perhaps would be the highlight for any ATOTT fan. The Chamber Of 32 Doors begins with a great solo from Hackett, and superb drumming from Collins, though most of the song is dominated by Gabriel's vocals, Banks' piano and the bass. There are some beautiful lyrics here, 'I'd give you all of my dream A superb conclusion to the first CD.
The second disc opens with a nice, somewhat explosive pop-rock tune, Lily-white Lillith. Great harmonies, powerful music, a bit of Hackettry, good lush keyboards from Banks, great vocals, and a good echo of the Broadway Melody of on the end. The Waiting Room is certainly psych rock, though other tracks on the album and the way the album's constructed as a whole have a psych-y feel to them. A gradual progression with tingling, orderless percussion, screeches on the guitar and synths, with several themes being dabbled with and developed or dropped, explosions and an emergence into a full band piece, which continues to develop and shine.
Complete and utter chaos, and something that took me a while to acquire in context, but completely my thing. Anyway is my highlight for the second CD, with a gorgeous piano part courtesy of Banks, Gabriel's searing, echoey vocals, strong, original lyrics, relating to delirium and death.
The sprawling piano on the instrumental break in the middle leads to a truly stellar guitar solo from Hackett and then returns to the main theme with added synths or possibly guitar that sounds like synths , more vocals, percussion and some organ.
Pumping On Steel - Billy Idol - Charmed Life (CD, Album), Boiler Blues - Jan Spálený - Teď Bych To Udělal Líp (1979-1985) (CD), Everybody Gonfi-Gon - Various - The Mixes 155 (Vinyl), Souvenir - Tröckener Kecks - Hotel Nostalgia (CD), Twelve Days Of Ismas - Jacob "Killer" Miller* / Ray "Weather Man" I* - Ital Chri, Me And My Fishes - Christoph Gallio - Fishland (Vinyl), (I Heard That) Lonesome Whistle - Hank Williams - Eight Classic Albums (CD), Eagle, Sweet Valley Natural High - Ultimate Act Of Broheim - Family Singers (CD, Album), Tribute To Muddy - Johnny Winter - The Progressive Blues Experiment (Vinyl, LP, Album), Burlesque - Pretty Legs (And Great Bit Knockers) - Bette Midler - Diva Las Vegas (DVD)