REWIRING GENESIS - A TRIBUTE TO THE LAMB LIES DOWN ON BROADWAY

Tribute albums are a funny game, and the experiment of rerecording an entire album with a different cast as in this case is one that most often is made for monetary reasons.

Nick D'Virgilio and Mark Hornsby; the instigators of this tribute production; should be given credit for not trying to merely replicate the original in this particular case though. Many songs are rearranged; with reeds and violins taking the place of keyboards; a shift in musical styles towards jazz in a few instances and generally a modernization of the sound of these compositions.

The compositions are already classics proven by time, the performers do a good job on this creation, mix and production is superb. And this reworked version of Genesis artistic peak will probably appeal to a somewhat wider audience than the original too; with stronger commercial sensibilities as a main feature.

But when that is said; I do have problems to understand why this project was created. Sure, it's well made, the songs are good - even if some of the rearrangements do fall flat - but still: The original is considered a masterpiece by quite a few and a good; strong production by many more. Is there really a need to give it a makeover?

Recommended to the curious, and probably worth investigating by people who didn't like the original; but would like to check out an alternative version.

Rewiring Genesis, De-electrifying the Lamb

Man ... I don't really know where should I start from on how to write my views about this interpretation of the best Genesis album of all time: The Lamb Lies Down on Broadway. Too many things on my head about this version of Spock's beard drummer & singer after Neal Morse left the band. I may end up writing a novel-long review to appreciate this album as created by Genesis and at the same time how brilliant Nick and his friends rewired the concept album wonderfully! By the time I am writing this, I have just been listening to this double CD for three spins in its entirety. It's not that I rarely spin it because the first spin really got stuck at track 2 and 3 "Fly on a Windshield - Broadway Melody of 1974" where i kept repeating it about 6 to probably 8 times because i was amazed with the arrangements.

You might think making a tribute album is quite simple because the basic music has been there and what you need is just to play. But I have another view because it posses two major challenges: First, the-music was not created by themselves so that they have to find the best way to play it. This may or may not be, depends on the complexity of the original composition, difficult. But one thing difficult, for sure, is to discover the soul of the music, especially The Lamb is a masterpiece prog album the world has been talking about for years. By the way, i've just realized that when i am writing this review using my Nokia E90 I am wearing T-shirt with the original Genesis album artwork, while sipping iced cappucino in a cafe at Kemang, Jakarta. Sennheiser PX100 headset is on my ears blasting the music of The Lamb from my old iPod from an mp3 ripped from CD with 320 bit rate. I am really enjoying my time now, really! And, man ... I am not exaggerating that sometime I find tears in my eyes when I listen to my favorite album being replayed in its entirety by NDV and friends. It's so wonderful. It touches my heart.

Second, interpret the music and grab the nuances, under the concept behind its music especially its storyline and rewrite the music with their own understanding and interpretation are not an easy thing to do. This is definitely a tough job because the musicians must think very hard on how putting back the music without jeopardizing the original soul. Thanks God, Nick and Mark have succeeded in this tough test, they come up with something fresh and crispy with their own arrangements. They do not really reinvent the music like you hear Kevin Gilbert did the rearrangement of Back In NYC. Rewiring Genesis focused on rewriting the textures of the music while maintaining original structure and melody. By doing so, it minimizes the risk of losing Genesis die hard fans. But don't worry, you still get something fresh about this album because they have done excellent job in reinventing the textures that surround the music. Man, you must trust me on this: it's a wonderful record that you should not miss!

Let's have a look on how it flows ...

At first spin the opening track did not impress me as it sounded, on surface, very similar with the original version. Nothing created a "wow !" experience for me. Later spin, i found joy as well with this track and found the "wow!" experience at last. But the second track "Fly on a Windshield" followed with "Broadway Melody of 1974" were the ones that made me stuck for hours repeating them many times without any sense of getting bored at all. The more I spin, the more I discover how wonderful NDV and Friends have rewritten these two seamless songs. Well, there must be factor that contribute a lot in making the music so amazing for me, i.e. the original compositions are already wonderful. And with this version I appreciate highly the way NDV interprets the vocal job especially on difficult parts such as when Gabriel sung "Klu Klux Klan" and ?Smiling at the Majorette, smoking Winston cigarettes? part in the lyrical verses. It's so wonderful version without having to copy exactly how Gabriel sung. So, NDV has successfully performed his vocal job excellently.

The key success factor of this concept album is the flow of the music and the roles of bridges between songs. And, this project has successfully managed them very well by putting deeper textures especially on bridges like "Hairless Heart" or "Cucko Caccoon" where you have a totally new and fresh experience as if you listen to new record. Musical instruments wise you will find a different role of electric guitar, the significant roles of violin to create string arrangements that replace symphonic keyboard sound and interesting additions of brass section (trumpet, sax, etc) to fill various roles of keyboard and sometime guitar.

De-electrifying The Lamb?

The overall textures of the music demonstrate concerted efforts that have been put by the musicians who have collaborated in this wonderful tribute album. One significant dimension that I discover is the efforts to replace something electric to become "less electric" such as the use of string arrangements with violin, brass section and Grand piano. That's why I call it something like de-electrifying or making more acoustic, less electric, version of the original album. So, the music sometimes sounds like an orchestra with vocal but sometimes like a big band in jazz vein. It's really rich in textures.

On some parts they sound weird at first listen, but it will be OK after second or third spin because you will discover the beauty. The bridge that connects to ?Fly On A Windshield?, for example, there is basically no keyboard is used. They use violin to replace keyboard to maintain the symphonic nature at the beginning of the track. The electric guitar playing in this version sounds much rockin? and energetic as compared to the original release. The typical howling guitar work usually played by Steve Hacket has been removed. The very great part of the ?Broadway Melody of 1974? is the additional string section that plays as background while Nick sings ?Echoes of The Broadway Everglades??.. The acoustic guitar and flute work at ?Cuckoo Caccoon? are excellent.

The keyboard-based ?In The Cage? has been approached differently by this project by replacing the keyboard with a combination of string section (violin) and brass. The guitar riff is also different, it all sound really nice. The string and brass arrangements make us forget the original taste of the song and this arrangement sounds really excellent. The wonderful keyboard (original version) part at minute 3:18 has been replaced brilliantly by speedy string section at the same tempo as Tony Banks played with his keyboards. Wow!!! It?s really wonderful man! Hey look ?!! Observe how great the inclining note that usually played by keyboard at minute 4:11 is now replaced by high register note trumpet work in long bars. I really admire the trumpet players (Steve Patrick & Jeff Bailey) who can play such high note in long sustain period. It reminds me to the style of Bill Chase (of CHASE fame).

On ?The Grand Parade of Lifeless Packaging? the music tends to be jazzy with the use of percussion at the intro augmented with choirs that might remind you to Manhattan Transfer style. ?Hairless Heart? has been rearranged wonderfully with great string section and stunning guitar fills. The touchy keyboard part is now replaced by piano. Oh man, the combined work of guitar, string and piano has produced great sound experience to my ears. When the music reaches "Counting Out Time" there is a tremendous change in music style to something like Dixie music which is totally different with original version even though the main melody is not changed.

The eerie keyboard intro in original version of "The Carpet Crawlers" is now replaced nicely by soft piano touch augmented by nice violin work at background accompanying great vocal line of Nick. The guitar work at "The Chamber of 32 Doors" has been made different and it sounds nice. One thing needs to note is the way guitar is played in this version, it?s not somewhat similar in style or whatsoever with the original. But it sounds really nice. It?s like a fresh sound of guitar but it still maintain the soul of original music.

There is no compromise on this version because the whole album in its entirety has been played by the band including the haunting ?The Waiting Room? with their own interpretation. It moves nicely to ?Anyway? which sounds brilliant on piano and string section. The guitar part is really rockin? and kickin? here. Another favorite of mine ?The Lamia? has been rewritten wonderfully. The intro part with acoustic guitar and vocal line sounds great. There is additional female vocal that takes part on the second verse of the lyrics. Their interpretation of "The Colony of Slipperman" is also nice especially on the replacement of keyboard with string and brass section. "Riding the Scree" has also been revamped totally with somewhat jazz-rock fusion style while maintaining original structure and melody. As this song has drums-intensive part, I like Nick's drumming here. The dynamic part at approx at minute 0:47 has been performed brilliantly with jaw-dropping drumwork and brass section. Wow! It?s a great segment here.

In Conclusion

Just purchase this CD! Why troubling yourself with this novel-long review if the music in itself is excellent already. No one argues that The Lamb is a great album by Genesis and Nick d Virgilio is an excellent musician. Nick D Virgilio and Mark Hornsby, the key initiators of this project as the sleeve says so, have done a great job in interpreting this legendary album and rewriting it back differently but without jeopardizing the original soul and nuances of the music. If you really love The Lamb album, too bad .. you have no other choice: you got to buy the CD. I have been listening to this album in its entirety more than seven times and I am still planning to do it again, because it?s excellent, 4.5 stars! Keep on proggin' ...!!!

Peace on earth and mercy mild ? GW

This is an album arranged primarily by Spock's Beard drummer (and now singer as well) Nick D'Virgilio. Nick is undeniably an incredible musician with true skills. Few people can make a band like Spock's Beard still produce good album after the departure of their frontman, Neal Morse. So, naturally, I was very excited to hear that he and Mark Hornsby were teaming up to do a different take on one of my favorite albums of all time.

If you are expecting just a modernized version of The Lamb, you are very, very wrong. They made a more jazz/rock fusion version, substituting guitars for trumpets, and synthesizers for strings. And they generally pull it off exceptionally well. As a huge Genesis fan, you would think I might find this to be sacrilegious, and at sometimes I do, but you must realize these guys weren't trying to sound like the original. The wanted to make a jazz rock version of The Lamb, and they do it very well.

The only knocks I can give this remake is that the music occasionally sounds very bare bones. There are some times where it's simply drums, bass, and an instrument soloing. At these times I wish they would have some chords in the background to add some depth to the music. This only happens a few times in the album, but it still is ultimately a problem. I love Nick D'Virgilio's voice. He can sing with such power and emotion, but sometimes he sings a little too whiny for me. Again, this is fairly infrequent, but both of these flaws are ultimately present.

Aside from that, this is perfect. I love the solo in "In the Cage" and the way they alternate an orchestra and trumpet. At some times the arrangements are better than the original. Anyone who has a problem with the recording quality of early Genesis recordings may want to also give this a try. The production quality is a vast improvement over the 1975 version. So if you want good production and a cool new take on a classic prog album, get this!

4/5 stars

This is the most original tribute to Genesis I have ever heard. All the tracks sound different and yet remain similar and respectful to the original. I believe this is a dream come true. The Lamb has cradled and rocked both my childhood and teenagehood. And this tribute gives a good reason to listen to this fantastic album once again and re-discover it. "The Grand Parade of Lifeless Packaging" really stands out but there are no weak tracks. Even the "fillers" have become interesting tracks to listen to. So if you've loved The Lamb than you'll love this tribute. And if you've never heard of this mythical album then you'll need to buy both the original and this tribute. This tribute is definitely a must have for progressive rock lovers.

Ok it's always an embarassing moment- after all- to make a review about a tribute album like the present one (but whatever prog or alternative artist that you regard, actually who's able to recreate something original?): that is, an expert music producer, as well as a remarkable drummer like D' Virgilio try to do that here, by means of an interesting jazz rock and also an improvement of technology, but what all the fuss about it? Well I've not seen a real "artistic" improvement here and moreover the lack of imagination and their difficulty in creating the "charisma" and talented vocalism by Gabriel, don't make the leap of quality requested. Nevertheless, despite of a poor feeling, the musicians perform their good job and play the songs in the exact manner!! Is it enough? I don't know, but for sure you cannot replace the guitar by Hackett with simple trumpets or horns, without losing the artistic value of a rock opera which was so mystic in the original version. Anyway, even though it's not completely necessary, the present tribute represents an incredible effort after all, as the complex features of the original album can not be reproduced without difficulties... I should be in trouble, If I was called to such a monumental task like the present one, so I'll make a gift and add an other star by evaluating this new tribute.

It's a little worth checking out but nevermind... a funny game being after all!!

In a word: Stunning.

What I am about to say is perhaps high heresy to prog purists, but I'll go ahead and say it anyway: this is better than the original. While I am a huge Genesis fan, I could never really get into the Lamb. It always just seemed sort of dry and not nearly as interesting as Nursery Cryme, Foxtrot or Selling England by the Pound.

Anyway, I heard a clip of the title track on this and figured I'd pick it up. Let me say, it is phenomenal. Nick D'Virgilio of Spock's Beard and Mark Hornsby, who I must confess I am not familiar with, have outdone themselves on this one. All the tracks seem to come alive in a way that they never did on the original, due in part to (I believe) a full horn and string section. The production is crystal clear (another problem I had with the original), and many songs have a slightly jazzier edge than in the original. Don't let that put you off though; there are no drastic re-imaginings here; everything just seems to "pop" a little more.

The other big difference is the vocals. Peter Gabriel was a stellar vocalist; one of the best, and I won't just come out and say that I prefer the vocals here. However, Nick is more than up to the task of singing the lead role here, and many songs have additional harmonies that weren't easily heard in the original that are beautifully brought out here. Especially of note are songs like The Lamia and The Colony of Slippermen, where additional vocalists sing the different parts. This small touch gives the piece a much more theatrical feel.

Overall, an absolutely stellar interpretation of a great album and the best version I've heard.