THE LAMB LIES DOWN ON BROADWAY

This was, of course, the last album with Peter Gabriel on board, and what an album he chose to leave after! Without a doubt, this is not only my favourite album from my favourite band, it is still, after all these years, my favourite album full stop! I am not going to review each individual track as pretty much everything that could be said about it has been said about it. Rather, I would mention the unique atmosphere that pervades the record, from the dark and subtle humour of some tracks to the wonderful, eerie, almost ethereal soundscapes that run through many others. Gabriel didn't want the band to be known as Peter Gabriel and Genesis, which is what was beginning to happen. Although many people thought he was the main lyricist, this was only true on this album; he conceived it and wanted to write it all himself. Indeed, he came close to doing that, but found himself struggling in the end, and asked Mike and Tony to help him out. They did this on a couple of tracks, notably 'The Chamber Of Thirty Two Doors'. The sound on the album is tremendous, a natural progression from the previous 'Selling England' album. Banks shines here with his playing, supplying some stunning solos on tracks such as 'In The Cage', 'The Colony Of Slippermen' and 'Riding The Scree'. He also plays some wonderful mellotron and piano on the quieter tracks, and he is only matched on the album by Hackett and his wonderful un-guitar-like sounds. Collins is a rock at the back, helping to produce that definitive Genesis sound, whilst Rutherford adds some lovely 12 string sounds to the mix, along with his ever smooth bass lines. Stand out tracks? Too many to mention, but worthy of special mention are 'The Waiting Room' (a superb, slowly building jam with weird cat-like noises at the beginning, leading into a tremendous wall of sound), 'Hairless Heart' (a beautiful instrumental, with nice acoustic guitar and excellent keyboard work), the entire 'Colony Of Slippermen' (catchy, lyrically clever, with brilliant, bubbling keyboards and dazzling runs) the atmospheric 'Silent Sorrow In Empty Boats' (an almost church-like instrumental, complete with choral voices that come and go in the most haunting fashion) and, my favourite of all, the brilliant 'Fly On A Windshield' with its majestic mellotron led pomposity, overlaid with the most wonderful guitar work from Hackett. Oh yes, the final track, 'It' is no slouch either with its catchy, uptempo melody, good acoustic guitar work, lead guitar work and all round magnificence. I could go on, but I won't. Suffice to say this album has an atmosphere unlike any other I have ever heard, and I have heard many over the years. Yes, it is lyrically obscure in parts, but that is wholly intentional I am sure, as it allows the listener to populate the world created by the music with his or her own thoughts and characters. No weak tracks whatsoever, though if I had to choose my least faves (and I would need a gun at my head to make me choose) I would probably say 'Back In NYC' and 'The Chamber Of Thirty Two Doors', though both of these are very good as well. Without doubt a masterpiece, one of the very few to be honest, and it is the only album I would actually give six stars to if I could. Stunningly diverse, hauntingly beautiful, bitingly satirical in parts, and all wrapped in that unique Genesis packaging. Amazing stuff.