THE LAMB LIES DOWN ON BROADWAY

Fascinating how different and diverse the tastes of human beings can be---even within a group of people with passionate interests in a certain category of music/art. I say this after reading many of the ProgArchives Collaborators' reviews of Genesis' The Lamb Lie Down on Broadway. How I can absolutely adore groups like Focus, Harmonium, Renaissance, Nektar, Supertramp, Genesis, Cocteau Twins, Kate Bush or singular albums by the likes of Uriah Heep, Tears for Fears, Peter Gabriel, Bill Nelson, David Sylvian, doves, U2---all of whom I consider 'progressive' for their sonic and structural innovations, experimentations, and uniquities---how I can like and appreciate King Crimson, Pink Floyd, The Alan Parsons Project and yet detest other revered groups such as ELP, Jethro Tull, and Rush is such a perplexing mystery to me, but, there it is. There we are. We can agree to disagree. I guess the bottom line about these reviews is that we all like to hear our own voices, we all like the opportunity to be able to freely express our opinions, so ProgArchives, thank you for that. Before I go deeper into my personal review, I will put out there that The Lamb is, for me, the single greatest prog album of all-time. Nothing else comes close in terms of seemless quality, story, engaging mood, musicianship, experimentalism, and sheer consistency. Lyrically, Gabe achieves some of the most poetic phrasings and vocal deliveries ever on record. In my years as an audiophile, I have been in constant search for 'the perfect album' or, what used to be 'the perfect side' of an album (33 1/3 LP). In my experience, it is truly a rare thing. The Lamb, IMHO, has not one but two "perfect" sides (Sides 3 & 4). Though I never got to see The Lamb tour, I did get to see Gabe do "The Lamb" as his only encore in a concert in November of 1978 in Nancy, France (with a perky little Kate Bush as his warm-up and Robert "Dusty Roads" Fripp playing from behind the stage equipment and a very able Sid MacGinnis [with David Letterman & Paul Schaffer's Late Nite Band since c. 1980])---makeup, leather jacket and all.

Side 1, song 1: "The Lamb Lies Down on Broadway." The distinctive signature of the album, Tony's piano, the bass pedals, Phil finessing the toms and snare, crashing the cymbols, such a great mix/balance of all band members. (Remember: the band recorded the music without Gabe's presence. Let's face it, with 90 mins. of music sans lyrics, they had to be pretty contented and excited with themselves.) Wonderful key, tempo and instrumentation shifts. (9/10)

1.2: "A Fly on a Windshield." A sublime song with beautifully eerie keys, 12-strings, and truly masterful diction/pronunciation with Gabe's singing setting Hackett and Collins up for an unusually relaxed though emotional climax, (10/10) all blending into: 1.3: "Broadway Melody of 1974." A song meant to be carried by the lyrics, I suppose. (8/10)

1.4: "Cuckoo Cocoon." Great Trespass-like music with Gabe's oddly treated voice. Great to here the flute again. (9/10)

1.5: "In the Cage." A later concert fave with odd lyrics you find yourself wanting to learn à la Jon Anderson's Yes lyrics. The confidence to start a song with voice and single bass note! Once it picks up, Phil and Tony must have had fun with this one! (8/10)

1.6: "The Grand Parade of Lifeless Packaging." Takes you for a carnival rollercoaster ride! More fun for Phil and Tony, though the song uses the usual formula of slow soft start as it builds to a crescendo of cacophony (including Steve's "note"). Still, I imagine the last two songs were adrenaline highs for the musicians. (9/10) Side 2, song 1: "Back in N.Y.C." Vocal and musical melodies a little drawn out and repetitive but a great song that builds and builds to the gooseflesh-producing moments of Gabe's scream and the clanging piano chords at the beginning of the second verse and, of course, the bass synth slide accompanying "till I burn it to ash." Yes, the "As I cuddled the porcupine," and "fluffy heart" sections subtract a little from the power and momentum, but, overall a great song. (8/10)

2.2: "Hairless Heart." (9/10) A brief instrumental/interlude with an interesting title, which gives Hackett a small outlet before he has to pick up the banjo for:

2.3: "Counting Out Time." One of Gabe's most amazing lyrics; such a change from the metaphors hidden under cloaks of mythical stories. Love the banjo and Tony's perfectly silly synth sound used for the sound after "Whoopee!" (10/10)

2.4: "Carpet Crawl." What a mood shift! One of those songs whose vocal presentation of aural poetry serves as a balm to the ears and the soul. Brilliant song, brilliantly mixed! God that guy can write and deliver lyrics! Thank god for the musicians' restraint in setting this one up for Gabe. (10/10)

2.5: "The Chamber of 32 Doors." Hackett! Seems like he's been in the background since "Fly on W." Another lyrical gem, this time in true prog showcase, with the musicians contributing equally, with quite complex time and mood changes. Another reminder that thus far this album is void of a lot of instrumental showcasing (solos). (10/10)

Now to the meat of the album. (Who cares what Rael's up to, it's the music ahead which blows me away.)

Side 3, song 1: "Lilywhite Lilith." Boldly opening side 3, Gabe's confidence soaring, Mike's bass and Tony's keys pounding, (9/10) "A blaze of white light fills the air" prepares us as we fall into the eerie emotions conjured up by: 3.2: "The Waiting Room." Very cool experience---especially under the influence. Love the exit---especially Collins mashing away! Awesome! (10/10)

3.3: "Anyway." Exactly! Beautiful key melody setting up another Gabe foray into the realm of Salvador Dali, and then, for a brief, hair-raising instant: HACKETT! (10/10) 3.4: "Here Comes the Supernatural Anaesthetist." One of my favorite Genesis songs: "He's such a fine dancer!" Thank you, Peter, for resigning yourself to sitting back and watching the amazing talents of your band-mates, especially Phil and Steve. Alas, all too brief. (9/10) 3.5: "The Lamia." IMHO Gabe's most amazing performance as a Genesis vocalist. The timbres and pronunciations of his poetry are inimitable; the imagery and mood heart-wrenching. Rael's story becomes, for me, fully engaged, internally sympathetic. An amazing song instrumentally, as well, with subtle but strong and tight performances from every single band member, the end, where Hackett also gives perhaps my favorite solo of his, is a special treat. There's even Gabe's flute joining in at the end! As polished a song as Genesis ever did in the "five" format. (10/10)

3.6: "Silent Sorrow in Empty Boats." I LOVE the "enossifications" on this album (as I love Brian Eno's work everywhere). Subtlety, mood; the silence of floating put to music (kind of like his "Julie with"). (10/10) A peaceful, meditative end to one of the most awesome album sides ever put together.

Side 4, song 1: "The Colony of Superman." "The Arrival" provides a mood prep for the transition from "The Lamia/Silent Sorrow" to "A Visit to Doktor Raven." The story is in full gear, we are truly on board with Rael and John, we can't help but "Show some concern" as Gabe takes us through a harrowing ride to self-discovery and rebirth. (9/10)

4.2: "Ravine." Another awesome little instrumental interlude. Wish it would go on forever. (10/10)

4.3: "The Light Lies Down on Broadway." Very cool recapitulation of the opening score in a slowed down, instrumentally varied quilt. Love all the instrumental restraint and electrically treated instruments of this song. Actually like it better than the opener. (10/10)

4.4: "Riding the Scree." Take a ride with Tony! He'll show you what makes a prog keys-man stand out à la RWakeman. Too bad Gabe had to come in so soon, tho' love his "Here I go!" (10/10) 4.5: "In the Rapids." Give me those treated 12-string guitar chords that begin this song over and over: Heavenly. Another AMAZING Gabe lyric and virtuosic delivery. Special thanks to Phil's stellar work on the kit. Progwork at its most emotionally potent. (10/10)

4.6: "It." Lyrically, such an intriguing song, (love all the references to other classic songs). Musically, an amazing finale to an amazing album. Everybody riding on high energy, Steve, of course, loving the tempo and showcase. Brilliant. Like an anthem. (9/10) Every time I leave this album, with this song, I am energized, ready to jetté through my day. Thank you, Genesis Five, for this: The Pinnacle of progressive album rock. (5 stars)