THE LAMB LIES DOWN ON BROADWAY

"The Lamb Lies Down On Broadway" is one of the greatest progressive albums of all time, and holds the strongest concept for me, both through the storyline and music (although going off on tangent towards the end). Genesis finally created their monstrous double album, totally self-indulgent, like it or not, commonly compared to Yes' "Tales From Topographic Oceans", released a year before this. I'm always a fan of music that takes risks, and doesn't regard the audience, and "The Lamb", while not their strongest album overall, is the truest to the ethos of progressive rock.

The title track starts the album, with some excellent chord progressions and great piano playing by Banks on the intro. "Fly On A Windshield" takes you right out of this grand opener, and builds a brilliant atmosphere with soothing keyboards and very emotional lyrics and guitar playing by Hackett. The segue into "Broadway Melody Of 1974" is one of the best, only really comparable with songs from Pink Floyd's "Dark Side". The song is more rocky, maintaining a steady pulse, with very thought-provoking lyrics - probably some of the best of Genesis altogether. "Cuckoo Cocoon" then expands out of the busy Broadway scene, into a more personal and emotional rather than physical piece. The lyrics and chords are very sensitive, and they create a great tension in the atmosphere as with the whole of the album. The advance in the ambience between Foxtrot and The Lamb is just phenomenal. The musicianship on here, too, is just so tight and definite. They've clearly mastered their instruments and can use them to produce so many varied musical statements.

"In The Cage" is slightly more devious musically speaking and very intriguing. The song develops very well, and is undoubtedly a fan favourite. Tony's keyboard solo is one of the highlights of the album for me. "The Grand Parade Of Lifeless Packaging" is delivered brilliantly by Peter, with spine-chilling effects added to his voice (and a low backing vocal that I'm not so sure about!) The lyrics again arouse interest and are simply incredible, although I've not a clue what they mean. "Back In N.Y.C" goes back to a powerful vibe in the exact right place for me. It took me a while to realise the verses were in 7/8 - they make it sound so ordinary, and this talent is carried on throughout the album. The harsh tones emanating from every instrument bring the song alive, and with the lyrics likewise produces an outstanding piece.

"Hairless Heart" unexpectedly draws out of these punches, into a gentle melodic Hackett instrumental joined by some symphonic synths by Banks once again. Sorry for not mentioning Phil Collins to any drummer fans - he's also very consistent and employs great techniques all the way through. "Counting Out Time", a very risque prog pop song enters, with sexual lyrics and guitar solos, emphasises the youthful quality of Rael (the main character) that is, in my opinion, to be empathised with as his vulnerability as a child later on. "The Carpet Crawlers" is of course one of the quintessential Genesis songs. Excellent melodies and lyrics, and just blissful, you know. This leads into the similarly impressive and more symphonic yet emotional "Chamber Of 32 Doors", illustrating a lost Rael in an unforgiving chamber. Gabriel brings this character to life so amazingly here, and is a brilliant song choice to end side 1.

"Lilywhite Lilith": a bit too obvious in its "victory" feel for me. Stands out too much for me, and probably a mistake for an opener. Still a great song though. "The Waiting Room" is not the greatest song on the album of course, but it's something they had to do really. It shows their versatility and variety lots more than on previous albums, and is outstanding on what it set out to do. It symbolises Rael trying to deal with impatience for me, and not quite managing it! Anyway, "Anyway" is probably my favourite song on side 2. I struggle to see how it relates to the storyline as with "Counting Out Time", and like that song it also shows his sexual needs, but in a more mature way now, as though Rael is becoming more of a man. The piano chords and lyrics are just some of the best I've ever heard! I would love to know how they compose songs like this, because analysing it, it's just mind-blowing! Not so sure about Hackett's solo on here though, but the piano backing is "insanity personified" (in a good way).

"Here Comes The Supernatural Anaesthetist" is almost more of a comedic song, like "The Grand Parade" on side 1. The melodies just seem to work, and the rhythms fit in perfectly with each other. Short but very sweet indeed! "The Lamia" is musically very good, but enough with the you-know-what, Peter. 7 minutes of Rael being seduced by snakes is perhaps too much, but I suppose it is quite essential for the next couple of songs in the storyline. "Silent Sorrow In Empty Boats" is the worst track on the album, and just unnecessary. We don't need the same 6 notes played for 3 minutes with some gentle keyboard backing if there's a cynical 2 minute intro to the next track: "The Colony Of Slippermen". Very interesting musically to begin with, and goes into a very catchy but progressive piece with very descriptive lyrics. My favourite part of the album: "ME, LIKE YOU?!" with the off-beat keyboards. They just outline the shock but sort of hollow/light-heartedness of the album's surreal themes. The lyrics then get a bit weird, about castration and all that, but I'm more than used to it now. Singing along to "yellow plastic shooby-doo" is not something you want to do in public though...

"Ravine" is another ambient, minimal track like "Silent Sorrow", but is musically superior and fits in much better. Very gentle and relaxing, going straight into "The Light Dies Down On Broadway". This song reprising parts from "The Lamia" and right from the opening track "The Lamb Lies Down On Broadway", teamed with more emotional and sentimental lyrics, once again delivered magnificently by Peter, especially at "My home!" A great twist on the earlier tracks, and doing a lot of good with little material. "Riding The Scree" goes more rocky and in a brilliantly hypnotic 9/8 timing, with a keyboard solo I prefer even to their sublime "Apocalypse in 9/8". Great lyrics once again, as with the softer "In The Rapids". The track is very sensitive and by now you are absolutely captivated by the storyline, and listening to every syllable so intently. Beautiful, and synths into the final track "It". A bit of a let down for an ending track, but concludes the storyline quite well, although the lyrics aren't quite as symbolic as usual Genesis, just catchy. The music however is exceptional, and I always find myself shaking my leg in time to "it". So sad when it starts to fade out...

A+: Completely essential for any real prog rock fan. One of the greatest most intricate and intimate works ever created by anyone, ever! :P

The Lamb Lies Down On Broadway: ***** Fly On A Windshield: ***** Broadway Melody Of 1974: ***** Cuckoo Cocoon: ***** In The Cage: ***** The Grand Parade Of Lifeless Packaging: ***** Back In N.Y.C: ***** Hairless Heart: **** Counting Out Time: ***** The Carpet Crawlers: ***** The Chamber Of 32 Doors: ***** Lilywhite Lilith: **** The Waiting Room: **** Anyway: ***** Here Comes The Supernatural Anaesthetist: ***** The Lamia: **** Silent Sorrow In Empty Boats: ** The Colony Of Slippermen: ***** Ravine: **** The Light Dies Down On Broadway: ***** Riding The Scree: ***** In The Rapids: ***** It: ****