Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name ...
Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it's just as well; even with the lengthy libretto included with the album, the story never makes sense. But just because the story is rather impenetrable doesn't mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak. Even if the story is rather hard to piece together, the album is set up in a remarkable fashion, with the first LP being devoted to pop-oriented rock songs and the second being largely devoted to instrumentals. This means that The Lamb Lies Down on Broadway contains both Genesis' most immediate music to date and its most elliptical. Depending on a listener's taste, they may gravitate toward the first LP with its tight collection of ten rock songs, or the nightmarish landscapes of the second, where Rael descends into darkness and ultimately redemption (or so it would seem), but there's little question that the first album is far more direct than the second and it contains a number of masterpieces, from the opening fanfare of the title song to the surging "In the Cage," from the frightening "Back in NYC" to the soothing conclusion "The Carpet Crawlers." In retrospect, this first LP plays a bit more like the first Gabriel solo album than the final Genesis album, but there's also little question that the band helps form and shape this music (with Brian Eno adding extra coloring on occasion), while Genesis shines as a group shines on the impressionistic second half. In every way, it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album. ~ Stephen Thomas Erlewine, Rovi
Im of an age that i remember the gate fold 12" sleeve original! My wee brother had the copy and id pinch it to play at a rock venue where i was resident DJ. Always good to start the evening off with the title track!! Although the album was released in 1974, it was quickly regarded as a classic of its genre. I was knocked out when I saw the band play it live in Edinburgh's Playhouse.
This was Peter Gabriel's last outing with the band and what a swansong!!! Yeh, Phil Collins stepped up and found more commercial success but the Lamb was the bands last overall prog statement. Like many 70's prog albums, there was usually a theme. Gabriel wrote a tale around a character, Rael. A punk city kid and all that he experiences.
Id bought various Genesis collections over the years, each having tracks from The Lamb. Then my trawl through Alibris stopped when i saw the album listed!!! The music is timeless and has influenced modern proggers such as Steven Wilson. The musicianship is excellent throughout. Highlights: Lamb Lies Down On Broadway, Back In New York City, Counting Out Time, Carpet Crawlers, everyone will have their personal fave tracks. Highly Recommended Indeed!