The Lamb Lies Down on Broadway is the sixth studio album by the English progressive rock band Genesis. It was released as a double album on 18 November 1974 by Charisma Records and is their last to feature original frontman Peter Gabriel. It peaked at No. 10 on the UK Albums Chart and No. 41 on the Billboard 200 in the US. While the band worked on new material at Headley Grange for three months, they decided to produce a concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City who is suddenly taken on a journey of self-discovery and encounters bizarre incidents and characters along the way. The album was marked by increased tensions within the band as Gabriel, who insisted on writing all of the lyrics, temporarily left to work with filmmaker William Friedkin and needed time to be with his family. Most of the songs were developed by the rest of the band through jam sessions and were put down at Glaspant Manor in Wales using a mobile studio. The album received a mixed critical reaction at first, but it gained acclaim in subsequent years and has a cult following. The songs "Counting Out Time" and "The Carpet Crawlers" were released as singles in the UK in 1974 and 1975, respectively; both failed to chart. A single of "The Lamb Lies Down on Broadway" was released in the US. Genesis promoted the album with their 1974–75 tour across North America and Europe, playing the album in its entirety. The album reached Gold certification in the UK and the US. The album was remastered in 1994 and 2007, the latter as part of the Genesis 1970–1975 box set which contains a 5.1 surround sound mix and bonus material.Wikipedia
I was only familiar with their well known songs so I was very interested in listening to this album because there aren't any well known songs on it. My first thought after listening it for the first time: Boy, I do NOT get progressive rock lmao! Also the album is a long one, but I guess if you're into Genesis alot that's a good thing. Tbh, I'm not really that into Phill's vocals. The lyrics vagueness differ from song to song and the usage of the synthesizer (way ahead of its era) makes the album a woolly experience. Sometimes I had the idea I was listening to an acid trip unfolding. I think I'll keep to their well known songs.
This is a thought on. I am neither sure if I loved or hated this and think I need to listen a few more times, but also know it is an hour and a half a time. It was at points beautiful, at points grating, lyrics often daft and sung with seriousness, sometimes at the same time. It sounds like a wierd cross between the Who, Zappa and Preservation era Kinks. My favourite moments tended to be the instrumentals, the waiting room and silent sorrow in empty boats, finding Gabriel's voice and lyrics a bit hard to take. I can't help wonder what the whole thing as pure instrumental would sound like. Yet despite all this, I can't help admire the ambition of it and found myself thinking more about this album than many I have lived. Perhaps that is a sign of its depth or maybe its just too silly for me to properly focus. Who knows, maybe that's what makes this challenge worthwhile.
A lot of albums I prefer a lot more from Genesis, but a welcome album to me regardless!
My first concept album I bought.
This is Gabriel Genesis at its peak (in my humble opinion)…he is about to break from them and forge his own path.
It’s only over recent years that I’ve started paying any attention to prog-rock. Rush came up on my radar and I fell in love, and I have since listened to Yes as well. I’d never really given Genesis a chance as the songs I’d already heard (Invisible Touch and Land Of Confusion) were much more pop than I expected. Songs I already knew: none Favourite after listening: Counting Out Time, Carpet Crawlers First, this was a double album so is longer than most, taking just over 90 minutes to get through all 22 songs. Longer albums have scored poorly from me before as it takes a lot of mental stamina to focus for that long. However, I was able to sit through this in one session and at no point felt bored. I will say that some songs are a little weird, but in a way that fits well with the rest of the album. Overall, I loved it but I know that prog isn’t for everyone, so I can understand people hating it too.
Growing up was more of that 80s Genesis, but this album was surprisingly complex and the \"new stereo mix\" put some pretty good depth to how this album sounded. It would cause wonder as to whether or not one has even heard this band before. The album was absurdly long, but today (10-6-22) was apparently a good day for it. The music was heavy, it had some experimental things, there were flutes, there was a lot going on and usually that tends to overwhelm. However, the album itself was sensical in its absurdity, which is really hard to be happy with, but here it is. Deep and sustained bass notes (as opposed to short, quick, thumps) supporting solid rhythms and melodies, a listener would almost wonder if this was really from 1974 where a lot of things were heavily electronic, disco-inspired, and otherwise sounding and feeling contained. The opposite is true here, this recording seems as if it were completely open, all musical elements playing in their respective lanes creating what is essentially a symphonic experience. Complex with surprises, the expected talent of Phil Collins, this album was a great experience and belongs in any library.
collins and gabriel e tals
Solid progressive rock. Production values are very high level, and I think ahead of their time for 1974. This could have come out in 1984 and I would have had the same sentiment. Cons: Even though I mentioned it being great production, I think that synths in the 70s were still a newish tech for bands and acts around this era tended to overdo it. For me, the synth solo throughout the track "In The Cage" really is quite annoying. Synths most often are devoid of any dynamic qualities. They are 100% volume 100% of the time (unless the volume of the instrument is changing at the mixing stage), unlike a piano or a guitar. These solos are blistering runs that lack any kind of interesting layer in them beyond "speed". Not really my thing. Could be my age speaking since I don't really like any kind of solo that's only interesting quality is "fast" "Back in NYC" is really cool. I love the lead instrument. It's repetitive yet really cool and interesting intervals, and tied to the drums to make a really fun groove. "Hairless Heart" sounds like a Final Fantasy video game track. So cool. "Counting Out Time" is very obviously about erogenous zones. Gotta love that. "Colony of Slippermen" is so weird- it's like goblins talking into your ears.t The in between / instrumental tracks are really well placed. This album is an adventure. It really goes places. I thoroughly enjoyed it. The only thing keeping it a 5 is that it doesn't really have any huge memorable / catchy tracks that the band is capable of. Or maybe it's just that it's my first time hearing these. I'm giving it a 4 but it's a very high 4.
Very long but good
Surprisingly it remains interesting and well written despite its long running length.
The last hurrah of the Peter Gabriel era of Genesis, and perhaps the progressive rock era in general, The Lamb Lies Down on Broadway never settles for less; a continual bombast of epic proportions involving a street kid named Rael and his kaleidoscopic adventures along the way. Perhaps the band's greatest outing, they grab the listener through the twists and turns that the story requires, soaring with the highs and rumbling with the lows. But, as mentioned, all good things must come to an end and both Peter and the band set off toward different paths. At least we have this to hold on to. Favorites: The Lamb Lies Down on Broadway, Cuckoo Cocoon, In the Cage, Back in NYC, Counting Down Time, The Carpet Crawlers, The Chamber of 32 Doors, Lillywhite Lilith, Anyway, Here Comes the Supernatural Anaesthetist, Ravine, The Light Dies Down on Broadway, In the Rapids, It.
8/10. All of the pretentiousness a growing boy needs
Unique. I like Peter Gabriel so up my alley
really cool and somewhat odd concept album, early years genesis is truly something else
Probably the best of "prog rock" Genesis.
This grew over the day of listening. Would have given it 2 stars after 1 listen.
Cool concept album that felt rather bloated and excessive at times
So long, interminably long, but good
An epic full of twists and turns. As far as prog rock goes, it never really reaches the shrill ear shattering clangs of Yes, but it's also never quite as good The Wall, or anything Styx or Rush ever did. Way too long, but still glad I heard it. Surprised me in some fun ways. Probably more of a 3.75, but I'm feeling generous today so I'll round up.
I want to die to this album (positive)
Un disc per perdre't en ell. Una de les obres clau del rock progressiu en un dels seus anys clau. No hi ha parts mediocres en la seva hora i mitja passada de contingut, però no tot està al mateix nivell brillant de temes com el titular, 'Carpet Crawlers' o 'Back in NYC'
Bit random and all over the show but sort of liked it
Seems a bit redundant to complain about this being self-indulgent. They tell you upfront what they are, so if you hit play, you accept their terms. It's still all a bit much. Whoever invented the phrase "Less is more" was talking to Genesis, and of course they didn't listen. Best track: In the Cage
Interesting mix of songs, nothing particularly stood out though. Could be worth another listen.
Whoa...wasn't expecting this. I know the 4 album run from Trespass to Selling England. Never explored this... Ok half way in.... thing is I like i like prog and I find it a bit of a featureless landscape. I really think it needs several listens.. also those old sounding keyboard solos are becoming a bit wearing...on the positive note its good that they lost their lyrical whimsy. 2.75
massa o progressivo e pa
WAY too long an album. Nice but I lost interest. Liked the mix of Peter Gabriel and Phil Collins tho. 6/10
J'aime beaucoup cet album aujourd'hui, peut-être parce que je l'ai moins écouté. C'est le dernier avec Peter Gabriel à la voix. J'adore le Mellotron et l'orgue sur cet album, tout comme le jeu de batterie de Phil Collins. C'est fou comme l'utilisation bien dosée d'un bass synth donne de l'ampleur à certains passages. Peter Gabriel étant très théâtrale, on a un tout qui s'enchaîne super bien et qui n'est pas ennuyant pour le premier disque (si on aime Peter Gabriel bien sûr, si on accepte de plonger dans l'aventure et si on fait abstraction de Counting Out Time). Je dois admettre que le deuxième disque s'essouffle un peu. La pochette est superbe. En vinyle, c'est sublime (et on peut omettre à l'occasion le 2e disque). Pièces préférées: In the Cage, Broadway Melody of 1974, The Lamb Lies Down on Broadway, The Carpet Crawlers, Back in N.Y.C.
Not as bad as I had feared!
Good but too long
Interesting concept album, but a tad long and synthy
More prog than I expected. Not bad not great.
"The Lamb Lies Down on Broadway" is the 6th studio album for Genesis. It is a double album and the last one with Peter Gabriel as lead singer. It is also a concept album (boy, is it ever) about a Puerto Rican boy, Rael, from the Bronx who goes on a self-discovery adventure in NYC and faces challenges with family ( I think his brother betrays him like two or three times), authority, sex, love and self-sacrifice. The story is both easy and hard to follow the exact details. Peter Gabriel wrote the story and all the lyrics and said it was loosely based on "West Side Story," several pyscological concepts and the western film "El Topo." The first part is more about Raul discovering the outside of NYC and the second side is more fantasy with caves (lots of caves), mythological beings (Lama, Slippermen), ravens, boats and rivers. I really don't know if Rael ends up dead or alive at the end. Although Genesis wanted to avoid the Prog Rock moniker, this is solid prog rock. Musically, the synthesizers, organs, piano and keyboards of Tony Banks and the drumming of Phil Collins are the highlights. To experience this album, you really need to listen to it whole. It is exhausting though at 1 hour 34 minutes and with the entire storyline. For me, the song highlights are the ones you here on the radio (at least in the US). I always liked the title track for Gabriel's vocals (both lead and backing) and the keyboards and piano. It starts Rael off on his journey after apparently witnessing a lamb lying down on Broadway (not entirely clear). "The Carpet Crawlers" has the best and weirdest story, Rael in a room of people on their knees (the carpet crawlers) going towards a door and a Spiral staircase. Well, in the next few songs, Rael goes up the spiral staircase to a room filled with 32 doors and is eventually rescued by a blind women whom he leads across the floor. Anyway, Banks' keyboards and Collins' drums/drum programming are great in "The Carpet Crawlers." If you're a Genesis, Prog Rock, concept album or maybe even a fantasy fan, this album should be right up your alley.
Good progressive rock
Good album interesting sound, does drag on towards the end a bit too long.
Heard this a few times previously, and I really like Genesis. 3/5
I started out liking it, and are bored with the repetition of synth and Gabriels voice. I think Gabriel's solo stuff is great but I found his range on this one too narrow. The instrumentals were great.
An early genesis album before I feel they reached their peak. This album is a bit lengthy. The synths that make genesis great are very raw on this album and at times are just bad. Collins does a good job as always but I felt like less calming instrumentals could’ve made this album a little more concise. 6.0/10
Le générique de Tarzan pourquoi pas, le générique de Tarzan sur 1h30 c'est non en revanche.
Quel plaisir de voir Tarzan se déplacer de liane en liane au sein de cette jungle africaine. L'album perd en saveur avec l'arrivée de Clayton et ses terribles intentions.
Over the years I spent a lot of time with this album. I have mixed feelings about it: on one hand, it's got songs I consider proper favourites (Carpet Crawlers, to name one off the top of my head). But on the other hand - 1. It's a bit too prog when it comes to prog rock, at least in my book. 2. Sides 3 & 4 offer nuclear winter levels of desolation when it comes to quality tunes, at least in comparison to the wealth on offer by sides 1 & 2. To sum up, there are some excellent tracks here, but the album itself is far too long for its own good.
There was some bangers on this... I didnt listen to them all, however its like musical style? idk. I'll have to listen to it more
First Genesis album. I am familiar with a few of their singles, but I can't really say had much expectations. I felt like the first half of the album was very slow. I questioned the quality of the production, maybe the mixing, idk but it sounded pretty rough. The second half of the album is a different story, especially the final 6 songs, all of which were great imo. Very long album, but the ending was nice.
Meh. A very long album where everything kind of bleeds together and sound the same.
This band is weird and this album is so fucking long! It was a bit of a slog to get thru but there is some cool stuff in the weirdness, it’s just not for me. Felt a bit like a fever dream at times. Phil Collins and Peter Gabriel are still cool
haven't listened rip
Chyba pierwszy odsluch Genesisa jaki pamietam, nie kojarze bandy, a z czlonkow jedynie nazwisko Phila Collinsa obilo mi sie o uszy, the lamb lies on broadway jest ambitnym i poteznym podwojnym albumem z longplejem ponad 94 minutowym, stara sie opowiedziec historie mlodego czleka imieniem Rael i jego bizzarnych przygodach, ktorych tlem jest fantastyczna hameryka i tytulowy broadway, chwala panu Peterowi Gabrielowi, autorowi liryki, konceptu i wokaliscie bandy za to ze wraz z plyta umiescil sciage fabularna co i jak sie dzieje w ktorym traku,Peter Gabriel bo z samego sluchania nie polaczylbym kolejnych utworow w sensowna calosc, chociaz o sensie nie ma tutaj co mowic, bo jest tu masa absurdu symboliki i teraz juz troche dziwnie brzmiacej walki z systemem, dziwnie bo juz dawno przegranej, ciekawy jest fakt, ze byl to ostatni projekt pana Gabriela z Genesisem, wiec az sama nasuwa sie interpretacja pozbawienia zludzen o tym jaki jest swiat i szolbizens Raela jako osobiste odczucia pana spiewajacego, a sam spiew nie wiem czemu kojarzyl mi sie mocno z panem Bowiem z okresu stardustowania, chociaz calosc muzyczna nasuwala bardziej skojarzenia z starszym bratem brytyjskiej progresowej sceny, czyli the who i ich Tommym, do ktorego najbardziej porownuje dziesiejszy krazek, bo rownie ambitny i dlugosciowo podobny, tutaj jednak nie moglem sie jakosc odnalesc i utozsamic w swiecie postaci, ale w tak dlugim materiale jest naprawde kilka swietnych utworow, hajlajtami byly dla mnie openingowy baranek na deskach szerokiej drogi, cuckoo cocoon i carpet crawlers, robote robia takze instrumentale ktorych jest rowniez kilka na plycie lub plytach, bo przez podwojny album, album solidny, ale nie mial w sobie tego czegos co sprawia, ze banda gra w idealnej chemii miedzy soba, tak jakby jedna osoba starala sie narzucic koncept jak ma wygladac calosc
whatever. got bored it’s not my vibe. not bad though
For a hot minute, I thought this might be a hard 4-star or maybe even a 5-star review. It started out so strong. But then it devolved into self-indulgent chaos and I stopped caring before moving into active annoyance. That's not what you want, guys. You don't want your audience to be actively annoyed at you for wanking around on your instruments. Just keep laying down monster prog tracks and everyone will be happy. As it is, I can't bring myself to give this any more than 3 stars. Sorry, Mr. Collins.
I actually prefer 80s Genesis
3.5/5. Prog rock albums are really damn long.
Te lang, maar er zit toch echt heel wat moois tussen. De zang van Gabriel tilt dit naar een hoger niveau. Als de heren eerder een punt hadden durven zetten zou dit een nog beter album zijn geweest.
Best Song: The Grand Parade of Lifeless Packaging. Equal parts futuristic and theatrical. Very cool. Worst Song: Hairless Heart. I'm here for the vocals, plain and simple. This sounds like the music that plays over the credits of an awful coming-of-age film. Overall: The whole album feels indulgent, from its production to its unnecessary length. That saccharine luxury surely overstays its welcome, and you end up wishing for some kind of raw emotion halfway through this monster album.
Teilweise sehr abgedreht. Ich mag Phil Collins, bin aber nicht so ganz von dem Album überzeugt.
Proggier and more intricate than I expected. Really well recorded, great flow. Songs didn’t really jump out individually but definitely changed my scope of what I thought this band was.
Thought this was a little full of itself but not really all that coherent. The lyrics often get bogged down in conveying the story, yet I didn’t find the story particularly compelling or indeed comprehensible. Add in being very long and having some irritating noise intervals and I don’t think I’ll bother listening to this again.
Some good old school progressive rock.
Admittedly, pretty exhausting. The synth sounds range from "interesting" to "that hasn't aged well *at all*". Also contains one of the least sensual songs on sex I've ever heard. I can hear Rush being inspired by this. I feel like it'd make an interesting stage show, though. Favorite tracks: "In the Cage"
fuck... 70s prog rock, double disc, concept album... why? None of these songs are even a Genesis hit. They have good songs. Why this album? To be fair, I only made it about 6 songs and switched back to listening to Visigoth. But fuck this shit.
Hmmm... so there have been a lot of albums on here that are dated and feel cheesy because of that, which is forgivable. This is not one of those albums. It feels so forced, trying to be as epic as The Who but with really clunky lyrics. Maybe I'm just not in the mood for it right now, but its just not doing it for me. :/
Just not getting into this early Genesis stuff, isn't for me.
Not so much fun as it was in high school.
Med mycket möda och stort besvär tog jag mig äntligen igenom 1,5h Genesis, något jag inte såg speciellt mycket fram emot på förhand. I efterhand var den känslan befogad. Vissa låtar har bra partier, men de dränks bort i de omgivande proggigt fjantiga synthtonerna. För spretigt helt enkelt. Även de spår som har ambitionen att vara ännu mer art-rockiga vågar inte löpa hela linan ut. Det blir mellanmjölkigt; varken full on art rock eller melodiös prog. Papparock av den sämre sorten. Plus för vackert omslag. Bästa låt: Ingen stod ut, men gillade den kortare, instrumentella Hairless Heart. Den var åtminstone stringent, och höll sig till ett sound (även om det är mer av ett mellanspår).
First time hearing. Too whimsical for my taste. I like a lot of prog stuff from this era but couldn't really latch onto any tracks. The album is absurdly long too, which didn't help.
I guess I'll never get Genesis. It's so goofy sounding, but not in a fun way like Rush or Yes or whatever.
This was hard to follow along with. Kazoos and mouth noises, very weird story, and the end of Gabriel in Genesis. Not for me.
I feel i should like this more than I do, have tried to listen to the whole album several times however and it doesn't do it for me. I normally like prog rock and story telling in music. This leaves me uninterested however, like a band trying hard to make an arty album.
I don’t know if I’m just deaf or something but I understood 5 words per song on this album
Perplexing album to listen to. Some of the songs are extremely slow. Some of the songs are far more upbeat. It feels like a different album maybe halfway through.
Not the Genesis I thought i knew from the 80s. This album doesn’t do much for me. Pink Floyd meets musical theater meets sleep depravation. Amazing musicianship for sure though.
None of this grabbed my attention, pretty forgettable for me
Not sure what to make of this, maybe I need to listen to it more?
Ik dacht altijd dat ik een Genesis fan was. Maar na het luisteren van dit album ben ik misschien toch meer Phil Collins fan. Ik vind dit album namelijk erg vaag. Tegenvallend als je je er op verheugd. Het bevat ook voor mij geen van de bekende liedjes. **
Just not in the mood
I kind of would just rather listen to Phil Collins’ or Peter Gabriel’s solo music… prog rock is so hard to get into
Einde niet gehaald want ik haat dubbel CDs, maar die 2 hele sterren hebben ze dubbel en dwars verdiend, want ik heb weinig gehoord wat me bijbleef.
I do not care for Genesis
prog is shit
Highlights: Fly On A Windshield Broadway Melody of 1974 Artwork: 5 / 10 Rating:
So it's a concept album. You know what else is a concept album? "Music From The Elder" by Kiss. That thing isn't anywhere near this list. I wish one could say the same about this album. Maybe I just prefer my Genesis to have the drummer singing lead vocals.
I respect an ambitious concept album and this reminds me a lot of The Who in rock opera mode. But even those Who albums I tend to enjoy at an arm’s distance. The style can feel pretentious which is definitely the case here. The explicit reference to Broadway is fitting - it sounds like a Broadway show and annoys me the same way a lot of musical soundtracks do. How about this line from “Counting Out Time”: “Erogenous zones, I love you / Without you what would a poor boy do?” Jeez 🤦🏻♂️ Also, wow - I read the plot summary on Wikipedia. Truly bonkers. Shame that the final product isn’t more fun considering the story is so trippy and ridiculous.
Far too indulgent and proggy. Every now and then it threatens to have a nice melody, but soon turns back into egocentric dirge that probably seemed like a good idea at the time. And then Phil Collins starts singing about erogenous zones 🤢
I love Peter Gabriel. I love post-Gabriel Genesis. I like prog-rock. This album, to me, just sounded like outtakes and what would be the inspiration for early Spinal Tap. Thank heaven that Peter Gabriel split from Banks, Rutherford, and Collins, and they all stopped getting in each other's way.
Not a big Philadelphia Collins guy, I see the appeal but not with this album, every song dragged on too much for me it was hard to make it through
Did no one try to stop them?