The Lamb Lies Down On Broadway
Genesis
1974
Album Summary
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.
WikipediaThis 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.
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.
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.
A lot of albums I prefer a lot more from Genesis, but a welcome album to me regardless!
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.
One of my all-time favorite albums, dating back to high school when my friend Ron made a cassette tape of the album for me. Definitely one of the most ambitious, progressive concept albums ever made. There are a few songs that aren't great, especially toward the latter half of side four, but overall it's an amazing album. 5 stars.
Disclaimer: Huge Genesis fan here. I was listening to this in the car with my teenage son recently, as one does, right? Right?? I was surprised that he's been digging early Genesis so we went through this one. It was interesting to listen to it with him and think about how this album sounds to new ears. Album 1 is amazing and my son absolutely loved it. The opening trio of The Lamb Lies Down on Broadway, Fly on a Windshield, and Broadway Melody of 1974 is just stunningly good. Chills every freakin' time. Back in NYC, In the Cage, and Carpet Crawlers are all great songs. Album 1 is a clear 5. Album 2...well, it has some great moments: Lilywhite Lilith. the keyboard solo in Riding the Scree...plus "It" is a great closer (both to the album and to Peter Gabriel's time with Genesis). But Album 2 also has a lot of weird moments - I was cringing a few times at how it might be coming across to him and I can imagine that a lot of people end up saying "wtf" many times during Album 2 (and maybe even occasionally on Album 1). Plus, I worried that Album 2 was dragging out too much and the story is, um, awkward to say the least (google Peter Gabriel's slipperman costume. On second thought, don't). But, as we neared the end and I told my son that we were on the second to last song, he was actually disappointing that the album was almost over. Poor kid is going to be a prog fan I guess. I want to make it crystal clear I didn't push him to listen! Anyway (as the song goes)...to give it a 4 or 5? Here's where I'm going to have to let my Genesis freak-flag fly: It's a 5 (it's also chicken, eggs, and in between your legs). Every time I hit the end of the album, I want to listen again. If that isn't a 5, I don't know what is.
Fantastic record. Honestly not even close to the best Genesis record though. These guys were on fire in the early 70s.
Always enjoyed this one immensely. First half is an 11/10 for me second is closer to 9/10.
Before Peter Gabriel struck out on his own, he gifted Genesis with a stunning concept album. Exploring life, death, sex, and the idea of really knowing oneself, The Lamb is a dizzying journey through the metaphysical.
A clear candidate for best prog rock album of all time, largely by curtailing its proggy tendencies. “In the Cage,” “Hairless Heart / Counting Out Time” and “Carpet Crawlers” (“gotta get in to get out“) are relative standouts in the rich melange of stately moods, outta-nowhere hooks, gratuitous counterpoint, sudden reversals dreamy vibes, and weird thrown-in, odd-lots sounds. The lyrics and storyline is lost on me, but don’t feel any the worse for that. Whatever else prog rock was (and it was a lot), it was often rich and interesting, as this very much was/is.
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.
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.
A rock opera with some rock operettas in there. A bit long but I generally like the music. 7/10
really cool and somewhat odd concept album, early years genesis is truly something else
This grew over the day of listening. Would have given it 2 stars after 1 listen.
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.
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'
Never really listened to this album before, but I like progressive rock, so an interesting and nice listen for me. Really liked "In The Cage" Saved tracks: Fly On A Windshield, In The Cage, Cuckoo Cocoon, Hairless Heart, Carpet Crawlers, The Chamber Of 32 Doors, The Lamia, The Light Dies Down On Broadway
I listened to a lot of Genesis in junior high/early high school. I favored the Phil Collins stuff at the time. This album was Peter Gabriel, although he sounded just like Phil Collins. It is more progressive/experimental than the Phil Collins years. It's good, but there's not a lot of ear worms here to stay with you. Still, a good listen.
This was a good concept album, I liked the long instrumental jams. The bass was very melodic, the drums had some very complex beats. The last album with Peter Gabriel, it was one to go out on. This is the epitome of progressive rock from the 70s
Give this review a thumbs up if you, as the lamb, would lie down on broadway
With this concept album, Genesis reached the peak of their development - and the end. Saw them on the tour of the same name, which was a truly impressive multimedia spectacle for its time.
Here's my theory about Genesis: Genesis tried too hard to be a pop album. In doing so, they never made a truly great album. And The Lamb is no exception. Honestly "Selling England" is the closest they came. So, what of the Lamb? I still listen to this every so often. But like a lot of double albums of prog, it's overblown and too long. So the album is good to put on and listen to if you're doing work, but it does have a bit of songs that could be pulled. Then there's the story. Rael sees steam in NYC that looks like a lamb and... lies there. He then is transported into a weird album, and he... does things? The ending is...vague at best, and ambiguous and unfinished at worst. The music? The first disc/LP/CD is great. Gets you right in all of the prog spots, prog boners everywhere. When that "Fly On A Windshield" kicks in, aw MAN is that some good stuff. "Chamber of 32 Doors" is such an underrated song. The second disc? Um... beginning of the disc, just like Tales for Yes, stalls out for me. They could esily have cut some of this down. They pick it back up again on the 4th side. "Riding The Scree" has that keyboard solo, which is mind-blowing. When I had first heard the album, I had only heard maybe three songs from live albums. It was weird hearing Gabriel sing them. So as much as I listen to this album, it's not a perfect album. It's too long, it's overblown because of it. Am I being a bit too nitpicky? Perhaps. But Genesis is one of those bands that got a huge amount of attention in the mid to late 80s. They sold out stadiums every time I could remember. A band this big should have that great album. And they never really did. They had great-selling albums, but that is a different thing...
This one has two major flaws. It's too damn long and it's a concept album with a bad concept. The story is not really well told and kinda suck. Apart from that, most songs are fine and the instrumentation is stellar throughout. The big highlight here is Tony Banks, that shines in all of the best tracks here ; The Lamb Lies Down On Broadway and The Carpet Crawlers. 7,9/10
Probably the archetypal progressive rock album - disputing this title with Tommy - and winning because Genisis are much more Prog than The Who. A swansong for Peter Gabriel with Genesis, almost certainly due to Gabriel's atitude. Despite this it is a masterpiece of Prog
I'm not a big fan of concept albums, especially those that are double albums as well. This one started off well enough, but ended up being a bit of a slog by the time it was over. Musically, Genesis is spot on as ever here, with plenty of flashes of brilliance to be found. The flip side of that is that the band is prone to a certain amount of prog wankery and weirdness that doesn't always sit well with me. Nevertheless, it a really substantial album with a lot interesting music to unpack if you're willing to give it the time. The quiet elegance of "Silent Sorrow in Empty Boats" is the best of the album's excellent instrumentals and the title track is a classic. "Counting Out Time" is just kind of dumb. Fave Songs: Back in N.Y.C., Anyway, The Lamb Lies Down on Broadway, Silent Sorrow in Empty Boats, Broadway Melody of 1974, Fly on a Windshield
I have heard every Genesis album at least once and I have listened to The Lamb Lies Down on Broadway a few times. Listening to all of Genesis came from me trying to figure out how Genesis went from their prog-rock beginnings to pop music superstars. I like progressive rock, especially some of music from the Peter Gabriel era of Genesis. The title track is a favorite off of this album. There are tracks that are full-fledged prog ("In the Cage", "The Carpet Crawlers") and "Lilywhite Lilith" gives you reasons to look forward to the 'Phil Collins as lead singer' era of the band. I don't know what this album is about, and there are a track or two that I don't want to understand I don't think. (Gabriel can verge into a little creepy in his storytelling.) For a double album, all four sides give reasons to check out this album.
Probably will never listen to this record ever, but still pretty good.
Genesis were able to combine prog rock and it's weirdness with the catchyness of pop: the songs are surprisingly beginner-friendly and remind more of the latter Genesis than the earlier albums. Despite that, the long runtime and the lack of a wow effect such as it's predecessor had, prevent this from receiving full 5 stars
An album so adventurous and engaging, it’s only downside is its length. It is too long and loses a bit of the flow with how it drags on. However, its production is perfect, a mix of progressive rock and ambience, lyricism and storytelling, and recording techniques ahead of their time.
Just gotta appreciate this, it really does show a lot of songwriting and playing talent. Nothing I'd say is an outright certified banger but just good across the board. Doesn't quite have that really whimsical prog feel that some other Gabriel-era Genesis does, and it's a bit LONG but I'll let it pass this time. 4/5.
A mid 70s concept album. Counting Out Time is killer. The first part is pretty unintelligible for me. As well as most of it. its really wild and worth a re-listen when i am less distracted.
Really just a little too long in my opinion, and a little too abstract to truly enjoy it like I might with similar more concrete concept Albums. But some shiny moments for sure.
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
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.
"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 album interesting sound, does drag on towards the end a bit too long.
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
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
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.
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.
I grew up with 80's Genesis. 70's Genesis is a slightly different animal. I imagine my dad probably put this on with his mate Richard, smoked a spliff and thought it was awesome. I'm listening, sitting on a train on the way to work and it's pretty heavy going in places tbh.
Genesis' magnum opus, with all the pros and cons that sentence conjures to the imagination
If you don't like Prog you won't like this. I like Prog but prefer Selling England and Foxtrot to this. This was Gabriel at his most controlling but since it appears that the rest of the band wrote the music in a series of jams and Peter waltzed off to write the lyrics. The music is the main reason for listening to this. I love Trick of the Tail which came after this and after Gabriel left so that says a lot. This is like a self indulgent trip (a 'concept' album) but the music is the redeeming feature.
Never been that conviced about this concept album from Genesis. Much preferred most other Genesis albums from the '70s, both before and after this one.