The Lamb Lies Down On Broadway

Peter Gabriel in any form, automatic 5 stars from me.

Ah yes, the "Lamb" parts one and two... Even as a big fan of Gabriel era Genesis, I've found this album a bit confounding. In a nutshell, it seems to be a loose narrative influenced by the ancient trope of the hero descending, or ascending, into an underworld and emerging with a deeper understanding of some personal, esoteric knowledge. In the case of Genesis, and maybe more specifically, Gabriel, influence was probably also drawn from experimentation with acid. One shouldn't think too much about a grand narrative or you might get frustrated or lose interest. In terms of the music and flow of the album, it's a bit messy but it's doing some interesting things. It would seem that the first half deals with the surface world and the second half describes events of the underworld with both album sides having some parallels with each other both musically and thematically. Both halves are just as weird but it kind of intensifies as the album progresses. As above, so below, one might say... Stylistically, there seems to be a slight overall shift from the neo classical prog into something that sounds more urban, even punky with possible traces of soul. Much of this fits well with Gabriel's early solo material. And it all feels surprisingly breezy despite the 90 plus minute run time. It's a challenging listen and it probably won't win over any new fans, but I think this project is pretty impressive. I would recommend listening to the 2025 remaster which gives the album a needed punch and better channel separation. High marks but not without some trepidation.

One of my all time favourite acts at the peak of their early period of creativity. A troubled gestation, all lyrics written by the soon to depart lead singer and premiered on a US tour to audiences who’d never heard it in readiness. Having seen it performed, with slides and costumes, by The Musical Box, it is quite baffling for the uninitiated. Nevertheless it’s a prog masterpiece - remarkable music.

great prog-genesis album. peter gabriel genesis > phil collins genesis. that said, phil is a beast on the skins. one of progs' great drummers. i've seen the musical box recreated tours of the gabriel years, and they're a lot of fun - this tour does the whole album and then an encore of some earlier stuff. selling england is a better album (and tour) tho. this is how you make a concept album (looking at you 'the wall'). more than a handful of memorable songs, songs that can be played out of context and enjoyed.

love the album especially fly on a windshield (that breakdown is incredible) amazing psychedelic/progressive album

rock n roll came a long way in 10 years man if one element is stumbling just change your focus. every time I heard a weak lyric I'd just start listening to Phil Collins drumming his heart and brains out

This album is easily a 4.5 or 5 stars, as it is just a brilliant piece of orchestrated music with so many dynamics and changes and consistently great songs. I have other favorite Genesis albums, but there is no denying the brilliance of this piece of work and a reason it has stood the test of time this many years later.

fire

A top ten Prog Record, Gabriel at it’s peak,

I love Genesis. Brings me back

Now i see why Genesis is a worshiped prog rock band. And why some people find progressive rock so boring.

A bewildering progressive rock opera that combines terrific and often tight rock songs, its fair share of progressive dalliances including sometimes impenetrable lyrics, and a strange narrative that intermingles gritty New York with standard 70s progressive fantasy fare. The album is arguably overlong, but that oversight is more than made up for by a truly terrific batch of songs with just the right amount of diversion into progressive noodling and other strangeness like "The Waiting Room." This record works as a great rock album, a great rock opera, and a great progressive rock statement. As good an ending as any for Genesis 1.0.

Great

Double album. 50th anniversary deluxe edition. Let's go. Big, piano and keyboard driven title track to start. Punchy. Fly on a Windshield introduces a crushing bass line and drum beat, but the keys are light and airy. Cuckoo Cocoon is beautiful, lightning quick piano and pan flutes. In the Cage feels like the first big climax, powerful and dramatic. It's got grit though. Bite. Hairless Heart is a delightful symphonic interlude before the quirky, crunching Counting Out Time. The Carpet Crawlers has a bit of a hypnotic effect, and then it's the end of disc 1 with The Chamber of 32 Doors. A return to big drums and guitars and the organ. Early on in disc 2, The Waiting Room starts off all dissonance, shattering glass and spooky noises. Back to something more coherent with Anyway and its looping piano melody. It's still ominous though, foreboding. The Lamia is the highlight of this side, and maybe the whole album. Again it's tense, dark, but the music is grand in scale and ambition. Silent Sorrow In Empty Boats is the perfect comedown, then it's back to the weird and wonderful: The Colony of Slippermen. After the synth intro, it's some of the more upbeat msuic on this disc, juxtaposed with downright eerie riffs. After that, I tire of describing it, but not listening - the rest of the album is all of a high quality. I think the second half edges it, but the whole package is wildly impressive.

Noch ein Album, das ich zuerst bei einem Freund und Schulkameraden gehört habe. Eines der Alben die ich damals sofort haben musste und heute leicht ramponiert bei mir im Regal steht. Ich habe später Genesis/Phil Collins nicht mehr gemocht... aber dieses Album ist für mich immer noch der Höhepunkt in Genesis Werk.

Outstanding album. Complex yet accessible. Intense. This is high art. 4.75

I first heard this when I was about 11 or 12, an older brother of a friend had it and I became obsessed with it! The weird story in the cover the unusual lyrics and strange sounding instruments. Everytime I went to my friends I would ask him to play it or sit and read the story and lyrics while we listened to Blondie. My favorite Genesis album for many years.

Ovo je meni možda najbolji album s gabrielom njihov. Je jako je ambiciozan i lelujav ali ono to je pomalo i poanta

After this, Genesis started to suck.

I haven’t listened to this full through in maybe a decade. Since then, I’ve learned to appreciate Genesis - their five album run in the early/mid 70s is five of the finest musicians to ever live locking into the most ridiculous prog opuses imaginable. Gabriel Genesis is the rare prog group that knows how silly the genre is and just leans into it with incredible showmanship - Tony Banks may be the greatest keyboardist of all time, and he runs this god damn thing. I’ll forgive them of their 80s mistakes. God damn do I love Peter Gabriel - he’s the soul here. I have zero idea what the concept behind this concept album is, and I couldn’t give a single shit, it’s perfect. All that said, this is still ONLY my fourth favorite Genesis - check out Foxtrot!

I found out in the 90's that actually Genesis started off as a progressive rock band and as i really love progressive rock by now i really wanted to hear all of their albums,so thank you list for this one.I also most of my life i'm an electronic music lover so the synth sounds in this album was really a bonus treat.This was the last album featuring Peter Gabriel who basically had the concept idea of a Puortorican man i'm guessing named John and his inner self adventures.I have to say here that except few songs i never felt that concept.Although tracks are strongly glued with one element or another,i felt more like there were triads of songs with same theme.I liked the whole album(yes even the most peculiar ones)but the following really got me.I have to also highlight the virtuosity of the guitar playing,Phill Collins drumming and Peter Gabriel's delivery throughout the album. Favourites: Fly On A Windshield,the synths here gives depth and cosmic quality,the burst in 1:19 is amazing,great guitars as well, Broadway Melody Of 1974 has such a beautiful ending, Cuckoo Cocoon is dreamy,magic flute playing, In The Cage,so weirdly strange and beautiful,Gabriel's delivery is awesome,space synth takes you to another dimension,change of tempo gives it tension,i love how it ends as well, Back In NYC,i'm a synth lover and it totally worked for me as the arp stucked in my head but i know most people will get annoyed by it here, Hairless Heart is an instrumental spaced out piece,one of my favourites,took me to another galaxies, Counting Out Time,some sillyness involved but as it is said when you do music you basically stretch time and that's what i received, Carpet Crawlers,great singing here,great atmosphere,the lyrics just amazing(the carpet crawlers keep their colours),one of my favourites as well, The Chamber Of 32 Doors,great song,i can feel the despair in Gabriel's voice, in cohision with the Chamber,Lilywhite Lilith feels like it continues the story,at both songs you get a Hotel California sort of vibe, Eerie and otherworldly intro of instrumental The Waiting Room maybe completes the story of the two previous ones,progresses in almost creepy and cosmic vibes, The Lamia starts off with melodramatic piano but switches as a medieval storytelling piece,i really loved this one as well, Silent Sorrow In Empty Boats,eerie instrumental piece with epic choir,creates a landscape,could have been used easily in a movie, The Colony Of Slippermen has a a lot of sonic obscurity especially in the first 2 minutes or so but it progresses in an epic spaced out adventure, Obscurity continues with Ravine that has strong Theremin vibes, In The Rapids. What a ride this album was and i enjoyed every single minute! 5/5

Must be first prog album and what a masterpiece! I'm glad I already listened to this last year in depth, otherwise it would not be enough time to properly soak it in. Maybe some flaws but still solid 5 stars for me. Carpet Crawlers and Hairless Heart and Fly instantly became some of my favourite tracks ever.

Nunca le he entrado muy bien a los Genesis, pero este álbum doble me pareció de una epicidad tremenda. Tardé un poco en conectar o entender de qué iba el asunto, y ya cuando le agarré la onda a la música esto fue subida tras subida con un track memorable tras otro. Leo que es el último disco en el que participó Peter Gabriel, así que habrá que echarse los 5 anteriores porque esto en verdad me pareció genial.

Genesis were, for me, the quirkiest and most approachable of the 1970s prog rock bands. I love Foxtrot and “Supper’s Ready”, Selling England by the Pound, Nursery Cryme, but I never really got The Lamb… I have owned it for years, played it occasionally; I worked on projects with a lovely guy who knew every word and, after a few drinks, could be encouraged to recite it (he wasn’t a singer) and, with some difficulty, could be encouraged to stop; but I ever really got it. And then I did a deep dive for this list. I listened to my CDs, to the Atmos mix, to the 2025 50th anniversary release, the live version, a bootleg I had on CDR - and it makes sense. I still don’t fully understand the story, but the album is ambitious, it overreaches - spectacularly and gloriously - and it is musically adventurous. I’m a convert and I understand why this was the pinnacle of the classic lineup and why the band couldn’t continue as it was; both Genesis and Peter Gabriel had to go in different and diverse directions afterwards.

Découverte incroyable

Excelente álbum. Cuando escuché el primer tema pensé que el estilo iba a estar dirigido de una manera parecida a "Tommy" de The Who, con un formato rock ópera épica que a mi particularmente no me gusta. Sin embargo en los siguientes temas el álbum cobra un carácter más oscuro, experimental y progresivo que me gustó mucho. Los temas transicionan entre sí de una manera exquisita y álbum tiene muchísimos ambientes diferentes, por lo que nunca se vuelve tedioso o monótono. Hay momentos ambientales, así como formatos de canción más tradicional, y secciones experimentales de rock progresivo. Pero ninguna sección se interpone sobre la otra, todo fluye de manera equilibrada, claramente sosteniendo la cohesión conceptual del álbum. El trabajo musical es excelente a nivel ejecución técnica, interpretación y grabación. La única contra que podría mencionar es que es que es un álbum muy largo, pero eso no le quita peso a la calidad del trabajo, simplemente implica un largo período de escucha e incluso la necesidad de múltiples escuchas para procesar la información.

One of my lifetime records, listened to it for weeks, months, years, over and over. 10 out of 10 points

Great stuff!! Never heard this one.

Qué maravilla. El mejor disco doble de rock progresivo (junto a The Wall) de la historia.

Great album by Peter Gabriel era Genesis. For me, personally, I'd put Nursery Cryme slightly above this one - but only because I grew up listening to that one, and Foxtrot, and didn't hear Lamb until my college days. That being said, there's nothing on Lamb that would make me give it anything less than a top rating.

I am hovering like a fly ... waiting for a windshield on the freeway. This album is pure Gabriel and unfortunately the end of Gabriel's Genesis. I have always preferred Gabriel over Collins Genesis. I am a fan of Trespass, Nursey Crime, and Foxtrot, but I never got around to listening to this album and its predecessor. This listen has inspired me to collect the early Genesis records as well as that transition to the Peter Gabriel solo work. Unfortunately I had to listen to this album at work with one ear bud, and interruptions. So I did not get the feel of the story or the full experience. So I am looking forward to the opportunity to listen to the vinyl with headphones.

Este debe ser uno de los discos más complejos y ambiciosos de la lista. Al menos estoy seguro que es el más demandante de todos los revisados hasta ahora. The Lamb Lies Down on Broadway es la opera rock de Genesis, la despedida de Peter Gabriel de la banda, un álbum de dos discos repletos de canciones y guiños que van para todas partes. No funciona todo (hay un par de temas que tal vez sean demasiado wanky), pero casi. ¿Canciones favoritas? Son varias: In the Cage fue siempe mi tema favorito del disco. Es el tema más progresivo, más largo. También es un tema oscuro (la contrapartida de Cuckoo Cocoon: el sueño terminó, ahora estamos en la parte mala del trip. Fly on a Windshield me vuelve loco, una canción prácticamente instrumental (Gabriel solo canta lo justo; Broadway Melody of 1974 sería la secuela lírica de esta canción) con motivos árabes espectaculares. Otra enormísima canción prog es la fantástica The Lamia, en la que se intercalan partes más tranquis (más reminiscentes a los discos anteriores de Genesis), con otras donde la canción parece acelerarse más. Me hace acordar un poco a Dancing with the Moonlight Knight este tema. Y este disco también tiene varias de las mejores canciones pop de la banda de la época de Gabriel. está, por supuesto, The Carpet Crawlers (leí alguna vez que era la canción favorita de Collins), pero también están las infravaloradas Counting Out Time, The Grand Parade of Lifeless Packaging, Anyway, Lilywhite Lilith... todas gemas pop con una melodía brillante y super memorables. Después, como dije, hay algunas que no me gustan tanto, pero es esperable esto en todo disco doble y más cuando son una ópera rock. Back in the NYC me parece una de las canciones menores del primer disco siendo un poco derivativa con elementos de The Lamb Lies Down e In the Cage; The Waiting Room tampoco me interesa tanto (es lo más cerca que tenemos a una canción mala: una canción instrumental sin una melodía clara, con ruiditos. Claramente un experimento. La minimalista Silent Sorrow es, en el mejor de los casos, apenas un interludio tranquilo entre dos monstruos progresivos. La última cara del vinilo, desde The Colony of Slipperman hasta el final me gusta algo menos que el resto del disco, pero igual es muy buena. Empezamos con The Colony... la tercera y última épica. Es de esas canciones de Genesis sorprendentemente histriónicas donde Gabriel muestra su versatilidad como cantante. Me gusta un poco menos que las otras épicas porque no me gustan los primeros casi dos minutos instrumentales del tema (algo perdonable en la mayoría de los casos pero es un disco doble y ya estoy más cansado para esta altura). The Light Dies Down on Broadway. Casi todo el resto de la cara es esa especie de pop progresivo que Genesis hace bastante bien. Son canciones buenas pero ninguna llega a ser de mis favoritas. Riding the Scree es la que más me gusta, con Tony Banks haciendo todo tipo de maravillas con su teclado. Y en esta cara hay otra canción experimental que, como The Waiting Room, no me gusta mucho: Ravine. Es un disco superlativo tanto en lo musical como en lo lírico donde, a partir de la historia de Räel (que no se entiende muy bien), Gabriel nos narra tribulaciones, lamentos y ocasos de la vida contemporánea, los peligros, las tentaciones pero también los sueños y las ambiciones. Musicalmente el disco suele ser bastante distinto a los otros álbums de la banda. Mira un poco más a EEUU que los otros trabajos que suelen ser más británicos. Y también es un disco más variadito. Genesis siempre fue una banda de progresivo con elementos más pop (su discografía de los 80s no debería ser tan sorpresiva; siempre tuvieron pop en su esencia), pero canciones tan experimentales como The Waiting Room son una anomalía en su carrera. Le pongo 5 estrellas, pero son 5 estrellas débiles. Para mi este disco sería un 9/10.

Hard to not fall back into 20-year-old me listening to this long and late into the night, soon singing along dramatically to every word. For me the apotheosis of my 70s obsessions. Wonderful Hipgnosis cover. Gabriel of course just about perfectly in front but everyone else is at the top of their game, Collins especially. It still works. Magically.

I have a difficult time getting into a lot of the older Genesis stuff, I guess in the end there's a sweet spot for me around the Duke/Abacab era that I really like, but damn, this is a great album. Sprawling, it's a lot to take in, but it never felt like a chore. Rather, this strikes an excellent balance between accessible, arty, proggy, ambitious, and intriguing — all cylinders firing for this ensemble. Don't ask me what the story line is supposed to be, but there's a story in there somewhere.

What a massive album! Chockfull of images, sounds, and so many memories. Love me a good concept album. This was such a stoner album for me. And it turns out...it still is. But I appreciate so much more now.

Admittedly the second half is a bit tougher sledding. It loses steam for sure but nonetheless this is a prog classic, the first half is just bonkers.

Oh my gosh the length! Listening one side at a time haha. (Not true actually, the album is engaging and ended up marathoning it.) In The Cage kicks ass. Also enjoyed Hairless Heart and Counting Out Time. And an incredible closer in "It". Story is wild, but would have to relisten to fully appreciate.

If I were to say that I have had the 50th anniversary deluxe version of this album on order for nearly a year (the one which should have been released September 2024 and has been put back twice and will now be released October 2nd 2025) it is probably obvious why I rate this album so highly. That said when it was released initially I wasn’t all that convinced about it. Thought that Peter Gabriel whose work this album largely is had gone a bit weird. But this was partly because I was comparing it with the previous album Selling England By The Pound. I don’t think that I am alone in saying that album is my favourite all time record so any follow up album had a lot to live up to. It has never exceeded SEBTP in my view but as the years have gone by I have learnt to love it and I can say it certainly makes my top 5. Putting the deep story line to one side because I still cannot understand it fully, there are some of the best Melodies Genesis have come up with - Fly on a Windshield and Hairless Heart are but two of many. The Lamia is a devine song and to me very sad. The Cage is typical Genesis building to a climax with soaring keyboard sounds and was a sure highlight played live. An album I know very well and play regularly. Eagerly waiting for October to arrive to hear the remastered version and extra tracks. My love for this album can only increase. 5/5 17/8/25

One of my Favorites by Genesis. Listen to it all the time.

I've never been a fan of double albums, even when it's from my favorite group of all time. Still, this album smash and slays all in its way and contains some of the best pieces Genesis ever recorded. The story gets a whole lotta weird, but with Peter on command, I wouldn't have it any other way. A true classic and a masterclass to good progressive rock!

Genesis accomplished what I consider to be some of the most perfect and complete music ever recorded. Masterpiece.

Classic Gensis!!

OBRA MAESTRA, LO AMO.

Surprised I liked it this much. I went to eBay and bought a used copy. ———————————— My non-musician scoring system. 5 - Love it. Would play anytime, buy, see live… 4 - Good music. 3 - Average playlist. Depends on time and setting. 2 - I can’t listen to whole songs. 1 - No.

I was given some early Genesis to listen to as a kid by a friend of my dad's and didn't really take to it. I had Duke though and loved it. Now I go back to it, there's really something fantastic about this, about prog rock and its commitment to form, shape, substance. The concept story aside, this is a fascinating piece of work and I'd definitely listen again.

👌

A real gem! I listened over and over.

I have been so busy with work experience but I managed to squeeze this in and I really enjoyed this!!!

Mais uma surpresa desse desafio! Conheço muito pouco (muito pouco mesmo) do Genesis, e esse album foi uma surpresa agradável... Vou ouvir mais

in my top 3 of all time. lamb is a perfect album. pg led genesis was next to godliness

This was great! 5/5

Usually I don't go for the whole, I'm writing a concept prog rock opera song and dance because I find them extremely pretentious and made by people who think they are gods gift to music and what they are writing is the pinnacle of human artistic achievement. Even though that may all still be true, I still have to really appreciate the ambition and unique sounds on this album. There are a lot of really cool sounds here and I would have to put it right up there with Dark Side as one of the best albums I've ever heard in this genre. Peter Gabriel - you may be an asshole, but you've earned my respect.

Uma obra magnífica! Os álbuns do Genesis com Peter Gabriel são todos relevantes. Se "Selling England by the Pound" é o marco definitivo, "The Lamb" é a expressão máxima da capacidade criativa da banda, uma narrativa precisa, uma forma brilhante de contar uma história com poesia e música. Repleto de peças ricas em melodia, arranjo e execução. A despedida em grande estilo de Peter Gabriel. Indispensável!

Disco excelente, de um período que as bandas do rock progressivo estavam experimentando, fazendo álbuns conceituais, longos e incríveis. Seria perfeito não fossem algumas passagens que não acrescentam muito musicalmente, mas se justificam pela história. Destaque para a interpretação de Peter Gabriel

Haven’t listened to a lot of Genesis. It’s time I change that.

I love this one. Got a shirt I bought when I was 20. THE LAAAAAAAAAAAAAAMB LIES DOOOOOOOOOWN BROOOOOAAAAAAAAAAAADWAY.

Masterpiece!

This is the final album with Peter Gabriel on vocals (and the last truly great album Genesis made). While earlier Genesis albums may turn off some listeners because of their disjointed tendencies, this album showcases Genesis’ progressive peak. It’s polished, flows well, and is full of virtuoso musical performances. Gabriel is at his most dramatic and Hackett’s guitars are ethereal, but the Rutherford/Collins rhythm section is the real star of the record, constantly driving the music forward with a peculiar bass tone and weird time signatures. While the music is more refined than usual, there are still experimental elements to the music. However, these elements fit seamlessly into the structure of the album and contrast with the melodies and storyline quite well. Pure genius. 5.0/5.0: Iconic

A while ago I decided I should try to get into Genesis, but I hadn't taken that much time for it yet, so I was very glad to generate this album. Absolute banger! There's only a few moments I didn't love, like the first 3 minutes of The Waiting Room.

Masterpiece

Amazing album. Prog rock at its finest and I believe it was Peter Gabriel's last hurrah with Genesis! A fitting end

A masterclass in prog rock, simply as. Solid 5 Stars.

I’m at a 5. Not quite what I was expecting as a follow-up to “Selling England by the Pound” – that’s a pretty straightforward prog rock album. This is… certainly something, though I think its wild eccentricities are right down my alley. Peter Gabriel should probably be tested for drugs. This is a science fiction journey that starts in New York City with a graffiti artist named Rael, who becomes abandoned by his brother & entrapped in a cave, before dealing with humanoid factories & weird insectoids that can’t decide how society should work. He then finds 32 doors that seemingly only have one way out, before escaping to face his fears. He then dies of anesthesia, gets revived as a humanoid blob of gelatinous flesh, meets some mythological temptresses, but because he’s so goddamn boring, he literally kills & eats them. Afterwards, he canoes his way to a society of “Slippermen” (and by all means, please Google “Slippermen”), who rip his dick off in an attempt to make him fully human again… before a fucking raven takes his ripped off dick and flies away with it. He finds a portal back to New York City, but before going through it, sees his brother drowning in river rapids near a ravine, and decides to save him… before it turns out, he was his own brother all along. He has saved “himself”. From what? I have no earthly idea. That is, at the very least, my rough interpretation of whatever this story is, which is a maddening concept album that feels like a Star Trek parody on drugs. I truly cannot imagine writing this at all. And yet, for whatever god damn reason, because it’s Peter Gabriel, his maddening vision somehow fruitfully comes to life in one of the coolest prog rock soundscapes I’ve heard from a 70s album. Even if you ignore the batshit insane plot from a lyrical standpoint, the instrumentals, vocal performances & song titles do a decent enough job of getting a framework across. I don’t think this is as good as Selling England by the Pound, if only because it’s 40 minutes longer & is significantly more confusing due to the concept album plotline, but in terms of pure musicality, this feels kind of even. There’s some fantastic melodies throughout this thing, some excellent guitar work, and some absolutely mental drum patterns from Phil Collins. Honestly, the whole album feels pretty captivating throughout; even at 94 minutes, I never found myself in too much of a lull, but it certainly helps that each side of this album is sort of its own act in this overarching story. Combine that with the number of ambient instrumentals that work as transitions, and the pacing of this album keeps it feeling fresh. I liked it, but I totally get why someone else might hate it – it’s a weird fucking album, for sure, and following this plot might take away from some of the more musical moments scattered throughout. It’s definitely not the straight-forward, easy, mesmerizingly good album that “Selling England By The Pound” was, but it’s not trying to be at all. For Peter Gabriel’s final album as a member of Genesis, he sure went out with… it. I still truly don’t know what “it” is, but he sure seemed happy to find it. Ultimately, this is a goofy science fiction album that plays itself totally straight, and which has no right to work as well as it does. I’m a sucker for that sort of campy B-movie bullshit, sue me. At worst, I think it’s a 3 if you hate the presence of a plot, or if the album is just too long to hold one’s attention – for me, it’s a 5. God bless the other members of Genesis for indulging Peter in this wacky plot. How that same man wrote “Melt” & “So”, I’ll never truly know. What a guy.

4.5

one of their masterpieces

Been sleeping on Genesis fr

Say whatever you want, it’s the type of rock I really like.

Great album. Love the narrative.

I had taken a break off this project recently as it had started to become rather onerous to wade through all these endless iterations of white dudes' rock from English speaking countries but this? This right here? Fuck yeah! I had no idea! And I really should have had an idea. On one last day before the summer holidays, when the history teacher rolled in the VHS unit for us to see a movie or something for that year's last lesson, Birte and Tanja produced a tape of Marillion at Lorely, the 1987 concert. So we watched that. And Thank you, Birte and Tanja! That had kicked off quite a bit of fandom. Now, I had been somewhat aware of Marillion being compared to or even accused of copying Gabriel era Genesis but only in the context of Grendel/Supper's Ready. But now I see! And it's wonderful. How have I not heard this before?? At #366, the easiest and most pleasantly interesting long album so far. Only one moment where my attention, interest and joy drifted off a bit (Counting Out Time) but other than that, Perfection. This is the good prog. 10 stars.

I have happy memories sitting around with my older siblings listening to this while reading.

So many good songs here. I could easily listen to this again and actually get the lyrics this time.

Due to its great length as a double disc with so many strong songs, "The Lamb Lies Down on Broadway" might be my favorite Genesis record, even if there are bits of it I'd prefer to skip. But beyond that, this album demonstrates a wide variety of sound and styles. From an odd hybrid of prog meets punk on 'Back in NYC' to the proto-ambient atmosphere of 'Silent Sorrow in Empty Boats', the band routes its talented passages through the weird world of Peter Gabriel's imagination. The concept is incomprehensibly wacky, and when listening, you sometimes get the sense that Peter Gabriel snuck into the studio to lay down his lyrics and voice on top of whatever the band cooked up without him. Nevertheless, follow along with the lyrics and read what was written; even if the story doesn't make sense, the word play at work in these songs is remarkable. It all makes for an expressive and memorable record, the magnificent swansong of the Gabriel era of the band.

Bliss. One of the best three albums ever. Probably the best concept album ever. Keyboards are amazing. The variations in speed, key, emotion are just wonderful. And each track fits so beautifully together to make a fantastic whole. Truely a Ten, out of five.

5/5

Filled with a lot of great moments. Excellent jams and songs throughout the entire album. Its a long sit but it doesn't really lose my interest and is plenty varied. All the songs work incredibly well on their own.

Peter Gabriel is wacky and makes wacky nonsense. You can't look at Genesis without admitting that. With that said, this is a great album. Concept albums almost always get a little fanciful and out there and this one does that in spades. Most of it being based on dreams and having a loosely disjointed thread is so great to see in an album. All the skill and talent are here and they built something they wanted to do in their own way, knowing it would be weirdly received by critics at best. Not all music can be like this but I'm really glad some is.

The album art, tho a little interesting doesn't do much for me. I got five tracks in on the car stereo, but this is a headphones album. Cinematic opening track. Fly on a Windshield/ Brodway Melody has a cool vibe. In the Cage; again so cinematic, driving energy. The synthy stuff is so good on here. This would all go great with 1980s animation like Time Masters or Gandahar. Back in N.Y.C. gives me anxiety, but it goes places. Maybe three tracks didn't instantly hit me on disc one, but they were all strong enough that I believe with more time appreciation would grow. I think taking a pause or intermission between disc one and two is the way to go. It felt jarring to go right into it. The Waiting Room was captivating. Anyway made me want to re-listen instantly. The Lamia won me over. Silent Sorrow in Empty Boats was very pleasant accompanying the sun rise while listening. Then an audio play. The vocals could be a little louder. Great ending track for this cinematic experience. Takes you out on a high. Peter Gabriel makes really good cadence choices that make the listener pay attention. The production, creativity and writing are interesting throughout the two discs. It's a lot to listen to in one sitting, but it's quite the accomplishment. I'll need to schedule another listen someday.

Love Peter Gabriel and his era of Genesis. Love this album.

Gabriel era Genesis >> Collins era Genesis A rock opera of sorts, The Lamb Lies Down on Broadway is a sprawling prog-rock adventure. In the Cage is an absolute jam. Love the synthesizer and bass work with the poly-rhythmic drums throughout. Back in N.Y.C. is another standout -- synthesizer dances up and down arpeggios while the bass thrums slowly. But really it is the drum work that shines here -- busy, but tight and always gratifying. Hairless Heart is both a very strange song name and a great instrumental ballad bridging Back in N.Y.C. into Counting Out Time. Things spread out into aural / ambient territory on Silent Sorry in Empty Boats before bleeding over to the multipart odyssey The Colony of Slippermen. The foreign sounding synth instrumental intro channels a more experimental atmosphere that's far from where this album started, but things quickly adopt a familiar tone as Gabriel takes the mic. Riding the Scree is way groovier than it has any right to be. While the tone of synths (often what I associate with ELP) is inherently silly (to me) the song absolutely jams with an energy similar to Stranglehold. Love this album through and through. Soft 5 (9/10) territory

That was a bit of an epic album I must say. Never really listened to old Genesis with Peter Gabriel at all but now I feel like I must listen to much more. That was like a combination of Rush, Yes, and Pink Floyd all rolled up into 1 Prog Rock opera sandwich which absolutely hits all of the right parts of my music affinity. Even at a whopping 94 minutes that album absolutely flew by with the seamless transitions and little instrumental/synthy interludes that came out of no where. Absolutely a slam dunk 5

1970s long form relax drug music. But LLDOB is so good!!

complex, unique, truly superb. continues to reward relistens, more than a decade than i first heard it.

One of my favorites, full of melody and bombast.

Amazing prog vibes

My favorite prog concept album. It never takes itself too seriously and is more outwardly impressive if a bit showy musically instead of being self indulgent. The story is gritty, psychological interesting and gounded in NYC reality rather than being a flight of fancy.

I love this album. So many fantastic tracks. Superb composition and instrumentation. A lot of the sounds on this album are just magical. Title track is fanatastic, the intro piano sets the mood for the album so well. In the Cage's keyboard solo a few minutes in is so good. Back in NYC is an absolute killer track and I love the high gritty vocals. Carpet Crawlers is delightful and often gets stuck in my head. Anyway has such an amazingly sinister heaviness. The Lamia is one of the most enchantingly beautiful songs I have ever heard, amazing composition and chord progression (and the subsequent track sounds like heaven). "It" is simply one of the most perfect final tracks I know of, it wraps the album up so well with such an amazing energy.

I’m a sucker for an overblown concept album so there was always a danger that I’d love this. Fortunately I’m also a sucker for a catchy hook, good riff and a bit of poetic storytelling and these are all present in spades. Of course, there is a lot here that is batshit crazy but it keeps on rewarding me with melodies, basslines and little fills that just bring joy to my ears. I had to come back to it a few times and kept expecting it to outstay its welcome (23 songs, 94 minutes…) but it never did. An absolute masterpiece.

Somehow never listened to early Genesis before; this is great, although dauntingly long of course. It'll need a few listens, but it's a masterpiece. Lyrics might indeed be completely mental, but the music is incredible.

The problem with streaming is you don't experience the bat shit crazy liner notes that peter Gabriel wrote on the vinyl cover. But, putting that aside, this is music that takes years to get into your DNA but, when it does, its majestic. Try 'Carpet Crawlers' as a stand alone track and you'l lget an insight as to what each piece can bring eventually. Its my favourite Genesis album and in my top 20 albums of all time.

Eines der größten Konzeptalben aller Zeiten. Klare 5/5 Sterne mit Herzchen!

5/5. This is nostalgia for me, and that will definitely be put into my score for this album. I can admit that song to song, they are not all perfect, but with albums as a whole, especially concept albums, the flow from song to song is most important and I am engaged every time, moving through each song with feeling and arriving solid conclusion. And then I want to start it up again. Progressive Rock is pretentious but it is also fun and epic, trying new things, hoping they stick, and if they do, it's hard dislike. My opinion of course, but an awesome album for me. Best Song: Carpet Crawlers, In The Cage, The Lamb Lies Down On Broadway

I first listened to this in my teens. It was my only attempt to listen to Genesis, and it put me off from them. I think my brain was simply too small then.

Some people consider this album to almost be the first Peter Gabriel solo album, but it's actually more accurate to think of it as the first Genesis album without Peter Gabriel, seeing as he wrote the lyrics, but then left it very much up to the rest of the band to come up with the music. It's probably the album from the original line up with the most consistent quality - in my opinion anyway. I can also understand the common complaint that it's hard work and doesn't have any stand out tracks. I struggled with this album many times before something clicked and I came to love it. It's very much a concept album, in that it needs to be played from start to finish in one sitting, taking you on a musical journey. It's also my favourite Genesis album by far, and an easy 5 stars. However, there's individual tracks on other albums that in isolation are head-and-shoulders above anything appearing here.

I am so glad so many people don't like it - it just confirms everything I ever thought about why people might listen to music. It mine, my precccciousssss. You will not get it.

Desert Island Disc. I’ve loved it for years.

First Album is nearly perfection. Second album gets a little lost, but ultimately still has some great moments. Chamber of 32 Doors and Anyway are incredible.

Uncertain if this is my favourite Genesis album (it’s either this one or Selling England By The Pound) but any album that is over an hour long that can keep me this engaged is an easy five-star album!

Genious album

Throwback to being young, discovering prog rock for the first time, and having plenty of uninterrupted 90+-minute segments throughout the day to actually listen to a full album.

It’s impressive that Genesis was able to produce one of the greatest prog albums of all time, when you read about the problematic writing and recording sessions. It’s too rare of an occasion that I get to listen to the entire thing in one sitting … And while that’s shame, I wouldn’t want it to be even a second shorter.

Wonderful!

I know my rating is irrationally high, but it is from my 15-year-old self.

Errogenous Zones, I love you! I've listened to this album many times before, and still have no clear idea what the narrative is about. The lyrics are very poetic, however, full of striking images and interesting turns of phrase. Musically as well, this album is great; I love the frantic keys and fantastical melodies that turn up throughout the first half. The second album is a bit more meandering and nightmarish, but still enjoyable and very atmospheric. I think this is the band at their creative peak, as things just weren't the same after Gabriel (and later Hackett) left. In fact, I think their second phase was so starkly different to the first that they should have changed the band's name. Overall, this is a brilliant album and one of the few double albums on the list that earns it's place. A real high point in prog rock.

so amazing!!

I'm continuing the tradition of giving every famous prog-rock band 5 stars (except Rush). This album has everything: the drummer being the most famous member of the band, weird lyrics, that electric organ, a flute, and a long runtime. It's also just beautiful.

An absolute mess of a narrative, but I’ll take this over The Wall any day. Brilliant songwriting and musicianship throughout. A-

Good find, really enjoyed it !

Original lineup of Genesis? Wonderful, legends of whatever genre that is, let's assume progressive rock. Influential, amazing, original and breathtaking. Definitely an album that deserves to be somewhere on the top of this list.

(Mai ascoltato prima) Wowww, fenomenale e super super inspiring. È così che si fanno le canzoni da 8 minuti cazzo.

An ambitious album that doesn’t quite meet its brief but reaches musical highs and still impresses to this day.

I absolutely LOVED this. The first disc is an easy 10 for me. I didn’t really enjoy disc 2 as much - but the first side being so good is still gonna keep my rating perfect. Love phill Collins but more so love the unique sound of the production.

Amazing prog with a soul

and the laaaamb.... lies doowwwn.... ON BROOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAADWAAAAAAAAAAAYYYYY LETSFUCKINGO

Had not listened to this album for many years. Perhaps a bit too much prog but definitely a classic album. And, unlike these overlong 90s albums on the list, the fact that it is a double album does not matter.

A work of sheer genius! Once I've listened to it, it's going to be one of my all-time favourite albums.

It's no Foxtrot but I enjoyed it 2025 edit: this deserves 5 stars after all

One of the best concept albums and Gabriel's presence(and future direction) is felt throughout the album. They were such a great band.

Now THAT is something really interesting. I'll give it a five in a feeling of contrast with all previous.

This was great. It's exactly what I think of when I imagine prog rock. Listening to it makes me feel like I'm in a Boo mansion (highest of compliments).

I haven’t tried a prog rock album yet, but this is a good intro to it! I love Peter Gabriel’s silky voice flowing over the instrumentals of every song. To me, this album feels like a musical. I wish to see a stage production of this in any way possible. 4.8/5 Fav: “The Lamb Lies Down on Broadway” Least Fav: “The Colony of Slippermen”

Feels like the first approachable prog rock album. Fascinating listen.

Wow. Having only ever grown up on 80's pop Genesis & Peter Gabriel, I had no idea that Gabriel-Genesis was Prog Rock! Color me surprised but in the best way possible. This was a *VERY* ambitious album by the group but pays off in a big way. The musicianship is top tier and the melodies are both haunting and beautiful. I really enjoyed the moments of soft introspective folksy tunes as well as the complete opposite full blown synthesizer prog. The lyrics are very out there but that's Prog for ya. You either love it or hate it. At different moments on the album you can hear hints of possible influences from their peers, from The Beatles to Rush to late stage Floyd. Completely enjoyable at every step. Definitely deserves a few more listens to really get a full feel for the breath and depth of this album. Standout Tracks: The Lamb Lies Down on Broadway / The Light Dies Down on Broadway, Carpet Crawlers, Lilywhite Lillith, The Lamia

An absolute masterpiece of an album. "Carpet Crawlers" is an all-time great.

Lyrics: Pros: The lyrics of "The Lamb Lies Down on Broadway" are rich in symbolism and metaphor, weaving a surreal narrative that follows the protagonist, Rael, through a series of strange and fantastical events. Gabriel's storytelling is vivid and imaginative, creating a unique and immersive experience for the listener. Cons: The complexity of the storyline can be challenging to follow, and some listeners may find the abstract nature of the lyrics difficult to decipher. The narrative may be too esoteric for those who prefer straightforward and literal songwriting. Music: Pros: The musical compositions on the album showcase the progressive rock mastery of Genesis. Intricate instrumentals, dynamic shifts in tempo and mood, and a fusion of rock, folk, and classical elements contribute to a diverse and engaging musical experience. The band's technical prowess, particularly the intricate guitar work of Steve Hackett and the keyboard arrangements by Tony Banks, is a highlight. Cons: Some listeners might find the musical complexity overwhelming, and the avant-garde sections may be challenging for those who prefer more straightforward rock music. The album's length (over 90 minutes) could be a drawback for those with shorter attention spans. Production: Pros: Produced by John Burns and Genesis, the album features a meticulous attention to detail in its production. The use of studio effects and innovative recording techniques enhances the album's atmospheric and otherworldly qualities. The production contributes significantly to the overall immersive experience of the concept. Cons: Some critics argue that the production occasionally veers towards excess, with dense arrangements that might overwhelm certain listeners. Additionally, the production techniques used may sound somewhat dated to modern ears. Themes: Pros: "The Lamb Lies Down on Broadway" explores themes of identity, self-discovery, and the surreal journey of the protagonist. The album touches on existential and psychological concepts, creating a thought-provoking and introspective experience. The themes resonate with the album's progressive rock context and add depth to the overall narrative. Cons: The abstract and symbolic nature of the themes may alienate listeners who prefer more straightforward and accessible subject matter in their music. Influence: Pros: "The Lamb Lies Down on Broadway" is considered a landmark album in the progressive rock genre. Its ambitious concept and musical innovation have influenced countless artists in the progressive and art rock realms. The album's impact extends beyond its initial release, inspiring subsequent generations of musicians. Cons: The album's avant-garde nature may limit its influence on mainstream or more commercially oriented music audiences. Pros and Cons Summary: Pros: Rich and imaginative storytelling in the lyrics. Musically diverse and technically impressive compositions. Meticulous and innovative production techniques. Thought-provoking exploration of existential themes. Significant influence on progressive and art rock genres. Cons: Complexity of the narrative may be challenging for some listeners. Musical complexity and avant-garde sections may not appeal to all audiences. Production techniques may sound dated to modern ears. Abstract and symbolic themes may alienate those seeking more straightforward lyrics. Limited mainstream or commercial appeal due to avant-garde nature. "The Lamb Lies Down on Broadway" stands as a testament to Genesis' artistic ambition and creative exploration during the progressive rock era. While its complexities may not be universally appreciated, the album remains a classic within the genre and a milestone in the band's discography.

As a Peter gabriel fan, I had to listen to The Lamb Lies Down On Broadway by Genesis. I found some influences developped later in Peter Gabriel's work. Great album. Will listen again.

I grew up in an era where Genesis was fronted by Phil Collins, and Peter Gabriel was a solo act. I think I knew that Gabriel had been on Genesis, but I had no idea they made multiple albums with him. I may need to do some deep diving, as I love both Genesis AND Gabriel's solo stuff, and to the best of my knowledge have never heard a single song on this album before.

Genesis' peak - PG left after this to do his own thing, and Genesis morphed into a different band. This is some serious prog, including a fanciful concept story about Rael, but musically it really works, and Gabriel' vocals are excellent - I really like the bit in the Raven where the vocal shifts from Gabriel to Phil Collins as it shifts character. Possibly one of my favorite albums of all time, though I appreciate that's colored by my teenage self's love for it.

Amazing!!

Lamb Lies Down On Broadway, Back In NYC

I've been making an effort to get into early Genesis. The musicianship on their albums is top notch.

El Classico

2 many bangers. I will admit I am biased towards this album since Peter Gabriel era Genesis holds a special place in my heart, but this album is such an excellent final effort. The 5 minute wank of ”The Waiting Room” could be cut but everything else is essential. Possibly the briskest 94 minutes of music on tape.

Je suis chanceux cette semaine. Beaucoup d'album malade. Cet album de Genesis a juste pas de sens . Dans le sens. Vraiment à avoir écouté. Le théâtrale a son maximum. 5

Elsku bestu prog Genesis 🥰🥰 Ég hreinlega elska þetta!

Repeated listens to this during a college-insomnia spell probably have contributed more to my occasional mental instability as much as anything else I can think of. Yes it's weird. Not just standard "oh old Genesis was weird" weird but kinda messed-up weird. Epic. I can see how/why Pete left after this one - where else were they gonna go from here? (and both PG's and Genesis' next albums were my respective faves from each so a good call by all parties) I guess it is prog but I wonder if that's truly accurate. Sweeping melodies, some memorable choruses, there are even a few catchy singles. I mean...you do have mellotron, 7/4 timing, tracks that blend into one another telling a non sensical story that's still a bit terrifying... sure sure prog ok. But still so much more immediately accessible than most of their peers' records. Not to be listened-to in parts; it's a full album - really best listened to all at once. Or at least in halves... my only critique and it's probably significant is that after "Lilywhite Lilith" (first song on "side 3") it really is not so great [even after decades of me trying to enjoy it] - it's got the weird but without the decent song-structure. It definitely picks up a bit more near the end but never connects quite like the first half does. Still - that first part alone is so bizarre/fantastic on its own that it's worthy of full marks and has been a personal fave for ages. 9/10 5 stars.

An absolute classic

I found this quite interesting to listen to. I don’t know what the story is, because I just couldn’t concentrate for that long on the lyrics, but it was engaging for my ears.

A very trippy journey - not the Genesis I grew up on and the influence of Peter Gabriel is quite apparent. I really enjoyed this album. It is almost more of a cinematic experience than a typical album listen since it was a longer journey that I’m unlikely to listen to regularly, but am likely to remember and listen to again. Fabulous and certainly something I’m glad to have listened to!

10/10 few prog rock bands are able to match the endless creativity and charming charisma that Genesis has (only one I can think of is Yes, and maybe Rush)

Really great and very welled enjoyed. It’s hard pointing out any “flaws” at all with it at all, it’s just very enjoyable. Probably one of those albums where you really gotta listen to it as a whole. So many great tracks though otherwise

Great album, I enjoyed it a lot. But the one criticism I do have is that it's definitely a bit too long.

It's one of the best albums in the prog rock era and in the very successful catalogue of Genesis. It's a 90-minute long concept album which was the last one made with Peter Gabriel. It's a very exciting journed from start to finish with great music, lyrics, and production throughout the whole album. I get it if it is too long and too heavy for those who aren't familiar with this genre. But it isn't for me, I always enjoy the twists and turns of this magnificent album. My favorite songs are In The Cage, Counting Out Time, The Carpet Crawlers, The Chamber of 32 Doors, The Lamia, The Colony of Slippermen. 9.5/10

I started having summer jobs at age 12 or 13 and the Lamb was released around my 14th birthday. My earnings were burning a hole in my pocket so what better use was there than buying this album on release? I still have the vinyl and it’s in very good shape. The cover on the other hand is tattered. The lyrics and Gabriel’s story of Rael were written inside. This album is “peak Genesis”. The band was playing at their best and Gabriel wrote a cool story about a dude named Rael. Side 1 The title song kicks things off wonderfully. I don’t get why this wasn’t the lead single. Who in the band thought Carpet Crawler was a better song? Fly on a Windshield starts with acoustic strumming and then Hackett lays down a very Fripp like solo while Phil’s drumming hits new levels. I remember as a kid wondering who on earth Lenny Bruce and Carl Chessman were. Life preGoogle! Cuckoo cocoon is another strong melody that has more stellar guitar playing that is Hackett (I think) In the Cage is where the plot thickens. The song starts with a heartbeat and Banks’ keyboards carry the song. It’s the only song Genesis played from the Lamb when I saw the post Gabriel version of the band at the CNE later in the 70s. The Grand Parade …. ends side 1 with its swipe at consumerism. What a side! Side 2 starts w Back in NYC. This would have also made a good single. (Why did they choose Carpet Crawler as a single? ) Gabriel played this as the encore on his first solo tour. Hairless Heart is one of those prog rock songs that hasn’t aged well although the ambient tone makes Counting Out Time more enjoyable. This song is hilarious and a cute tune. Eno does his magic on Hackett’s solo. Carpet Crawler is next. Why was this the single? This side also ends on a high note with The Chamber…. The bits starting with the lyrics “I’d rather trust a country man than a town man” and other lyrics on the theme of trust are cleverly written. Side 3 Lilywhite is a nice song and we then get into some instrumental drug taking prog. Anyway is another really well written song with Banks playing a regular piano and Hackett giving another kicking guitar solo. He continues with another great solo on the next track. As a teenager Lamia was the song on the album that intrigued me the most. I’m so impressed that artists have the Greek knowledge that allows them to write songs about Lamia. Gabriel is an excellent story teller and Hackett lays down what might be his best solo on the album. Side 4 starts with the Colony of Slipperman. The Asian flavours to start are quite clever. This song has the most heavy lifting as far as the plot goes. Let’s see, in that one song Rael meets a grotesque creature and finds out he looks like him - this was the result of having his orgy with the Lamia. Rael then gets castrated since that’s the only cure to being grotesque but he is allowed to carry his “package” around with him until a raven swoops down and takes it. There is a chase scene and as soon as he gets close the raven drops it in a fast moving river. That all happens in the first song on Side 4. The pictures I’ve seen from the concerts show Gabriel in some wicked costumes and the Slipperman costume is insane. It’s a shame that there isn’t any decent quality video of this tour. Riding the Scree is Banks best performance on the album imo. . The album ends with “it”. it also would have been a killer single. Carpet Crawler. C’mon. The story “ends” when Rael puts great effort into rescuing his brother John in the river but finds out that he rescued himself rather than John. Wow - where does the story go next? Let’s see if Gabriel takes some drugs and keeps writing. Nope - the band as was knew it ends with “it”.

I remember when I first bought this I was disappointed, maybe put off by the more commercial rock sound and simplicity of the title track, or reading the back cover and noticing the song lengths! But the tracks flow together nicely and there are some great instrumental passages, on songs like Hairless Heart and Riding the Scree, or tucked away at the end of songs. There’s enough great material in the fade-outs of some of the songs than there is in entire LPs of lesser bands. I’m not usually a fan of double-albums, but here it gives them an opportunity to experiment a bit. Overall, this is a more Peter Gabriel centric album, which is one of the (many) things that lead to their breakup. Each song pushes forward his story of Real, and is therefore less accomplished as a stand-alone piece. Still a great album though, and no filler.

Okay I apparently love Genesis/Peter Gabriel

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.

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.

Wonderful stuff. Unique.

it's good

This album is a masterpiece! Five stars, for sure.

Always enjoyed this one immensely. First half is an 11/10 for me second is closer to 9/10.

phil collins is a great drummer and solo artist

One of my favorite prog albums

Fantastic record. Honestly not even close to the best Genesis record though. These guys were on fire in the early 70s.

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.

collins and gabriel e tals

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.

My first concept album I bought.

A lot of albums I prefer a lot more from Genesis, but a welcome album to me regardless!

I was really expecting to hate this but they really won me over. Not my normal genre of music at all but it's clear they were way ahead of their time with some of these filters & musical decisions! This was a fun listen for sure. Highlights: Cuckoo Cocoon, Hairless Heart

Love me some prog rock. Early Genesis is great, but the run time on this album is a bit too long for me, and it makes the album feel a tad bloated. Otherwise, it’s a fantastic listen. 4.5⭐️

It is kinda long...but doesn't totally drag. Not super hoity-toity, IMO. Pretty approachable progressive rock.

its really good! been listening to a lot of peter G lately and this is a good reminder to go listen to all those early genesis albums! pretty dope album but super long if that's a consideration of some kind for any one reading this

Not bad, a bit dated but easy listening

You know what, as ridiculous and sprawling and toooooooo long as this is, there is something quite enjoyable about the campness. It is so over the top, I love that it's about aliens in New York or something. It doesn't make any sense but I love that they did that.

I expected this to be a dud for me given how much I’ve disliked Genesis in the past, but consider me happily surprised because this album was pretty decent. Some stuff didn’t click but the sheer scope and ambition of this project alone have earned Genesis my full respect. It’s still a tenuous 4 stars

Sympa! Bonne découverte mais un peu long

Another review where I say that I am very ready to enter my prog rock era. I loved this. You've got to be good to keep me engaged for 90 mins and this managed it. I was tempted to give a 5, but it feels bold to do that after 1 play. Could well get bumped up with repeat listens.

This album surprised me. Phil Collins’ voice is super recognizable, but I’ve never heard these songs before and loved the prog-y nature of the arrangements and the technical drum parts. I guess I like Genesis. 4.1/5.0

Got some really weird & wonky stuff going on, but pretty fun & interesting to listen to. It's looooooong...

- im in love with the tone changes on the self titled track… and the lambbbbb lies downnnnn ON BROADWAY!! - switches up in the voice is always hitting. - this album definitely tells a story, reconnecting to lamb. A lamb can be used as a sacrafice for weird cult stuff which can be symbolism for something weird happening inside of this album. First the lamb lies down on broadway, then the carpet is lamb fur. Makes me begin to think that our character is trapped inside of some weird cult thing throughout this album. “ we got to get in to get out “ / the cuckoo cocoon / in the cage - I also want to see take a second to appreciate the bass in this album. It hits hard and heavy. - silent sorrow in empty boats basically just confirmed in my mind that this is a conceptual album, however upon first listen I’m having trouble understanding it. - The light dies down on broadway, almost as if everything from the cult massacre was forgotten? - Riding the scree, absolute banger instrument what the heck. Also makes me think of someone who is confused, or lost. Almost as if they have erased our characters memory of this incident that has occurred to him. - “It” is a track that may be connecting to the events that took place, where he is now in a safe place to talk about them freely. That’s why it’s so upbeat and straight banger. - overall this album is legit insane. The thousands of different sounds put into a 1 hr 37 min album is crazy. It was a great listen and I would absolutely listen again to gain a butter understanding of the story. - never heard of genesis before this album but I am impressed, and will be checking out more of their work. Super unique sound and amazing album.

Funny thing: the previous album I rated was Peter Gabriel's debut album after he departed from Genesis, and The Lamb was his last one with Genesis. While this concept album has its flaws - maybe because of the complicated writing and recording circumstances - it still works as a whole. There are plenty of highlights, and you cannot keep up the intensity over 90 minutes; there has to be some respite in between.

Great progressive rock album. Got weird at points which I loved. Reminds me I need to do a deep dive on them.

Personally a bigger fan of Phil Collins led Genesis but this was pretty good

Es ist ein wilder, überbordender Brocken – ehrgeizig, surreal, manchmal fast zu viel auf einmal. Doch nach dem ersten Drittel zieht das Album spürbar an: die Songs werden fokussierter, melodischer, die Dramaturgie klarer. „In the Cage“ markiert den Wendepunkt, ab dem die Platte ihre ganze Kraft entfaltet – dichter, spannender, emotionaler. Die zweite Hälfte wirkt wie ein Rausch aus Prog‑Eleganz und erzählerischer Wucht.

If I could give this a 3.5 I would. The first disk was actually ok had some highs had some lows. The second disk sounded like someone melted dark side of the moon in like a bad way. But alas I am a physicist and we round up.

Consistently interesting and fresh production throughout, which I appreciate. Still ends up slightly bloated with the heavy hitting songs broken up by too many interludes that amount to nothing more than ambient background music.

These guys are always singing about some silly shit

It's a 70s prog rock double album about absolute nonsense. Of course I like it.

Probably my favourite Genesis album, however that is rather limited, as probably the only one I liked other than the Genius Live album

Most of this is honestly great, but it's way, way too long.

Indulgent in a good way. Peter Gabriel really needed Genesis - this is a million times better than any of his solo material.

I had never heard of these people or this album, yet it was a welcoming surprise. Mostly a narrative album, which I usually struggle with, but the music itself was really interesting and mesmerizing. A pleasant journey, all in all.

Gabriel‑era Genesis just hits better for me because it never got beaten to death on the radio. With Phil, the songs are good but they’re so overplayed that it’s hard to hear them fresh anymore. The Lamb doesn’t have that problem — it’s weird, ambitious, and the kind of album you keep replaying because you want to, not because a station forced it on you. Gabriel’s storytelling and the band’s big swings make it feel like a full world to get lost in, and that’s why I end up liking this era more. The only risk with this album is playing it too much because it’s that good.

Gear: Fostex TH610 Artwork: 🫱👤🫲 Production (Remastered 2008): 🎧😘🤌 Music: 🎭🍽️😋 Rating: 🦙🦙🦙🦙(🦙)/5

Pretty epic though not on par with The Wall or Tommy

My love affair with Peter Gabriel continues. This is obviously mad I suspect this was during his wearing a fox head phase, but he knows how to make good music.

Entretenido, un poco largo para mi gusto.

A good surprise for me today. I had never heard of Genesis or this album, but I really enjoyed it. Not all the songs, but a good part of them

Enjoyed the journey but not sure it changes my life

I, as a rule, generally am pretty exhausted by double albums. And even I, who quite enjoys Gabriel Genesis, was not super enthused at listening to this, especially after learning he had little creative involvement in the song-writing process. And yes, this is probably a tad too long, and doesn’t start super strongly, but there’s a chunk of songs right in the middle that are banger after banger after banger. Strong stuff, super influential to 2000s indie rock. It’s all there. So it probably deserves more of a 3.5, but again, I’m partial to Genesis!

Great album. Very theatrical. Really, really good.

What in the actual hell? This is awesome! If it was 30 minutes shorter it would have been five stars.

J'ai eu une fascination vers la fin du secondaire pour cet album mais ça a pas duré trop longtemps. L'histoire saugrenue à la The Wall m'intriguait. Pour moi, c'est un drôle de choix dans toute la disco de Genesis. Selling England, Abacab, Duke, Genesis et Trick of the tail (à la rigueur Foxtrot si on veut vraiment mettre plus de Gabriel era) avant ça quant à moi... Remarque que ça m'a fait relire sur l'histoire de la prod de cet album et c'est assez rocambolesque, j'ai finalement commencé Get Back et comme chez les Beatles en 1969, ça sent la fin... Gabriel qui écrit ses lyrics tout seul dans son coin et qui demande au reste de la gang de faire la musique sans les paroles. Et Gabriel qui est amer parce que personne dans le groupe ne comprend ce que c'est que d'être un nouveau papa...pauvre gars! Je comprends mieux la fin de cette ère maintenant.

Encore du maudit prog! Un album double en plus, sauvez-moi. La fin du premier était meilleurs, carpet crawlers et The chamber of 32 doors.

las transiciones entre canciones son buenisimas y los TEMAZOS están pasando las primeras 8 canciones, lo que hizo que se me haga bastante larga la escucha. Por eso y por algunos temas que me sobran diria que no es un album perfecto, pero lo distinto que suena, lo bien que envejeció y el sentimiento que te trae compensan en gran parte. 8.5/10

Better than Coldplay

Great album as it is, but it is sub optimal to try to soak it in on one sitting or even two

I enjoyed listening to this again.

I keep saying that I don’t know these artists haha but I am discovering Genesis also. Liked the album very much

An absolutely amazing progressive rock concept album.

Favorite instrumentals in an album so far. Love a good amount of songs here because of that. Perfect for long listens.

Never really done a deep dive into Peter Gabriel-era Genesis, because I have preconceptions, and this doesn't change those notions. It's purportedly a concept album, but I didn't really notice the link via lyics other than it flows well. There's a handful of cool songs, and its a great sounding record. A little bloated, but that's the 70s.

It's fantastic but it's entirely way too long

My tolerance and enjoyment of prog rock somehow grows with every decade. I look forward to going back to this.

Very long but quite rewarding album. I think it needs several listens to get into and makes more sense as time goes by. Worth making the effort though. 4

The Lamb Lies Down on Broadway is a gloriously overblown concept album: ambitious, surreal, occasionally baffling, and far more compelling than its excesses should allow. The story often feels like a fever dream in platform boots, but that is part of the appeal. Rather than presenting a neat narrative, Genesis builds a strange, theatrical world that pulls you along through atmosphere, tension, and sheer conviction. As a concept album, it works less because it is perfectly coherent and more because it feels so complete in its own odd logic. What really makes it land is the music. Even when the plot threatens to disappear into symbolism and eccentricity, the band keeps everything alive with urgency, beauty, and a sense of scale. There are moments of real grandeur alongside passages that feel intimate and haunted, and that contrast gives the album its staying power. 8/10

Excellent 8

𝘛𝘩𝘦 𝘓𝘢𝘮𝘣 𝘓𝘪𝘦𝘴 𝘋𝘰𝘸𝘯 𝘰𝘯 𝘉𝘳𝘰𝘢𝘥𝘸𝘢𝘺 marks the end of the Gabriel era, and it’s exactly as ambitious and theatrical as that turning point suggests. The album is a sprawling, surreal journey, driven by Peter Gabriel’s vivid storytelling and the band’s tightly interlocked musicianship. When it clicks, it’s imaginative, strange, and completely absorbing. But the album’s biggest flaw is its scope. At this length, some passages feel more like conceptual obligation than musical inspiration, and a leaner version would almost certainly land with more force. Still, even with the excess, 𝘛𝘩𝘦 𝘓𝘢𝘮𝘣 remains a bold and memorable farewell to one of prog rock’s most distinctive lineups.

After having both read the plot summary on Wikipedia and listened to ‘The Lamb Lies Down on Broadway’ multiple times, I still can’t tell you what it’s about. What I can say is that it’s very theatrical, dense, and often impenetrable as a narrative. Long, ambitious, completely maximalist—some might say self-indulgent. It’s all that and more. The performances and arrangements are top-notch throughout, particularly Phil Collins’ drumming. The music often borders on symphonic. As an album it feels like the culmination of the classic Genesis lineup, pushed right to the edge of what they could do together. It’s no surprise Peter Gabriel parted ways after this, and that the band eventually ditched the long, convoluted prog-rock approach in favour of a more direct, radio-friendly pop-rock sound in pursuit of rock superstardom.

This quite surprised me - I only know pop-rock Genesis (their latter stuff: I Can't Dance, and so on). This is a sprawling, theatrical, prog-rock soundscape concept album. I really like Peter Gabriel (and I don't mind Phil Collins) and he sounds great here. Jam-rock, but more focussed than Pink Floyd. I could only pick out Cuckoo Cocoon as a highlight, but had a good listen.

To be honest, even without carefully following the lyrics, this album takes you on a journey. It feels like the story flows not only through lyrics but also tone and mood of the tracks, very impressive. 4.5

ein bisschen crazy, stresst beim autofahren, aber wenigstens nicht lagweilig

nett

Long but good

"Have two ears and a heart, don't I?" IYKYK

4 out of 5. This album was a journey. Would very likely to listen to it again.

Overall: 8/10 I'm a huge Peter Gabriel era Genesis fan, and if this was Nursery Cryme, Foxtrot or Selling England by the Pound then it would be getting a big ol' 5 star review from me. Sadly, this is The Lamb Lies Down on Broadway. An overbloated, frustrating album that's full of all of these incredible moments that make the hair on the back of my neck stand up, but also has moments that make me ask "why, oh why, would you guys do this?". I can see why this album would have caused so much friction within the band. Obviously, I still really love it as a Genesis fan, and I would recommend it to anyone who is already a fan of the band and NOT just getting in to them for the first time. Fav Song: In the Cage

Prog Rock will always be my favourite genre of Rock music!

this is actually just the kind of thing i was hoping to discover with this list previously my exposure to Genesis was just the more radio friendly Phil Collins stuff. this was really different than anything I'd ever expect from them based on that. i really liked a lot of the songs, and its a concept album where i wasn't even following the story so i'd imagine it really gets better and better the more you listen

This was very long and had so many different sounds and instruments. I like that it is all one long story. It seems like it could have been made into a musical. I imagine hearing it live was surreal.

7.5/10

kende Genesis onder Gabriel niet zo goed... viel zeer goed mee, mooie prog-rock

Because of it's length I couldn't pay enough attention on the whole album at first run. But the deeper I dived into the album the more it clicked for me - although it is still not 100% my preferred kind of music and I'm not always fine with the vocals and some instrumental parts. Anyway: "Carpet Crawlers" stands out as a song and especially in terms of a complete album absolutely worth to be on this list. Side 1: 4,5 stars Side 2: 4 stars Side 3: 3,5 stars Side 4: 2,5 stars

Catchy, familiar yet oddly different

70’s Progressive Rock ⭐️Back in N.Y.C.

It might've been a bit long and dragged a little at some parts, but I think it kept it fresh and interesting enough to keep me engaged. It seems that I'm a fan of prog rock Favorite Songs: Carpet Crawlers, Colony of Slipperman

If I were born in 1956, I have no doubt this would have blown my mind. My mind isn’t blown, but it’s still pretty good. Too long for my Gen Z sensibilities though.

I gave Selling England by the Pound 3 stars and this is a much stronger record, a bit too long but Phil Collins and Peter Gabriel are at the top of their game here so the hour and a half passes quite quickly A solid four.

I’m only familiar with Phil Collins era Genesis, but I became a big fan of Peter Gabriel through this project, so I was very excited to see this pop up. This is Gabriel’s last outing with Genesis and was very haphazardly recorded, but one would not know that just by listening. Such is the talent of the band to cobble this together and it be so good. As a double album, it does have some fat that could be trimmed as most double albums do. Otherwise, this would be a 5 star record, IMO.

Album 13 Top 3 favorites off the album: Silent Sorrow in Empty Boats, In the Cage Here Comes the Spiritual Anaesthetist It was hard to pick 3 favorites because the album flows song into song into song so seamlessly. It's been so long since I've listened to an album like this. It's one of those where I want to say something new and meaningful, but I'm not convinced I can. Maybe it's enough to just enjoy it. I did more reading about this album than I have about any other album thus far. Also, I have decided that I am not going to resist my natural inclination towards enjoying slower, quieter songs anymore. I always tell myself that I should pick more upbeat, loud, bright songs. I do enjoy some. But you know what? More than anything else, I enjoyed Silent Sorrow in Empty Boats! I did! The variety of directions this goes sonically could have made this feel unapproachable, but it was so carefully constructed that it didn't feel jarring. There was humor. There was meditation on the human condition. There were sounds in The Colony of Slippermen that scratched my brain. There were funky time signatures. What a listen. This is one that you have to sit down and really pay attention to, not listen while doing other things. My parents love Genesis, and I am a Peter Gabriel enjoyer. Perhaps this wasn't the best album to start with. That's not to say it was an unpleasant experience; now I know I can handle an hour and a half of Genesis! It was just... much. This is the first full rock opera I've listened to. Andrew Lloyd Webber, I'm coming for you next.

Favorite Track: The Lamb Lies Down on Broadway

A very good concept album however much too long of a listen.

4.4

Tosi paljon kivoja arpeggioita. Hieno, viihdyttävä ja monipuolinen prog rock levy. Hiukan pitkä, jokusen osuuden olisi voinut jättää pois. Parhaat: The Chamber Of 32 Doors, Anyway, The Lamia, It

This is an absolute behemoth. I had to listen to the whole thing three times to really digest it. I have to pose the question I ask of every rock opera: “Is it as good as Quadrophenia?” I would have to answer no here. This definitely has highlights, but sometimes the story gets a little lost in the instrumental passages, especially in the second half. Also was there a reason the main character was half Puerto Rican? Like was Peter just feeling it one day? I really liked the album, but I don’t think it is as good of a full package as Selling England and doesn’t quite reach the same heights as Foxtrot. Favorite songs were The Lamb Lies Down On Broadway, In The Cage, Counting Out Time, The Carpet Crawlers, Lilywhite Lilith, The Lamia, and It.

This is the craziest, most ambitious music I have heard that actually kind of succeeds. Then I read the plot and it's absolutely stupid. Probably why no one has ever picked it up and tried to interpret it for the stage (or maybe someone has?). The music and songs are all really interesting and flow nicely--it's too bad Gabriel quit right after it, but I think he and the rest of Genesis profited.

This album didn't do a ton for me, but unlike the others where I've said the same, this was still a ton of fun to go through and I was head bopping from start to finish. Imperfect, but still quite good.

Solid collection of songs. I think the length of this was a little too much.

Couple of listens, l can see why this is so highly regarded.

I don’t mind long albums, but I don’t particularly enjoy albums with a lot of songs. However, there’s so much variety in this album that it doesn’t feel long at all. I like Peter Gabriel’s voice, and like how Genesis harmonize his vocals (in general, not just on this album). There’s some story in this album, but didn’t really pay attention. It’s sounds good, and that’s what matters most to me. There are a couple of stand out tracks on this album, and they’re surprisingly evenly spaced out. I’m not saying that the songs between them are bad—they’re just not that impressive. No part of this album feels like it overstays its welcome because in the middle of the songs that are just great, there are a couple of even better ones all throughout the record. Yeah, very enjoyable album. I love Genesis. They’re not one of my favorite bands, but their albums are almost guaranteed to have some seriously impressive stuff. Definitely one of the best “synthesizer prog” bands.

The Chamber of 32 Doors and the Waiting room caught me off guard, otherwise, a really standard album for it’s time.

drei bis vier – noch mal anhören

Lots of great moments here. I have a hard time with long albums/double albums, especially on the first several listens. I'm impressed with how well this held my attention throughout. I shouldn't be that surprised that I like classic prog rock, since I love new prog rock, and I can hear so much influence. I'll definitely listen to this again, although I'll probably do one half at a time. Phil Collins's drumming has some really standout moments, and the 2007 stereo mix on Apple Music sounds great and modern, which helps the ease of listening a lot. Even listening to the original mix on youtube, it sounds very modern and forward-thinking. Also I love how goofy prog rock is. So much synth!

Un classique qui ne vieillit pas!

I still think of Genesis as the Phil Collins led synth pop(ish) band that they would later become. I know they were first known as a prog rock band but I was exposed to a lot of the Collins stuff as a kid and it's sheered into my memory. Because of this, I never quite appreciated what an interesting band they were in their previous incarnation. But there's loads going on here. It's an experimental rock opera filled with jams, twisted ambient structures and darkly surreal imagery. The story is nightmarish and violent with flashes of anatomical mutilation as well as innocence (the lamb from the title inspired images of calm in the middle of the hectic New York City setting). It's a difficult album to process in one go, only partly due to its length. But you can easily understand that there's a complex layered story along with a wide variety of music. Definitely an interesting album that I could listen to again one day.

There is a pretty excellent album squished between a lot of uninteresting filler. A 40-45 minute record of the best parts of Sides B & C would be much better and more properly curated. The rock opera piece is largely uninteresting and bloats an album that should have left more on the cutting room floor. Top tracks: Back in N.Y.C., Counting Out Time, The Carpet Crawlers

I was never a big prog rock fan… concept albums… rock operas not my thing! BUT this album is great… Genesis with Peter Gabriel at their height! The music composition and lyrics to the individual songs are great… Gabriel’s voice is in top form …. 3.75 stars

i find i am becoming a mild fan of genesis' work, and i had never listened to this one. it was a fun listen, but i felt it was a bit overly long and bloated for my taste. i still liked it at parts, and it still has that nice genesis charm, and all the great musicianship associated. just felt like it was less satisfying to listen to than their other albums. maybe something i will enjoy more down the line. still, i liked it enough!

hell yeah peter gabriel 2nd best rock opera

How do I fully digest a 90-minute concept album I’ve never heard a single note of before that also happens to be Peter Gabriel’s Genesis’ magnum opus in one day? Answer: I don’t.

Crazy. Rock-opera type. Similar to Bat Out of Hell. I still don’t know what to think of it. Two songs stand out: the opening track and The Carpet Crawlers. Others were very good as well, but maybe not great out of context. A full album listen.

Masterpiece of an album. Granted, I can't say I understand the surrealist plot, I'm not sure anyone does really. This is a sprawling double album, and like many of those, not every track is memorable, but here they all contribute something to the overall experience. After this album, Peter Gabriel probably didn't think he could take Genesis any further, and so left the band to pursue one of the most fantastic solo careers of all time. The band, contrary to many a snobs' opinion, did not immediately start to suck afterwards, nor did they instantly became a pop group under Phil Collins leadership. There were a couple of prog rock albums and they slowly evolved into one of the most commercially successful acts of the 80s. I even think most of that is pretty great too, don't listen to naysayers. Key tracks: The Lamb Lies Down on Broadway Cuckoo Cocoon The Carpet Crawlers It

Have had a few attempts to get into Genesis without much success. So this double album was a bit daunting. On the third listen some of it started to stick, in part due to Gabriel’s very recognisable vocals (big fan of his solo work). Standouts included In the Cage, Back in NYC and Lilywhite Lilith. So enjoyed this way more than I expected. But no idea what the concept is.

I love the later Genesis, did not know this. I like the concept album idea but miss their hit songs.

to make an album so full of life and wonder, is such a rare feat, not everything hits for me, but I love to be awestruck by this album

This album was not for me but the first and last song are actually pretty good

Sprawling and definite weird moments but I loved it. Many moods, some great surprising moments of prog groove - groovier than I expected. Nice production - enjoyed the transitions between tracks. More familiar with Peter Gabriel’s solo work but enjoyed his contribution here especially. Phil Collins’ chops worth a mention too

100% theater with the wild and wacky oddities thrown in along the way, which I really liked and was a highlight. The crazier, the better was the theme for me on this album. Every song had depth; nothing seemed static for long, and every detail in a song gave a new dimension to the 'story' and effect. On the alternative front it gave so much. At times sounded like the Beatles and Led Zeplin all in one (E.g. "Broadway Melody") while wrapped in their own distinctive veil. A fascinating and clever album. I don't love all of it (there was a lot), but it's a fantastic medley of the absurd, mental, and atmospheric in perfect harmony.

Overly long, check. Tenuous narrative, check. Self indulgent, check. Generous use of futuristic sound effects, check. Warbling electric organ solos, check. Obviously this has all the hallmarks of a pretentious experimental prog rock album and the only remaining question is: is it actually any good... Answer: yeah I think it probably is. I can't say I was able to take the whole thing in in one sitting, but I found the rambling journey through the album quite engaging. A few moments that made me stop and take notice, both lyrically and musically. I think there is enough in this for me to dive back in later and try to engage more deeply. What I love about these old prog rock albums is that in hindsight they blend a futurism with a nostalgia. Like watching old sci-fi, they predict future that could have, but didn't quite happen.

4 sterne

What an album! And incredibly long. Really takes you on a journey

Heard it before. Peter Gabriel could sing me the phonebook and I'd love it 4/5

Surprises at how accessible this was compared to what I expected. I wish it was a little shorter but I am definitely glad I came across this.

My first experience listening to an entire album of Peter Gabriel's Genesis and I feel like I couldn't have named a single song from that era before this. I go back and forth on my tolerance for prog rock, but having Peter Gabriel's voice involved is a huge argument for it. This inspires me to do a deeper dive on early Genesis. And maybe in the future this nudges up to 5 stars.

This album used to freak me out as a kid! My brother played it non-stop for a while. I think the concept scared me along with the strange voices. My brother incessantly singing it to me didn't help either! It's interesting to now hear this album that I've been avoiding most of my life! I certainly have a different set of eyes. The songs have a lot of thought behind them and are well played. Gabriel's lyrics/concept are/is so good. Banks, Collins and Hacket are strong throughout. It's interesting to see NYC (in the 70s), from a British perspective. Liked Songs Added: The Lamb Lies Down On Broadway Counting Out Time The Carpet Crawlers

Do the compliers of the 1001 Albums list have a grudge against Phil Collins? Neither of the two Genesis albums on the list has him as vocalist. I'm not complaining, though, just an observation. "The Lamb Lies Down on Broadway" is a great album that deserves its spot. Way better than the last few records I had. 4 stars for "The Lamb Lies Down on Broadway".

Disc one: 5 stars. It's everything I want from Genesis. In the Cage alone makes this one a keeper. Disc two: Hoo boy. Until today I'd never made it through the whole thing and to be honest, I was only half listening even today. A couple good songs on here, but a whole lot of weird instrumentals and lackluster compositions. All the energy from disc one comes crashing down the moment disc two starts and it's such a bummer. Still giving it a 4 because there's an entire album's worth of killer material on here.

A little too long - but some great tracks throughout

a journey, i'm not sure where it went

This album is a prog lovers dream. Every song is complex lyrically and musically. It's just very long and so it gets a bit tired after some time.

Very close to a four after my second listen.

Some of the songs are truly wonderful. Others can miss the mark. I also found the album was a little too long. I'm not sure what I would remove, but I think I would rather if the album were two or three separate projects.

Brilliant

I have no idea what’s going on but it’s pretty cool ig

Obviously a huge undertaking and a pretty good album but I am not a huge fan of Genesis. 4 stars or B.

Good one!

I was surprised at how much I enjoyed this one, since I'm not that big on Genesis and even less on rock operas in general. But all the songs are great and Gabriel delivers some of his best melodies here.

The real flaw with this album is its length. While a single LP might have been too short to fully explore the narrative both lyrically and musically, the double album format stretches it far beyond what it needs. It also leans less toward prog and more toward art rock which for me is disappointing given the strength of the preceding albums.

great old one

probably should be a 3 because of the needless double album but I like the music. If I had listened closely to the lyrics, I probably would have taken off a star.

I am not generally a fan of prog rock. But the prog bands I do appreciate have an X factor. King Crimson has Robert Fripp and his unique guitar worldview. Yes has Chris Squires bass tones. And Genesis has Peter Gabriel. PG almost singularly moves Genesis from the prog column over to the art column. And this album is the crowning achievement for this iteration of the band - by a lot. You can feel where Pete G is going next. Less so Genesis. But one thing is for certain - hooks abound on this album. Their are catchy tunes. There's also the other kind - it is still prog rock after all. And a double album to boot. It ebbs. It flows. There's an awakening. Ultimately - there's a lot to like - and even love - here.

Broadway Melody of 1974 *chefs kiss*. Alex Turner is smiling somewhere. Counting out time 🫶Love the underwater kazoo solo Influences: arctic monkeys, porcupine tree, pink Floyd (just similar) In the rapids-> It transition!! Oh baby. It's main riff 👏

i saw it was 1h 34 mins long and i was dreading it, but to my surprise i actually enjoyed it. i had it on at work while scraping chewing gum off tables because teenage kids have no common sense. i quite like some prog rock stuff it seems! i need to listen on headphones as well but so far the songs that stood out to me was Cuckoo Cocoon, Anyway and how it transition into the next song. there’s two songs i end up skipping because of the lyrics. notes from the evening; In the Cage absolute banger. i also tried to learn Cuckoo Cocoon on my electric guitar and it was an absolute pain for my left hand joints to play 😆 amazing song tho. very very difficult to get those chords down smoothly tho. 4/5

There is so much of it what the hell.

Pretty awesome

This has some good stuff but also some lame stuff

My twelfth album to review was Genesis’s Selling England by the Pound. I’ve been a big fan of Genesis’s work in the eighties since I was a kid, but that was my first time listening to one of their albums from the Peter Gabriel era. I wouldn’t call myself a big prog rock guy, but I wound up really loving that album, and so I’ve been looking forward to reviewing this album for a long time. I didn’t enjoy The Lamb Lies Down on Broadway as much as I enjoyed its predecessor, but I still thought it was a very good album, and a unique listening experience. Like SEbtP, TLLDoB was full of rich and dense arrangements, completed by some excellent vocals from Peter Gabriel. The synthesizers and keyboards drive a lot of the sound on this album, but there’s still some excellent guitars and percussion work as well. The fullness of the sound made it a bit difficult for me to take notes on this album, because I wasn’t always sure what I was hearing. However, I do know that that I found the music on this album to be really well arranged, and despite the richness of the sound, it never felt like certain elements were competing to try to steal the show. Even though I like Peter Gabriel’s vocals, I’m a huge Phil Collins fan, and it was great to hear him sing on a few songs as well. I don’t know that I can pick out a favorite song from this album, but “In the Cage,” “Back in N.Y.C.,” “Counting Out Time,” “Carpet Crawl,” and “The Colony of Slippermen” all stood out to me. The biggest drawback about this album for me was that I didn’t give two shits about the story. I’m not usually turned off by weird rock operas (I really enjoy Fucked Up’s David Comes to Life), but this really didn’t land with me at all. Thankfully though, the music was enough to carry this album along for me.

Some really nice Peter Gabriel songs in there, but over all a bit flowery for my taste.

Some heights, but MAN did they need an editor.

нормалек, одну песню сохранил.

Considering the different artistic arcs each party followed, it’s easy to imagine what the break up discussion between Peter Gabriel and the rest of the band was like once they wrapped on this album. Can’t say that either side was wrong. But in my opinion, one side definitely got it right.

Missing the repeating hook that the great rock operas possess, but there’s a plethora of creativity in the first hour to warrant repeat listening.

Larger than life rock opera with proggy, theatrical music and a peculiar and surreal story. It explodes with creativity and eccentricity. The music and musicians are stellar throughout and showcase their abilities without showing off. Whether it be long, complex, time-shifting songs, instrumental excursions, or quieter tone pieces…they join forces to create a mood, a scene, a picture of it all. It’s a rock album as art, rather than just a handful of good songs. Some songs are great on their own while others serve the album more than themselves. It is a long run length, but has enough diversity to not get dull. It’s hard to process this all in a single day, but it’s pretty cool.

Very ahead of its time and very slick. Maybe a little bit TOO slick for my liking, but definitely an impressive album for 1974.

Finally, after more than 50 days of using this website, it hits me with another Prog album, my all time favorite genre. It may not be perfect, there may not have been a lot that stood out on this album by itself, but as a whole, it’s really really good. You can just skip around to any song on the album and get something that at the bare minimum is at least enjoyable no matter what. That’s also a slight double edged sword, because not everything is groundbreaking here, and nothing pushes into the truly amazing territory, especially at 1 hour and 34 minutes. I believe that makes this the longest album I’ve heard so far, and for that reason I have to judge it as a whole. As a whole, it’s a fantastic album, but far from perfect. There are multiple times here when I just drowned the music out, which isn’t always bad, it just doesn’t really add to my enjoyment. Plus, about an hour in I’m just ready for it to be over, another point against it. Despite all the critiques though, a few songs on this album truly are extremely memorable in my eyes, those being “Fly On A Windshield”, “The Grand Parade Of Lifeless Packaging”, and “Back In NYC”.

ok well that was a pretty cool, pretty weird prog rock concept album. the first disc? stellar. five stars. interesting music and story, though it does have the absolute worst song about gettin freaky i've ever heard (counting out time). yikes. otherwise, great start. disc 2 is where things get Weird. not necessarily good. the fantasy elements are cool (and practically a staple of prog rock), but that's where my praise ends. this feels like all the filler and b-sides they had to pad out the album with (because what kind of prog rock epic would be under 90 minutes, i mean let's be serious people). but yeah other than a few decent tracks it's just a slog. five stars for the front half, two for the back half seem fair? i'll even round up to four on behalf of ...and you will know us by the trail of dead's cover of back in new york city. you're welcome. favorites: everything from disc 1 except thee grand parade of lifeless packaging, counting out time, and the chamber of 32 doors. nothing from disc 2 except the lamia and it.

A pretty good album, I liked Cuckoo Cocoon, Hairless Heart and The Carpet Crawlers.

An album I need to go back and listen to with headphones to truly appreciate it as listening to it in the background while driving does not do it justice.

The first record in this 2 LP album ROCKS. With plenty of classic Genesis moments and songs. The song writing is first rate right from the opening fanfare of the title track that introduces the audience to Rael the hero of our convoluted story. The second record does NOT rock, it is atmospheric and mood setting, dominated by long instrumental passages that I have trouble understanding how they advance the narrative, but I think that's beside the point. However record 2 still has its moments; The Colony of Slipperman / A Visit to the doktor / The Raven which opens side 4 is lyrical and has some beautiful keyboard lines and is beautifully arranged and played. And side 4 has some provocative twists and turns musically. Leaving aside the impossible to follow story the music on this album is driving and beautiful, with memorable hooks and melodies that linger long after the album ends. And even though the narrative of Rael doesn't make much sense, it is still a lyrically beautiful album. The Lamb Lies Donwn on Broadway deserves its status as the masterpiece of the Peter Gabriel era Genesis. 4.5 stars