The Lamb Lies Down On Broadway

I was intrigued at first. I like prog, I like concept albums, and the whole idea of Peter Gabriel building this bizarre story around Rael wandering through New York sounded like it could be interesting. Then I saw the runtime. Holy crap, 90 minutes of Genesis is more than I’ll ever need. There are some good musical ideas buried in here, and I can appreciate how ambitious the whole thing is. The problem is that it just keeps going. Songs bleed into more songs, instrumental passages wander around, the story gets increasingly strange, and eventually I stopped caring where Rael was or what the hell was happening to him. Prog already asks for some patience, but this felt like an endurance test. I’m sure there are Genesis fans who can explain every character, recurring theme, and musical callback, but I’m not going that deep. I liked the idea of this album a lot more than I liked actually listening to it. By the second half, I was mostly checking how much time was left.

Are there an awful lot of prog rock albums on this list or is the algorithm frontloading them because it hates me, specifically? Either way, you can keep making me listen to them but apparently you can't make me like them.

Very enjoyable! ★★★★

Fucking extraordinary. What a monumental accomplishment on all levels. Seeing as this is basically my mom's favorite album of all time, I was seriously hoping it still held up so I wouldn't have to rate it lower and feel bad about it. Why on earth was I worried? Peter Gabriel is one wacky son of a bitch, but as ludicrous as this story is, there's something infinitely profound about it. The fact that a human being came up with all of this in the first place, and then had the bravery to see it through to the end is insane -- and weird though it may be, there are so many moments that make you stop dead in your tracks; get goosebumps, think, think about why you just got goosebumps, and maybe even cry. And then, add to that the UNBELIEVABLE talent behind him. These guys are from a different fucking planet man. They pass around time signatures with a prowess that makes it seem easy -- and makes it easy to tune out of -- but if you pay attention, it's legitimately dizzying. And for 90 straight minutes, we're either shredding some of the most incredible solos you've ever heard in your goddamn life, or we drop it down to utter ambient beauty. (Or we do some weird musique concrète thing that kind of doesn't really work - looking at you, The Waiting Room - but fucking who cares man, it's like 2 minutes long.) Anyway. Basically this is as perfect as prog can get. People always say this stuff isn't for everyone, but it should be. Just try. Think a little harder, give it another listen. This is fucking genius, and it's a shrine to human creativity.

Best Track - "Counting Out Time"

Hate

Background radiation music of the universe pulling aliens closer to Earth and yet alienating me further from being awake or even caring. :( 1 or 2

Way too long, but mostly decent. Not a fan of Genesis for some reason

This album predates my first serious exposure to Genesis. It wasn’t until later that I came to appreciate the band’s older albums. This album was popular among my friends’ older siblings. However, aside from the song “Carpet Crawler,” I couldn’t really get into it. Now I’ve listened to the entire album intentionally for the first time. I found the beginning—or rather, a large part of the first album—a bit difficult to get into. I got along much better with the second album. I’ll definitely listen to it again. 5/5

Achttien albums geleden had ik ook Genesis en nu krijg ik dus een rockopera van anderhalf uur. Uiteraard heb ik de tijd noch de zin om het hele verhaal aandachtig te gaan zitten volgen en daardoor mis ik waarschijnlijk de genialiteit van dit werk. Het zij zo. Ik onderga wel gewoon het album en de muziek natuurlijk, zonder precies te volgen wat Rael allemaal overkomt. Als ik m'n rating van het andere album teruglees heb ik hier ongeveer hetzelfde. Mooie stukken, matige stukken, af en toe zin om te skippen. Anderhalf uur is heel lang. In anderhalf uur kun je ook de film The Pick of Destiny kijken, dat heeft dan toch m'n voorkeur. Dit album is niet zo geweldig als de band zelf lijkt te denken. Het is teveel. En de 2e helft is ook niet de sterkste helft. Als het korter was kreeg het drie sterren van me, maar ik moet er nu één op zak houden.

Like most double albums, this is definitely bloated. But good lord is this ambitious. The story is weird, the production is unique, the transition from song to song is smooth, you really need to sit down with headphones and listen…which is a task given its hour and a half runtime. Overall an experience of a listen but would benefit from cutting a couple tracks here and there.

The album is a concept album; it tells a story, and every single song is a part of it. It centers on Rael, a rebellious youth. On his journey of self-discovery, he encounters bizarre and challenging figures in the underworld before ultimately achieving a spiritual awakening. Peter Gabriel left the band after this album; the individual band members' musical approaches and tensions were increasingly drifting apart. Before that, however, the album was performed on a very long tour featuring an elaborate stage setup and costumes. Concept albums and grandiose stage productions were very much in vogue at the time. All in all, it is a completely cohesive, self-contained album. It has a bit of an indie feel and is totally different from the Genesis records that followed later. I owned a cassette of the album when I was 15. I bought it—along with many others (Pink Floyd, Led Zeppelin)—during a trip to Poland. At that time, Poland was already opening up somewhat to the West, and there was a black market offering copies of *every* record imaginable—all at affordable prices. So, whenever I traveled to Poland, I would stock up on bootleg copies. That is how I kept expanding my musical horizons. Now, 43 years later, I still enjoy listening to the record. I even understand more of the story behind the songs these days. "The Carpet Crawlers" remains one of my favorite tracks on the album.

I was ready to give this 4 stars fairly early on into the album. But then it went on, and on, and on. Less is more. You ruined it Genesis

I'm simply not a prog rock person, I fear. Every track was too rambly and unfocused to me, not helped at all by the album's length. No standout tracks. Rating: 2

no es malo, pero no es mi onyi.

and the lamb lies down on BROOOOOAAAADWAY!

i like 1 song the rest are meh

Not mine

too slow for me

This album restored my virginity.

The 1st album was really enjoyable, and the opener for album 2 was good. It kind of falls apart after that.

Genesis’s popularity obviously exploded in the 80s with their more pop sounds, but before all that, they were prog rock icons, and this album is a testament to that era. It’s prog, it’s a concept album, it’s Peter Gabriel and Phil Collins, and yeah it’s a long double album, but that’s the point! What’s not to like?? Well, some of it is less than notable, and while I did enjoy it, I don’t see myself adding any songs to my regular listening playlist. 4/5.

Oh my God, I thought it was shit.

They were doing incredible stuff back then. Somehow this sounds like rock music made for a musical, which is a perfect strike zone for me. Vocal-forward and melodic instead of trying to overwhelm with a wall of sound. That said, looking at the actual plot of the album, I'm not wild about it. Most of the songs seem to be the protagonist encountering disconnected, nonsequitur hallucinations, which is kind of a copout to the idea of a concept album. They also apparently thought that the songs alone weren't enough to convey the meaning, so they wrote out the whole plot on the album sleeve. Have some confidence guys! Still, musically it's fantastic, and that's what matters to me most.

Okay, I finally jumped in and gave the album two full listens today. I like it! I really do! I There are some quite amazing songs on here… surrounded by okay to good songs that drag out the album. I love when artists are ambitious, maybe even too ambitious for their own good. And The Lamb Lies Down On Broadway is nothing if not ambitious. As normal with albums of such length, the length is its greatest flaw, though. There is a great, more concise album in this. The whole suite from Cuckoo Cocoon to Carpet Crawlers is excellent and on its own would get five stars. Amazing, great job, love it. The Waiting Room with its weird and icy synth that lead into a rock-opera feast - astonishing. But there are a lot of songs that do not work for me. The Chamber iof 32 Doors starts out great, but gets lost in a musical-esque kitsch that turns down the energy to zero and is not really pleasant to listen to. Lilywhite Lilith is here… but not much else. In general, the second half of the album pulls its overall quality down. I think Genesis ran out of steam here and didn’t have any great new ideas. The Colony of Slippermen especially puzzles me - i do not see how it is needed on this album. Then I think the album is capped of in the best way by The Light Dies Down On Broadway, pulling together everything that came before and tying it togehter… only to be followed by three more songs. In short, if the album hits, it hits it out of the park. But with 23 songs and a runtime of one and a half hours there are quite a few misses (not bad songs, just songs that do not come close to the peaks of the record) and that make for an uneven listening experience.

Be honest I can’t listen to 2 sides but side one was great

Plusieurs écoutes et tu comprends

This album is some kind of torture. It's two discs of serious, heady songs with nothing to hum along with or to tap your toes to. Who likes their music to be hard? I am glad Phil Collins learned how to make jams.

weird af

This was mostly painful. 2.

Personal enjoyment: 1/5 Relevance to this list: 4/5

The Lamb Lies Down on Broadway 3.4 Fly on a Windshield 3.4 Broadway Melody of 1974 3.2 Cuckoo Cocoon 3 In the Cage 3.3 The Grand Parade of Lifeless Packaging 3.1 Back in N.Y.C. 3.2 Hairless Heart 3.4 Counting Out Time 3.3 Carpet Crawl 3.3 The Chamber of 32 Doors 3.1 Lilywhite Lilith 3.4 The Waiting Room 3.3 Anyway 3.2 Here Comes the Supernatural Anaesthetist 3.4 The Lamia 3.3 Silent Sorrow in Empty Boats 3 The Colony of Slipperman a. The Arrival b. A Visit to the Doctor c. The Raven 3.2 Ravine 3 The Light Dies Down on Broadway 3.3 Riding the Scree 3.5 In the Rapids 3.4 it. 3.3 Score: 3.260869565

First thing’s first: this is all a bit much. It’s a bit much. It’s unnecessary. Nobody asked for it. However, and I can’t believe I’m saying this; I enjoyed it a fair bit. Half of it floated by without grabbing my attention but not in a negative way. When it’s good, it’s really good. I can’t believe I’m going to bat for Phil Collins, FFS. The drums are great, really really great. A handful of standouts but the best here are Back in N.Y.C. and Carpet Crawlers. The latter, in particular, is a song I can’t get out of my head days later. Genesis; who knew?

when you paint with all the colours, all the time, on top of each other, for and hour and a half, then there is no suprise when it comes out as an indistinguishable brown mess

Instrumentals, almost universally great. Wish Gabriel would let them breathe more. The vocals are a little overbearing. Lyrics are dumb as shit for the most part… I mean what a dumb “story” to get all precious with your band about. Anyway still a mostly enjoyable listen, I just focus on the instrumentals.

Certainly interesting and not bad, but nothing really stood out to me in particular. Wiggly voices are cool. I didn’t realize Phil Collin’s was in Genesis

6/10 Genesis’ previous album, Selling England By The Pound, surprised me with its blend of whimsy, experimentation and solid musicianship. It wasn’t any of those specific elements that were surprising, more the fact that they managed to put all of that together into such a coherent and well balanced experience that had enough mainstream touches to make it easily approachable while having enough depth to indulge their more experimental desires. This album kind of takes that concept on to another level, as they experiment far more freely with synthesis, sections of ambience, and production trickery, while indulging the two sides of their sound, with experimental, whimsical weirdness and more mainstream, driven rock efforts. This time, they focus on an American story that (to my ears, fairly loosely) strings together a narrative concept around a character named Rael, who essentially goes on a journey of self-discovery in the New York City Underworld. Personally, I feel like that draw towards 20th century American themes actually tamps down some of what made Genesis most interesting on their last record, which tied more traditional elements of British folksiness into their more progressive, experimental sound, and this doesn’t quite feel as grounded as that record on that basis. There really is some excellent work on here, though, and I think Phil Collins’ drum work in particular is of the highest quality. They deliver sections of drive and power, while also indulging in more floaty, melodic moments, with thick, harmonic ambiences that wash away. And at times those two worlds meet. Some of the more straight rock numbers sound remarkably modern, for an album that’s over 50 years old, while the more weirder edges often pin this very much within its own era. Which is absolutely fine by me. The biggest issue with this album, and you probably know where I’m going with this, is its length. 95 minutes is long in anyone’s book, and with an album that tries to cover so much ground, things do feel very spread out and flabby, with sections of drifting to the point of the central thread starting to get lost, and the narrative feeling ever more tenuous. It takes a special piece of work to justify a double album, and as is so often the case, this feels like it could be a truly excellent 50-60 minute record that has been allowed to develop into a monster due to the artist’s own hubris. It’s a shame, because everyone does a fantastic job here. Peter Gabriel’s vocals are excellent, the bass and guitars give things enough solidity to maintain a fairly robust centre, while also allowing space for more experimental, broad ranging sides to the sound palette. The synths, while occasionally feeling a touch dated, add a richness and range to the sound that helps broaden it well. And as mentioned, the drumming and rhythms on the album are excellent. But they just colour outside the lines a bit too much and I think you can feel the fact that the band constructed much of the instrumental work in jam sessions while Gabriel was absent. It doesn’t fell entirely connected. And here we are. Another double album that would have been a brilliant single album, but ends up just being too much. Kill your darlings, artist. Please. The Lamb Lies Down On Broadway - An intriguing start that simmers and builds in places and drives in others. There’s great range here in both tone, inflection and dynamic. It’s also got a solid central, poppy hook, which helps to give things a more approachable sound than may otherwise have been the case. It’s pretty well balanced, has some very interesting musical choices, without going too avant garde, but still has space for a bubbling weirdness just beneath the surface. Fly On A Windshield - This is another that burns slowly and then punches in with a bit more power. It’s fairly short and almost feels like a transitional piece out of the back of the opener, in some respects. It’s musically quite a roaming composition, but transitions super smoothly into. Broadway Melody Of 1974 - A track that gathers things up and delivers decent power and coherence. The transition between sung and spoken vocals gels quite nicely with the slowly diminishing dynamic of the instrumentation and the swelling of the strings, before seeping away into an ambient lushness. Cuckoo Cocoon - Which again drifts easily into a track in which all of the rhythm is provided by the tonal instrumentation. It’s airy melodic stuff that floats around with the occasional rhythmic push for the chorus. It’s well executed and pleasant stuff. In The Cage - And now something with a bit more brooding menace to it. The way this drifts between moods is very nice, with some more upbeat sections, and some with that slightly unsettling undertone. There’s a nice bit of synth soloing in this, although it’s a bit loud in the mix, and some really excellent drumming too. They transition so smoothly through sections and key changes that everything feels incredibly natural, despite the fact that they cover so much ground. It’s one of those rare 8 minute songs that entirely justifies its length by packing so much in, while also feeling thematically consistent. Excellent work. The Grand Parade Of Lifeless Packaging - This one leans a bit more into weirdness, particularly with the use of effects on the vocal. It feels a bit more whimsical too. It builds nicely enough, but feels a bit incoherent and muddy compared to previous tracks, while also not exploring as much breadth of musical ideas. Not entirely convinced by this one, if I’m honest. The experimentation jars a bit and it’s just not as musically interesting either. Back In N.Y.C. - But we’re back on track with something a bit more driven and stylistically consistent now. There are elements of this that are very good, but after a while, it feels like it lacks the range of their more interesting stuff. When they break into the more experimental sections in which they toy with uneven meter, things are better, but there’s a slightly thin sound in places that’s not entirely satisfying. It’s a bit of an almost there track, to be honest. Hairless Heart - Back to another almost ambient, transitional track now, like a further stripped back Cuckoo Cocoon. It’s floaty, harmonically rich and ebbs and flows nicely, stretching its motifs around into extended passages and shifting them between different instruments. It’s nice, but is definitely more of a transitional work. Counting Out Time - We drift straight into this, which picks the echoes of the previous track and throws a pop-rock drive and melodic approach, while making sure to maintain edges of weirdness. It feels like Genesis take a similar approach to sex as they do to music, if this track is anything to go by. Weird, deeply unsexy, frequently complex and somehow strangely satisfying. This is a great little track that has enough of a central line to pull it through, but they definitely get weird around the edges, which is exactly what I’m looking for from them. The Carpet Crawlers - They back off now into something that’s again a slow burn. There’s lots of great movement in the instrumentation, including the rolling arpeggiation that drives away in the background. It’s a rich musical blend with a nice central motif in the chorus that holds things together nicely, creating a solid melodic hook on which the rest of the track hangs. It’s not the most adventurous track on the album, but it’s very good regardless. The Chamber Of 32 Doors - Another solid track here that pulses along slowly to begin with. The change of pace and emphasis at ~1:45 is superb, with Phil Collins instigating an incredibly smooth transition with a simple but powerful drum fill. This is a very atmospheric track in which they pull the groove around, throw really nice tempo changes in and still find time for some really nice melodic construction. It somehow manages to feel musically homeless but centred, which is quite a skilful thing to pull off. Lilywhite Lilith - A good start to the second disc of the album. There’s good drive and intensity as well as some good melodic hooks. The mix has good weight and volume to it and, while they go on some fun little diversions in places, including the use of some nice synth pad elements to add depth, there’s a clear central core to the work that holds it all together. The Waiting Room - Some lovely sonic weirdness now. This kind of experimentation is great and adds so much texture to the work, but when dealing with a 95 minute album, its hard not to feel like stuff like this would have more impact in slightly smaller doses on a more concisely edited collection. The more driven synth and guitar focused work that emerges out of the back of the experimental section is great, and Collins is excellent of the drums yet again. It’s building to something and that considered development is good, but again, the album length does play against its success a little. Anyway - This is a smooth, almost ballady song to begin with. The instrumental blend is fantastic and there’s so much power and dynamic when they punch everything together at about half way. There’s some brilliant movement in this track, as well as some excellent soloing work. This almost sounds like it could be Genesis’ take on a Bond theme song. It’s very good. Here Comes The Supernatural Anaesthetist - There’s been so much atmosphere and use of long decay and reverb that the cutting out of the guitar at the beginning here is very rhythmically impactful. There’s some great stuff in this track, but it does ramble on a little bit and may have been better as a slightly briefer passing moment between tracks. The Lamia - This is quite a long and unchanging track. The general vibe and tone of this is very good, but boy oh boy does it drag on. There are some nice melodic moments, and there’s decent bits of soundscaping, but it feels incredibly self-indulgent, particularly from Peter Gabriel’s side of the work. There’s some nice development and transitional work between the vocals, but the vocal sections drag way too much and there’s just not enough pace to it either. Silent Sorrow In Empty Boats - Another very restrained and sonically interesting ambient piece. There’s a lot of vibe and atmosphere here and, while the central theme repeats, there’s a lot going on around it to give it range and depth. It’s a definite pause before the next track, and again, the only issue is that the record is so long, so it feels like everything is stretched out and didn’t have the strongest editing hand. The Colony Of Slippermen - Again, some nice sound design work here, and they dip into a bit more whimsy, but we feel like we’re stuck into a bit of a lull now, at least until part two of this track kicks in. Then, we get a bit of that whimsy mixed in with a much more pop-rock drive and melodic sensibility. The backing vocals are hilarious. The synth work is great. It’s definitely weird, but there’s still that more mainstream thread that pulls through the middle that keeps things just about on an even keel, which is great. It moves really nicely into the third movement and again, there’s some quirkiness and weirdness to it, but it’s driven, has great great grooves and nice transitions between smooth, legato sections and sharp, punchy ones. Ravine - Another drift, ambient soundscaping work now. Again, at its core it’s good stuff, but there’s just too much drag to this album. The actual sound design work is lovely, and it gives nice pauses, but on a 95 minute album, I’m struggling to care as much as the best work on this record suggests that I should. The Light Dies Down On Broadway - Again, we drift back towards a more mainstream centred track. They still find time to go experimental in places, most notably on transitions. It’s slightly lacking in pace, so has a bit of a floaty feel to the rhythm, but they gather it quite nicely into the choruses. I can’t say it’s the most exciting of tracks though, to be honest. Riding The Scree - Straight into something more snappy and weird with a cool, jumpy 9/8 time signature. Great drumming from Mr Collins again and all of the best kinds of quirkiness that Genesis can deliver. It goes on a bit of a meander in places, but thematically, it works and there are some lovely instrumental moments, particularly from the synth. The groove is fun here and gels well with the edge of silly oddity. Great stuff. In The Rapids - And then they tie up the weirdness into a more straight, but very well delivered pop-rock number. There are some great rhythmic punches in this and the harmonic blend behind the main vocal is thick and rangy. It’s moments like these that ground the record and allow it’s more odd extremities to land more comfortably, especially when they deal with things swiftly before transitioning smoothly on. It - That transition was excellent and we close with something that grabs tones from across the record and ties them up into a final movement that’s stuffed with movement and momentum. There are great bits of melody, interesting instrumental work and, yet again Collins is on fire. It’s much more of a mainstream effort, but they way it sums up the record is excellent, and there’s enough range to make it not feel out of place in the mix with everything else. A really nice ending.

It's quite good.

This is just weird, I mean really really weird. I like Genesis, but did not know this album even existed. It was a very odd soft prog rock that I did not really understand. 3.5/10 Top song... They kind of all sounded the same so... Counting out time

It’s a work of genius! Everything I need out of a prog album.

I used to hate genesis. I would dread every moment that my parents would put a genesis album on since I used to find them very tedious to listen to. Obviously nowadays I have warmed up to prog rock music and so I decided to at least try to listen to a genesis album. And this was the first one that I picked, and I must say it was a good starting choice for exploring their catalogue of music. This entire album kinda feels like one long song that broken up by gradual transitions that feel like its telling a story. Whenever I listen to it, it feels like time just goes by really fast. I wouldn't say there are that many stand out songs, but they do seem to be better to listen to as a full album.

Well, it took over 1000 days, but I finally got my first album from the last of the big prog rock bands to give me an album for this project, Genesis. I've heard a number of things about Genesis over the years. I've heard the debates over whether the Peter Gabriel years were better than the Phil Collins years. I've heard about the massive flop that was their final album. And of course, this project has given me three whole Peter Gabriel solo albums in preparation for my first time listening to Genesis. So, with all that said, how do I feel about my first Genesis album, and Peter Gabriel's last Genesis album, The Lamb Lies Down on Broadway? It's so good. My prog rock bias has struck once again! I love this album! I can't call it cool, mostly because prog rock is maybe the nerdiest genre of all time, but I'm a massive nerd, so this appeals to me greatly. For starters, it's a concept album, and I usually like this. What's the concept of the album? I don't know! There's a story here about some guy from New York named Rael, but the story itself is kinda vague in some ways. But you know what? I don't really care that much. The music and pacing of this album are so powerful to me that I get all of the emotional beats without even really understanding exactly what's happening in the story! This album is definitely on the more surreal side of... just about everything, but it's surreal in a really awesome way. The writing itself does have some nice prose to it. Peter Gabriel really did have a way with words. But what about the music? It's amazing. I love listening to this album. I don't even care that it's over 90 minutes long! If anything, I actually found myself loving the album even more as it went on. Tony Banks has some wonderful keyboard parts. Mike Rutherford and Steve Hackett both do really cool things with their instruments. Phil Collins is a pretty great drummer, but you already knew that. And of course, there's Peter Gabriel. This album was his last hurrah before leaving the band, and it's kind of his baby. In many ways, this album is comparable to another iconic prog rock double concept album primarily written by one member who left their band soon after its making, Pink Floyd's The Wall. But you know what? I'm actually not sure which album I prefer. It's a closer call than I'd like to admit. The Wall definitely has higher highs and a clearer story, but The Lamb Lies Down on Broadway might be a bit more consistent while also having a more ambitious sound. I don't know. Back to focusing on this album, some of these songs are really awesome! The opening title track followed by "Fly on a Windshield" make for a good start to the album. "In the Cage" is 8 minutes long and I love it. "The Carpet Crawlers" is the album's most iconic song and for good reason. It's pretty lovely. "Anyway" is cool. "The Lamia" is nice. "It" is an excellent closer. And you wanna know what's pretty crazy? I don't think this album has any duds. I think all 23 songs are at least good. I'm super impressed. I knew I'd like Genesis, but I am shocked at how much I loved this album. Everything about this album just speaks to me. Does the album have a bit of a "hype moments and aura" thing going on? Sure, but I'm still going to gobble it up anyway. I think I'm a Genesis fan now. Granted, I should probably wait until I heard Selling England By The Pound to say for sure, but I do really love what I've heard of the band as of now. This album rocks. 5/5.

genuinely tried to like this and it was pretty hard

Far too long. Far. The vocals are often engaging, even if the concept is not.

if tangerine dream had two cups of nyquil -in the cage -counting out time -the waiting room

its pretty good! relaxing and catchy

Decent enough prog rock, some good songs and some pretty odd songs. A bit long for my liking, would have been better if it was half hour shorter.

Fairly mid rock

First Listen Favorites: Carpet Crawlers Back in NYC Fly on a windshield Honorable Mentions: Counting Out Time Hear Comes the Supernatural Anesthetist It

It was long…weird…fine. Wanted something better on my dads 5 yr anny

I broadly enjoyed this but it was way too long and had too many 'noise' tracks. 5/10

Never heard all of this before. I’ve generally preferred radio friendly Genesis to the prog version. (Ducks for cover). This is about as Prog as I can handle. It’s dancing close to cliche for me. But it’s worth working through. Overall I enjoyed it. 3 for me. Didn’t love it, but can see why others do.

Prog just isn’t my thing, but it was interesting to listen to Genesis’ Frampton era rather than the 80s pop hits that I know them for.

Wow this was great!! Fantastic work music, lots of interesting sounds and melodies. Big fan of the title track and carpet crawlers. Way too long though. 8/10

This takes a few listens to really sink in and be appreciated. I appreciate it.

80s pop Genesis > 70s prog Genesis. I said what I said.

Long, and rather hard to get through. Music is wandering without being interesting.

Boring

The Lamb Lies Down On Broadway was too much for me at the time I first picked it up on compact disc. But over time I've parsed it with greater patience and care. There are a few tracks that are obvious standouts that help pull you through this double album. But it is a lot. It is an album that tests your attention even as you keep in mind the internal rhythms of the vinyl release. I don't blame anyone who bounces from the record, but I find it rewarding. I appreciate the break with the pastoralism of Selling England By The Pound and the drive to experiment with the imagery in the lyrics as well as the sonic texture of the record itself. While less immediately gratifying, I think it has greater depth and charts new territory. It's always been on the slow march to being a masterpiece for me, but maybe for you it's a bloated representation of the interpersonal friction of the band resulting in a mess of filler music layered with narrative inconsistency where Gabriel's indulgence ultimately loses the plot — all stemming from their greatest original sin: to set out to write a double album. I've done my fair share of "what if we just trimmed this down" editorial imaginings and begrudge no one for doing so here. A more focused version of the album could've been an even better experience. Perhaps, then, it's a flawed gem. Brilliant in many respects but a sharp eye and ear may detect a defect here and there. And yet, and yet, for me it's one of the few records that actually earns the label "progressive" in terms of how it rocks.

this was so good i think but i can't really remember

waaaaaaaaaaaaay tooooooooooooo looooooooooooong

No

Eh I mean this is fine. It did not at all inspire me. The light dies down on broadway was alright, I didn't like the ones that were just noise. Riding the scene was kinda fun before the vocals. I will say that I respect the ambition. And I liked It, the song not the album.

cool cover though

Bell’album con una serie di picchi

I'm not a huge Genesis fan. I just can't really figure out what they are, or where they fit in. With that said, this was pretty cool. It was a little too long, but several songs stuck out as just being awesome. 8/1/26. Some really great synth and ambient sounds on here that really jammed.

Genesis doing prog rock is not good. Their later stuff is legitimately great, this is exhausting.

This is really cool. The prog and experimental stuff is really cool. Its also rad, because this is pretty old. So no one was really doing this at the time, so its truly experimental. They just had to believe that someone would be into this. They nailed it. Its not something I listen to on repeat, but there were a few songs that really got me. Surprisingly, it I think if I spent more time with this, I'd be full on believer.

Wow. Very good. I feel like genesis paved the way for a lot of modern sounds we hear today. Some songs can drag a bit but every few songs you will hear something quite special and unique. My only complaint is some of the writing is weird and wordy but nonetheless very good.

Genesis just had such an insane run in the early 70s. I think they're a great example of a band who effectively showcase the mastery and musicality of every member equally, as opposed to many bands whose instrumentals simply serve as a backdrop for vocals. I do question the writing, which apparently was wholly commandeered by Gabriel instead of shared among the band. The concept is really cool, but doesn't feel conveyed well enough to paint a vivid image. I can't help but wonder if the writing remained a collaborative effort, would there have resulted a more cohesive illustration of the concept? I guess the band would write the music in one room while Gabriel wrote lyrics in another room, then they’d just try to smash them together which explains how it feels a little disjointed at times. Regardless, it's still a very imaginative and surreal experience and the instrumentals more than make up for any of the lyrical hiccups. A bit dull in the second half, but It is a great closer.

Not really my kind of music but my mom liked it and some songs really gave me the chills

[3/5] 1. going goblin mode on that bass 2.

Amazing album that shows why Genesis was one of the best and most diverse sounding rock bands of the 1970s.

Prog Rock....again Ugh genesis has some good work. This isn't it. Why is this on here?

The Lamb Lies Down On Broadway / The Grand Parade Of Lifeless Packaging / Counting Out Time / Carpet Crawlers

And the laaaamb... lies doooown... ON BROOOAAADWAY!

Soundtracked my morning

This was pretty good

I don't often listen to prog rock, but if I really have to, this isn't so bad.

I like early Genesis, drumming so good Will I listen to again: 99%

4.4/5

“You gotta get in to get out!” Yeah, one of my favorite things about this project is when I get to be reminded of a record like this, something I used to love and listen to all the time 50-some (!) years ago but eventually moved on from. (And then realize that I can still sing along with “The Carpet Crawlers” all these years later.) I’ve come to think that double albums are a bit much, but the length of this one certainly made sense in context with all other endless quasi-symphonic prog albums that I was into at the time like Yes’s *Tales from Topographic Oceans* and Aphrodite’s Child’s *666*. This one seems a little angrier, weirder, and less noodly than what I remember about some of those other expansive projects, so it’s interesting to keep that in mind while remembering the radical shift in “rock” music that was about to take place in the late 70s. (OK, maybe it’s not weirder than *666*.) Of course, many of the lyrics seemed like a hot dumb mess even back in 1974. (I can see the rest of the band being like "So Peter, just so we’re on the right page, this track is about a raven absconding with someone's amputated penis, yeah?”) But hey, it was the 70s. 4 stars

Genesis with Peter Gabriel is a completely different band than the one with Phil Collins as the frontman.

I prefer more of the Genesis from the 80s and with Phil Collins. That being said, I did like listening to this album. Some of the music even sounded a bit like Pink Floyd. Made me want to listen to more full albums of some older Genesis.

If you get a chance to see The Musical Box perform the original tour set of this I recommend it. I was a bit sceptical when I agreed to go with a friend because it was the one Gabriel era Genesis album I never really got into. It was entertainingly silly and bonkers with all the Gabriel costumes and the triple screen slide show more complete than Genesis themselves ever managed. The original used mechanical slide projectors which were always breaking down. Much easier to do digitally of course. Anyway, it belatedly turned me into a fan of this over wrought over stuffed monster. It feels very typical of the book to go for the big statement properly long double concept album as a Genesis pick rather than Foxtrot which for me in Supper's Ready has the pinnacle of that brand of whimsical showing off English prog. As I'm not a fan I'm happy enough that there are no Phil Collins era Genesis albums or indeed any of his solo stuff, but all that stuff was massively popular all over the world, and the big gated drums on Face Value are inarguably influential.

Es bastante largo y esperaba más la verdad, pero no tan malo como dicen las reviews

When I hear the words 'concept album' I immediately worry. Then I hear it's a two-sided 90-minute album and I know my commute is doomed. A few nice songs in here but they're just completely washed out for me

It’s alright.

Maybe my continuous use of the internet has ruined my attention span, but I still think an hour and a half is too much for a record. It's hard for me to believe that anyone would sit down and listen to this album for that long without feeling bored or disconnected.

I didn't get it :c generally i'm pretty lukewarm to prog rock, and this album had some tracks i enjoyed, half the time felt like a slog

1 hour and 34 minutes! I generally like prog, but this is massively over-bloated and self-indulgent. The synths sound incredibly dated. A concept, double-album, should strike fear into anyone. Punk absolutely needed to happen Heard before ❌️ Listened this time ✅️ Revisit ❌️ ★★★☆☆(5/10) default Total reviewed : 379 Already owned : 83 Purchased : 16 To buy : 7 Nope : 273

Groupe connu (il fait partie de mes préférés) et album connu. Dernier album de Genesis avec Peter Gabriel, il est un peu long (j'ai eu du mal avec le second disque lors de mes premières écoutes, en particulier 'The Waiting Room') mais le premier disque contient d'excellents morceaux, comme 'The Lamb Lies Down On Broadway', 'Carpet Crawlers', 'The Chamber Of 32 Doors', et le second se rattrape avec par exemple 'The Lamia' et 'Riding The Scree'. L'accompagnement est vraiment excellent, la structure des morceaux est toujours originale. Par contre il contient des morceaux plus expérimentaux que dans les albums précédents, ce qui le rend peut être plus difficile d'accès. Avec le recul il fait quand même partie de mes albums préférés de Genesis, de 'Trespass' à 'Wind & Wuthering', mais n'égale pas 'Selling England by the Pound' qui reste pour moi le top. Il n'héritera pas de la note maximale, mais pas loin ! =>4.5/5 J'ai eu un peu plus de mal avec les albums de la période suivante, de '...And Then There Were Three...' avec 'Abacab', même si ce sont les tubes de ces albums qui m'ont fait découvrir le groupe. Et je n'ai plus du tout accroché aux albums suivants ... Je ne remercierais jamais assez la personne qui m'a fait découvrir les premiers albums de Genesis, une vrai révélation musicale pour moi.

I just wanted it to end

Bit depressing

Just a bit too long for me to enjoy

Long one innit? It's fine I guess. I prefer the more Emerson Lake Palmer-type prog, and Peter Gabriel-less Genesis. This is just too long, meandering and random to have much impact on me, so I think you can die peacefully without it. 2/5, it doesn't belong on the wall of shame.

This is another album with very good, creative composition, but I just don't care for the songs or overall vibe.

A problem with double albums is that if you are mixed on the artists in general, a double album will be a real slog. On a first listen, I think there might be enough good stuff on here for a decent single album. On the other hand, it usually takes a few listens of any concept album for me to fully grasp the story it is telling. And after that I tend to enjoy them a lot more. But I would be hard pressed to listen to this 1.5 hour album even a 2nd time, let alone a 3rd or 4th.

This was a tough listen. Not feeling it at all!

Bit of a slog. I can respect them, but it's not for me. I can't imagine choosing to whack this on at any point. The weird song with the chorus about erogenous zones was weird...

Wow, this really just kept on going.

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

escuché hasta la mitad. muy theatrical como su nombre lo indica, siento que tenes que estar mentalmente preparado para escucharlo sino resulta un poco abrumador.

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.

Bit of The Who, bit of Sabbath, bit of Jethro Tull. Not bad, covers a wide range. Counting Out Time is Phil Collins’ Maxwells Silver Hammer in the worst way possible. That desperately needed a veto by their manager

I don’t like this, is so equal between all songs, the same melody and the same rhythm

6/10 - I really like, like 8/10 really like most of this album. But by the end im just so tired. Its too long for me. At some point, I completely zone out. I want to come back to this one with more intention however Fav Tracks: The Lamb Lies Down on Broadway, In the Cage, Back in NYC Fav Lyric: Heard before? ---–- ❌ Saved a Song? ----- ✅ Saved Album? --–-- ❌ Will Listen Again? -- ✅

Weird, but an interesting concept.

Background music. Inoffensive but not all that memorable.

Cool stuff I must say

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

this wasn't my thing, but at least it was original and interesting; very different from what i knew about. three stars because i wouldn't listen to this again, but i appreciated this a lot more than the many other albums i rated three stars because they were ok but forgettable

Not much to say about this one… It okay

Not as bad as I'd fear. Good even. Not sure it's my cup of tea.

can we please shut down the prog rock factory

норм, но я не сильно завайбилась может просто не в том настроении слушала

Most of it is good, but I'm also not enough of a Genesis fan to listen to 90 minutes of their rock opera. The highlights are great, but there is some lows too and they have other albums I'd choose over this one.

As far as art rock albums go, this one was a pleasant one but felt too long that after a it kept on dragging and dragging. Agree with the other reviews that not everything has to be a double album. This is a case of an averall enjoyable album getting dragged on with too many songs that it ultimately becomes boring at one point.

This album was pretty long, but I think I kinda like it. The first couple of songs didn't really hook me, but as I went on I found some of the prog elements to be interesting, and there is definitely a lot of weird instruments as is to be expected. I think I need to listen to this album again sometime, but overall I enjoyed it.

Muy diferente a lo que pensé sería... pero bueno

Interesting stuff, although some of it feels weird for weirdness’ sake (maybe I am just missing the point); but the highlights are the glimmers of what’s to come on Abacab, when they were in full confident stride (before softening into another average 80s pop band - a fate that seems unavoidable for any decent 70s rock artist that stuck around for the next decade - Fleetwood, Dire Straits, David Bowie etc etc).

This came up and I made the sound Sideshow Bob makes when he steps on the rake(s). Then I made it AGAIN when I realized this is a double album. Terrible album. So tedious.

This wasn't the easy listening vibes I was hoping for when I put it on!... really interesting, but not hitting the spot for me on that particular day - maybe I'll come back to it, maybe not 🤷‍♀️

This was mostly a miss for me? Kinda all over the place. One song would be great, and the next would feel like all the things I don't like about prog rock. "In The Cage" "The Grand Parade Of Lifeless Packaging" "Life in N.Y.C." "Anyway" and "The Lamia" were standouts for me

Not for me, quite dreary

Never listened to early Genesis until this album here. Also a very unique, prog sound. The weirdness I was expecting wasn’t present until the 2nd disc; first disc was close to 80’s Gabriel I was familiar with.

Not bad, a bit dated but easy listening

This was a bit of a long slog to get through without anything I would return to. Not a huge prog rock fan and it felt like a lot of filler. Best track for me was the first “lamb lies down on broadway”

I'll have what they're having

Tönt so dahin ohne auf den Punkt zu kommen

too long

This was like I was stuck in a Cuckoo Cocoon.

Both Peter Gabriel and Genesis were better for the split, but I had a good time regardless.

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 don't really like prog like this, like why does it have to be 96 minutes long, it's so noodly and loooooong. It just takes itself way too seriously for me I'm afraid. It's like, really camp, but so straight that it ruins the campness. Maybe if it was the 70s and I nothing to do in my public school digs apart from listen to this over and over again and smoke weed I'd have the time to find the value in it, but it's the go go 2020s rn who's got time for that?? My attention span has been rotted away by the Rizzler and Giovanni's Italian Deli Howyoudoin? and a vape addiction! I can only process hyperpop 30 seconds at a time!!! That said the bit where it sounds like farts is very funny.

Nunca había escuchado a Génesis. Me gustó bastante.

Great concept album stuff in the vein of Tommy. Not quite as good as the British Male Name Released in 1969 duo, but still good :)

A classic

A bit too long -1 star. Good music but poor recording / production. Singing on the bad side too. 3 stars max feeling generous

a very pleasant album to listen to. unfortunately, i listened to it during work hours and definitely missed out on most of the lyrics. i think this could get bumped up if i had paid attention just a bit more, but overall the album is still quite lovely. phil collins' voice is also GOAT-ed

Once again, I’ve found that I’m just not too big on rock operas. The slow start didn’t help me get invested, and it does pick up right at the end of the first disk, but it’s just not something I’d come back to. I’m sure there’s some importance here, I just can’t pick it out.

There was a running joke on Top Gear about how much Richard Hammond hated Genesis. Jeremy Clarkson would always play them when he had the opportunity just to piss Hammond off. I didn't know what he was complaining about. How could Peter Gabriel and Phil Collins make a bad band? When I start the album I still didn't get the complaint. The music is good! But an hour and half later I get it. Even on a 1,000 mile road trip, Genesis' long meaningless meandering songs get really old. This took me two days to get through. I don't hate it, but man did it turn into a slog. 2.5 stars.

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

This isn't bad, but is a little too abstract and WAYYYY too long for me. At times this is so weird. There are some really strong moments, but some really weak ones. Liekd Songs: "Fly on a Windshield" , "Broadway Melody of 1974" , "Cuckoo Cocoon" , "In the Cage" , "Hairless Heart" , "The Carpet Crawlers" , "The Chamber of 32 Doors" , "Lilywhite Lilith" , "Anyway" , "Here Comes the Supernatural Anaesthetist" , "Ravine" , "The Light Dies Down on Broadway" , "In the Rapids" , "It"

..

Un des albums de Genesis pas trop perchés je crois (j'étais un peu distraite mais y'a rien qui m'a vraiment attiré l'oreille)

J’adore la voix de Phil Collins Mais c’est pas ce que je préfère

Sympa! Bonne découverte mais un peu long

3.4 2x good but not sure i will listen again. i liked the experimental tracks on disc 2 more though

Always been told about early Genesis prog rock but never checked it out. I’m impressed but I don’t think this was the album to start with. Double album got a little tedious by the end. The sound is all over the place but I definitely want to check out more of their stuff.

Weird

Some really pretty sounds, but I guess this isn’t the time yet for me and prog rock. It is waaay too long for me.

Chewy. I wanted to like this more than I did. Took 2 attempts. Some real good proggy stuff on here but bogged down by the sheer volume and the concept stuff that I didn't find interesting

Dense yet listenable. Only listened a few times but could already tell it only gets better with more listens

Buen álbum Vale la pena escuchar completo jajaja definitivamente quiero ese vinilo

I struggle with double albums sometimes anyway, but especially listening for the first time to such an epic progy thing and trying to form an opinion. I heard some really cool sounding sections. I struggled with some of the vocal delivery for story heavy parts. I'd be interested to listen more and it could probably grow on me a lot

Rubbish

My dad's favorite, a bit too all over the place for me

Some great moments here, but essentially there's just too much, an hour and a half is a whole lot of album. Was left wishing it was done so I could move on to other tunes.

I came into this album with a base knowledge of Genesis. I’d heard a lot about this album but never heard it. It started out slow for me and I was a bit apprehensive Given the length of time. However as the album went on, I got more and more drawn in. The story and the concept seemed quite wild and out there but I tried to follow as best as I could while also listening and taking in all the music. I started to read a little bit about the concept but then I stopped quite early on because I wanted to just digest the album and interpret it in my own way as best as I could. It didn’t take long for the album to grow on me and it got to a point where almost every single song, even if it didn't grip me straight away, started to draw me in. In The Cage blew me away – I was waiting for the first song that really grabbed me – every single member of the band is maxing out and it sounds incredible. I have to give immense credit to all the musicians on this album. The musicianship alone is worth a five star rating. Phil Collins really is an outstanding drummer and he proves it on this album time and time again. Arguably my favourite Part though is the bass. The bass playing is absolutely outstanding and Mike Rutherford deserves all the credit in the world. While listening I thought my rating would be 4, but by the end it absolutely has to be a 5.

Buen album aunque ña litad de las canciones son buenas y la otra mitad flojas o hasta olvidables, un álbum que tal vez no volvería a escuchar completo pero si algunas canciones sueltas por ahi, disfrutarlo con columen medio a alto y mas en un atardecer o anochecer

Not it

Surely there were better Genesis albums to choose from. This was endless.

Concept album telling the awakening of Rael aka Peter Gabriel.

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.

Genesis is certainly a unique sound. It's easy to listen to, experimental, and charming in its own way. It's not music I would gravitate toward usually, but it's nice on the ears and showcases some musical creativity that was progressive for the time it was released.

buen sonido

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

I started listening to all Genesis albums in order but stopped because I started this project instead. I'll fill in the gaps later. I love Peter and I love Phil. I am fascinated by their prog output together and, unlike a lot of Genesis purists, I also love all the cheesier pop stuff that came later. I listened to this 2 times through. I tried to embrace the story, but had to let that fall to the wayside because it got too whacky for me at times. The music itself is epic start to finish, and there's something new to discover with each listen. I chose In the Cage for my playlist since it can only be 1 song, but really it's Cuckoo Cocoon transitioning to In the Cage and the build thereafter into total, desperate madness that really does it for me.

Shit Random Album Generator I said I liked Genesis already why give me more so soon? I’ll be frank with you Random Album Generator - please stop with the Genesis for now I don’t want it please stop

A tough album to judge. Sometimes great with driving energy and cool riffs. But often undercut by moments so silly it's like the album doesn't want you to take it seriously. Ultimately the final product is bloated, messy and you have to really dig to get the great stuff

This is my first Genesis album listen. Immediate hmmm, rock opera concept albums are really hard to connect to. Songs plod along, nothing musically interesting for long stretches of time, everything sounds the same. I think I hate it. Carpet crawlers rescues this side. A few moments on 3 and 4, but I am surprised how much I dislike it. 2.5 rounded down Heard before? No Owned: No. 79/312 (25%) Will I get: No

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

I like Genesis a lot (Both Gabriel and Collins eras) But I've never really been a fan of this album. Some great moments on here but it really drags at times. Could have been a bit shorter.

I prefer Peter Gabriel's solo work but this was an enjoyable listen

Bizarre. 2.5

This was a strange album but I liked a lot more of it than I expected to. Phil Collins is a great drummer!

2.5 - This is not what I was expecting for Genesis. It's good, but a lot to digest in one sitting.

I probably need to spend a little more time with this to appreciate it more.

Phil Collins desperately needed cocaine in his life or to get rid of the other members of Genesis.

- 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.

3.4

My Dad has always been a big fan of Peter Gabriel era Genesis, for reasons which remain very unclear

This was a tough listen

Hell no.

Unfeasibly worse even than LZ IV…blimey RGP you’re hitting some one star lows this week… “Lenny Bruce declares a truce…” FFS!!!!!!! Having somehow finally got through the full 90 minutes I can confirm it’s a very weird listening experience as there are slightly more than a few interesting moments, which are considerably outweighed by the incredibly low quality of everything else. I know nothing of Genesis but can only assume Collins used a veto… Tom.

Painful

Not for me.

Prog rock is perhaps my favorite subgenre that I've discovered because of this project so far.

I willingly offer that I'm ignorant and biased in the realm Genesis records. I've only ever encountered the Phil Collins dull 80s ham-rock era of the band. Of course I was an 80s Peter Gabriel adherent, but I never made the connection that Genesis used to be a proper prog band with Peter Gabriel up front. This record is dated and earnest and alright - I'm glad Peter made it out on his own.

It was okay. I prefer Phil Collins Genesis.

Shocked when I saw the three hr runtime until I realized that was the deluxe version. 1hr 34min is much more reasonable. You know, I ended up with about seven songs I really really liked out of this thing, could’ve been worse.

If this was 45 minute, easily a 5 star.

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

This album is too long😅😅 I think I pause multiple times, couldn’t really vibe with it, but I feel Counting Out Time is pretty good 😂

I don't know. I don't like really long albums like this

Just because you could does not mean you should.

Great album from Genesis the final one with founding member Gabriel whose departure caused a different direction for him and the band

I wish I had more time to digest this colossal 94 minute double album. Because of my busy day, I had to listen to this in fragments and I didn't even have time to put in any thought into the overarching narrative that can be found on here. There is so much talent on the music here, even if the whole package can feel both bloated and pretentious at times. This got both spacey and ambient in places. Gabriel's voice occasionally gets irritating. I will definitely need to revisit this to fully flesh out my thoughts.

2.5

Ashamed to have not visited this album. Curated quite well, and understandably receiving a proper moniker as a rock opera. Familiarity with THE LAMB LIES DOWN ON BROADWAY and THE CARPET CRAWLERS but was unaware with how well this weaves together. Intention to revisit and digest the imaginative storytelling.

It was fun experimentally and can see myself liking it but was a little long

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.

I guess bro. Mix of abject nonsense, glorious ascension and generic prog rock. First disc marginally better than the second. Whoever’s on keys should probably shut up. Closer to a 4 than a 2.

3, not terrible but could be a 4 with considerably fewer tracks

These guys are always singing about some silly shit

Complex and obscure for no reason. And it’s toooo long. I hope I could like it, but I just can’t

In the broad scheme of prog albums I've listened to over the years, this was ok. I feel like the "concept" is kinda just thrown together in a way that is less of a story and more just a random train of thought. Though I gotta say the raven/castration part was pretty wild. 3/5

Quite enjoyed that but don't really remember too much about it. Remember thinking I wouldn't mind a bit of genesis.

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

I got a bit bored halfway but its not bad just not my cup of tea!

Gabriel’s presence looms large throughout—his storytelling is surreal and sometimes baffling, but always compelling. The narrative can feel impenetrable on first listen, yet the atmosphere it creates is undeniable. Musically, the band are locked in: shifting moods, intricate passages, and moments of real beauty scattered across the double album. It’s not an easy listen, and it’s certainly not one you dip into casually. But if you stick with it, it reveals layer after layer. The reward is a richly textured, immersive experience that stands as one of Genesis’s most daring works. Superb, if you’re willing to meet it halfway.

This was a lot of genesis. Cool how the album flowed but definitely not gym music.

Like it 3/5

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

I'm familiar with Genesis. But not with their older stuff with Peter Gabriel as a singer. Listened to the album and it's not bad. But it's way too long for me. Not that I don't like long songs or long albums. But after a while I lost my interest in this album completely. 3/5

Screw the solo peter gabriel stuff, this is the best.

Just doesn't sound like much more than prog rock. I normally like prog rock but it doesn't stand out as an album to me.

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

Not their best work.

My college roommate loved this album and ripped it on a crappy cassette for me. I dismissed it as old music and was more interested in 1980s Peter Gabriel. Listening to this for the first time since the 80s with better sound quality and... Amazing! Marina was right!

I struggled through this, some interesting music, I would reach for something else before I choose to listen to this again.

Surprisingly my first listen to this. Yes, it's long. Yes, there are meandering sections that in theory could've been skipped.. but, all of that is the point. Let them cook.

This album was a roller coaster. I’m somewhat familiar with Eno, Gabriel, and Collins’ solo careers, so I had high expectations going in. And I was immediately disappointed. What the hell happened on side 1? It’s a mess. The mixing is all screwed up. Gabriel’s voice sounds muddy, and he and the instruments are working against each other half the time. Eventually it picks up with the solid run of Hairless Heart, Counting Out Time, and the Carpet Crawlers. After that it’s a mix of tracks from mildly interesting, to random and out of place, to solid, to boring. Now I truly understand how prog rock has earned some of its stereotypes. Well, I still have hopes for Genesis’ other albums. I noticed that of their most played tracks on Spotify, none of the top 10 are from this album.

Their sixth album. Prog Rock. This kind of double concept, keyboard noodly doodly, flute playing, over complicated, whimsical album is exactly why music needed and got the reset that was Punk. Some Prog on this list so far has been surprisingly enjoyable. This! This is the most self indulgent wank on the list so far and I'm around four hundred albums in.

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

I've never really listened to Genesis before. It seems to me that any 70s prog release either became a timeless classic or sounds incredibly dated. There is no in between. This one is just too long. I had to take a few breaks to make it through the whole thing. The story, what I could make out of it, is dumb. The band are all excellent musicians, but there is too much reliance on synths. It picks up a bit towards the middle but even the decent tracks just sound like "what if The Who rocked less hard?" which is not a question I had ever thought of nor want the answer to. It's all very tiresome. It does occur to me that there is probably a lot of music that sounds like this which I love, on account of having grown up with it. Maybe if I had been exposed to Genesis long ago I would feel differently.

Some cool moments mixed in with some very weird bits, but most importantly, there's "Honey, get hip - it's time to unzip / To unzip, zip-a, zip-a zip! Whipee!"

I think this is the best Genesis I have heard so far. I've never felt like I needed to dive into their catalog before the album generator. I'm not sure if it falls under the banner of 'prog' but it doesn't beat you over the head with the tropes without being it's own distinct thing. Kind of between a 3 and a 4

I love almost all of Peter Gabriel-era Genesis but frankly this album gives me the creeps. Not only is the subject matter distressing, the music is angular and off-putting, lacking the grace or charm of records like *Foxtrot* or *Selling England By The Pound*. If what you want is essentially a funhouse mirror-version of Genesis, go for it but so much of this album just seems wrong to me.

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.

A really great concept double-album recognizes the importance of sequencing. It’s a story told in four acts. The first and last tracks on each side need to establish or end on certain tones to help tell the story, and each side should be a solid listen on its own while contributing to the whole. This album is amazing. I’ve listened to it before, but not this closely. I love Peter Gabriel, so why has it taken this long to delve deeply into his Genesis back catalog? I was surprised hoe many of the songs I knew, likely from deep-cut playlists and live albums. It’s already up there with my other favorite concept albums, including Pink Floyd’s THE WALL, The Who’s TOMMY and The Decemberists’ THE HAZARDS OF LOVE.

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.

Not my taste

We probably all need a lie down after experiencing this offering. The concept is ok but overly long. No faulting the musicianship but it lacks a sparkle.

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

Pretty epic though not on par with The Wall or Tommy

Decent musicianship, but like with other prog rock of this era, I find it had to attach myself to anything. The narratives are hard to follow and when I tune in it’s always something bizarre. I get lost in it, but I kind of want out.

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.

aight

6 - AVERAGE

I don't love Genesis or prog rock. A lot of it just sounded so goofy. Hard to get through because it's so long

Vind de andere vroege genesis briljant, deze so so

Entretenido, un poco largo para mi gusto.

Prog…………… sorry, dropped off there. It may be because of Phil Collins, but it’s just dull, and to pick this double album of over an hour and a half is just cruel. BTW Phil Collins et al are Charterhouse School alumni, with privilege preference and profit for wrath, who moved to Switzerland to avoid paying his share of tax. Noel Gallagher joked in 2005 to "Vote Labour" to prevent Collins from returning to the UK.

I was very young when I first listened to this (many times). How does it stand up now? Very well! It's long, but I find each song interesting and well-produced. The deep concept of the album is one I never unpacked in detail, but still provides a robust framework for lots of lyrical exploration. I didn't use to follow the lyrics (by ear), but some phrases stood out; on my second time through current listening, I did read the lyrics for a few of them (while listening to the music) and read some commentaries - I find the lyrics quite satisfying. (In contrast to another concept double album I was recently assigned, which also has interesting music, but the lyrics IMHO quite superficial.) Much of this album is still very familiar to my ears (after many years of not hearing it) - riffs and rhythm as well as lotsa kybd twiddling. There is heaps to explore, so I'm satisfied this album could repay repeated listens. (It would seem samey for some listeners but not all.) I conclude that it is Pretty Wonderful, 9/10.

Chef’s kiss

Me, listening to Peter Gabriel: 😃 Me, listening to Genesis: 🙄

Rock, 1974 -> 3

Sencillamente excelente. Un album conceptual por excelencia y un viaje musical sin igual. En cuanto a su composición es casi excelente. El casi corresponde a su duración, que quizá sea un poco excesiva, pero el resto esta perfecto. La producción es perfecta y su interpretación aun mejor. Hay momentos de virtuosismo musical, de extasía, de arreglos musicales, etc. La coherencia del disco es absoluta. Es lo que uno busca ante un disco conceptual. Lo opuesto a un compilado de éxitos. En lo personal fue un reto escuchar este álbum, ya que demanda mucho y su duración es elevada. Aún así, fue algo placentero y que volvería a hacer sin lugar a dudas. Album de 91 puntos

*This has a lot going on *I liked the catchy songs and the synth but there is also a lot of what seems like filler to make the rock opera

Mijn pa was vroeger groot fan van Genesis en aangezien ik zijn platencollectie heb staan er 16 platen van Genesis in mijn kast. Zo ook deze overall prima album maar voor mijn smaak te lang. 3 sterren.

When I was starting to enjoy real music, Prog Rock and Concept Albums were on their fall from grace. Me? I enjoyed a bit of Yes or Alan Parson, and some concept albums were OK. But this one... Nah. A few flawed diamonds in a field of "mud". Editing it down to 1 LP and omitting some of the dross would help, but I fear that this is irretrievable bad.

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!

Motherfucker threw 23 songs at me and expected to amaze me. He lowkey did, but THE NERVE!

Great album. Very theatrical. Really, really good.

I have hear a little Genesis and a lot of Phil Collins before listening through this album. I now get why they are called a progressive band. This is totally not what I expected except for the voice that I would recognize anywhere. Unfortunately this album didn't vibe with me. Their hits from other albums I love but no song today made me feel the same. Not a bad album or bad songs in itself just not something I would seek out and listen to. It was a fun experience hearing this side of a band I have heard of for a long time though.

It was way too long and wanky, but then after all that the last song is great

Decent 9

I kept trying to listen to music beneath the vocal. It’s like proto Coldplay in that respect.

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

absolute dogshit

One of my favourite Genesis albums, although not everyone liked its surreal concept, but then I'm biased because I saw them tour the album at the time - yes I'm really that old! My favourite tracks on the album are "Fly on a Windshield", "Counting Out Time", "Carpet Crawlers", "Here Comes the Supernatural Anaesthetist", and "The Light Dies Down on Broadway".

While I love Genesis's bigger songs, this album just didn't hit for me. It was long, it was a rock opera but I wasn't remotely invested, and it was mostly forgettable. My favorite songs were the ones with Phil Collins singing lead and not Peter Gabriel.

Wow I have not listened to this album in so long all the way through. As time goes on I actually don’t think this album is too long, and it keeps me the whole time. Early Genesis will always hit

I mean... cmon! A classic gideon and eli album for a reason. This is an epic hour long journey through I guess someone's dreams (just read the wikipedia for the first time), and it is an exciting ride. The music is so cool and unique, and it's nostalgic at this point to hear carpet crawlers and back in NYC. love it!

The Lamb Lies Down On Broadway: me gusto mucho la instrumental, la escuche complketa y dentro de todo esta buena. Fly on a Windshield: lo mismo que antes, pero me gusto un poco menos Broadway Melody of 1974: esta me gusto un poco menos Cuckoo Cocoon: estan no me gusto tanto, me perturbo un poquito In the Cage: ni bien arranco no me gusto nada, pero depues fue re mejorando y me gusto The Grand Parade of Lifeless Packaging: esta fue bastante meh Back in N.Y.C. same as last one Hairless Heart: literal es solo una instrumental, buena, pero meh. Counting Out Time: no me copo tanto, pero tampoco era mala. The Carpet Crawlers: normalita The Chamber of 32 Doors: normalita tambien Lilywhite Lilith: same as last one The Waiting Room: Anyway Here Comes the Supernatural Anaesthetist The Lamia Silent Sorrow in Empty Boats The Colony of Slippermen Ravine The Light Dies Down on Broadway Riding the Scree In the Rapids It

I’m a fan of Gabriel’s Genesis, especially the two albums before this one. The highs on this album arguably surpass anything on those previous efforts. Unfortunately, they’re buried within a dense and confusing 90 minute concept story arc. The second half in particular is a slog to get through. Trim the fat and halve the length, this would be close to five stars

Genesis were my favourite band in my early teens before I veered off to music that is more... direct, shall we say. I still listen to a few of their songs (and Carpet Crawlers and Fly on a Windshield are definitely among them) but it is a long time since I listened to a full album. And this is overfull. The fantastical storyline is still ridiculous and there is plenty of bombast I now prefer to do without. The first disc is much better than the second, though: on its own, the first disc would be four stars

Not keen on prog rock and concept albums. A long listen as a double album which I couldnt understand …a weird story. The sound was weary amd dreary and dragged on. Some of the lyrics were pleasantly poetic.

Avec le temps mon intérêt diminue pour le prog. Ça reste possiblement l'album que je préfère de Genesis. Suggestion d'un autre groupe UK: Deathwish et on y va pour l'album Demon Preacher.

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.

Nice

Hate everything about this.

This is one of those albums that it clearly took a great deal of talent, skill and creativity to make. I just didn’t enjoy it. I always feel badly about giving a low rating to this kind of album. Apologies to most jazz and prog rock musicians. I just don’t vibe with you. Respect though! 2.5 for this one but I will probably round down. Genesis has enough fans to not worry about my score.

2.5/5. Saw a prog concept album with a few credits to Brian Eno and got pretty excited for this one. Sadly it never really clicked for me. The narrative is fine but never really hooked me (though it is better than most rock opera narratives, which tend to be awful.) musically it is all very well played but I still didn’t get a ton out of it personally.

Штош, вот и пришел знаменательный момент первого моего знакомства с Дженезис. Группа, поистине, легендарная, хотя бы потому что отсюда вышли такие глыбы как Коллинз и Питер Габриэль, исполнители которые имеют большой вес уже сами по себе. не говоря даже о группе. Что же до альбома... Что-ж, так выпал великий рандом, с которым не поспоришь, но я бы сказал что это не лучший способ познакомиться с Дженезис)))))))))))))))) Почему? Да не потому что альбом плохой, нет. Скорее потому, что когда ты подходишь к творчеству группы которая не брезгуют полновесными, большими концептуальными произведениями, по началу тебе желательно бы "испробовать" от группы альбомы, как бы "входной группы", чтоб прикипеть, понять нравится или нет, а уже потом приступать к ДВОЙНОМУ ГИГАНТСКОМУ АЛЬБОМУ НА ПОЛТОРА ЧАСА. честно, я охринел когда понял сколько мне придётся слушать. ну да ладно, чёрт с ним. С точки зрения лирики, здесь открываются две смешные проблемы для вас как не для неподготовленного слушателя. Если вы нейтив - вам придётся вслушиваться в текст и пытаться вникать в то, что у альбома есть единый сюжет со своей концепцией. Если же вы не нейтив - Вам придётся либо слушать только музыку, либо дополнительно смотреть чего же там нахимичил Габриэль с какой-то своей интерпретацией "Вестсайдской истории" и опять же, это все круто и прикольно, но не для первого знакомства с группой, как по мне, хаха. Впрочем, по звучанию он все равно крайне любопытен, здесь есть композиции как и с классическими клавишными так и более ландшафтные эмбиент вещи, так что вы в любом случае получите определенное удовольствие особенно если вы: 1. поклонник прог-рока как жанра 2. не боитесь монструозно длинных альбомов

Not for me. Proggy

A completely new album to me without a single track I knew beforehand, despite thinking I knew a decent enough amount about Genesis to be able to predict what I'd be listening to. Not the case here. A double concept album with a band lineup with some legends, and it actually works pretty well without a single pop hit.

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

This absolutely kicked ass. I'm not really a rock opera/prog rock person, but I can not believe how much I enjoyed this. The Grand Parade of Lifeless Packaging is going to end up as a regular on my music, which is a bit of a strange choice from this album, but I liked it a lot. So many of these songs are really cool though. The Lamb Lies Down on Broadway, Counting Out Time, Lilywhite Lilith, and The Waiting Room are probably the ones that I enjoyed the most.

Better than Coldplay

First, a comment regarding the version on Spotify. It sounds terrible. It appears to be the 2007 remaster and it has some horrific compression. I found it very hard to listen to. Fatiguing. I'm not normally "that guy" but if your only exposure to this album was through Spotify, I think you might get a very different impression if you listened to either the original release or the most recent remaster from 2024ish. Second, this is an amazing record and puts all other "concept albums" to shame, more or less. It gets weird, and then weirder still. Every possible kind of musical style, delivered with a flourish. What else could you ask for?

meh okay

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'm usually a fan of a concept album, but this felt like the soundtrack to a play I hadn't seen, and still didn't like. I found myself bored too often, but there is still some good music in here. Silent Sorrow in Empty Boats was my favorite on this listen, which is probably saying something.

Lowkey labyrinthine.

Love Cuckoo Coccoon and In the Cage; great experiments with timing. INCREDIBLE solo in In the Cage especially. Lyrics to Counting Time are HILARIOUS - I wonder if it inspired the erogenous zones scene in Friends. The 'YIPPEE!' starting the second half was incred too.

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

Jävligt blandat

Maffigt på ett bra sätt, men nästan för mycket för att helt och hållet greppa.