The Lamb Lies Down On Broadway

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

Meh

I am morally opposed to albums like this. They're like 3 hour movies, even if sometimes they can be good, if your movie is that long then you need to cut it down. And this DEFINITELY could've been cut down. I was ready to be done by the end of disc 1, and then I had an entire disc 2 to get through. Honestly this should be a 1 but there were a couple really strong songs. But it feels like they listened to a bunch of musical theater before this, and I mean it in the meanest way possible. Favorites: Broadway Melody of 1974, Anyway

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.

There is very little I liked about this album. The songs are long, the album is long, there is too much talking singing, and too much whisper singing.

Pretty good for a band I don’t care about. 3.5/5

Classic Genesis sound with what seemed very experimental tracks. This double album was daunting to get thru. Peter Gabriel vocals with Collins drums on the version I sampled were great. Listened before? N Saved to library? N Favorite tracks: Nope ⭐⭐⭐ Liked it. Saved no tracks

Interesting cover art. I don't understand it, but it's certainly unique. Phil Collins sure could drum. Lyrics in The Chamber of 32 Doors resonate for sure. "I'd rather trust a man who works with his hands." The Waiting Room is kind of giving Twin Peaks vibes. Haunting. Overall, there's some good songs with a lot of (weird) filler. Could have been shorter. Listened before? N Saved to library? N Favorite track(s): In The Cage, Counting Out Time (😳), Lilywhite Lilith, Anyway, The Colony of Slippermen ⭐⭐⭐: Liked it. Saved some tracks.

A little too weird for me

Look, I like Genesis with Peter Gabriel, but I prefer Collins as front man. All their top hits are from Collins. This double concept album is a no from me. I've always meant to listen to it, but I couldn't. Today I jumped and fell quite miserably. I'll have to go and listen to their _normal_ stuff for a while. Disappointing, bloated, terrible, story telling. Sorry.

Sorry...not for me...just too much

There are elements of each song that I’ve liked when other bands did it; discordance, keys, synths, nonsensical lyrics, etc., but for some reason every way Genesis did it is just off putting to me. I find myself either saying, “get on with it” or “is it done yet” repeatedly. I keep thinking the song is building to something or going someplace and it goes the other direction. I was really hoping this album would turn around my preconceived notions about Genesis and in a way I was impressed by the experimental nature of the album, but for the most part all my doubts were reaffirmed.

point7.

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.

I can generally get into prog-rock but this was little too theatrical and drawn out for me. Some great moments for sure but I had trouble staying with them throughout the whole thing.

I generally like prog but this didn't quite grab me. I also found it really hard to understand the vocals so I wasn't following the story at all. Counting Out Time had a catchy hook but the lyrics were cringey, and Carpet Crawlers was the only other standout to me.

I know "Back in NYC" from a Jeff Buckley cover. I'm happy to be listening to this today.

A pretty dense entry with the early prog sensibilities of being too goofy and too long in some sections. I still like it but i wouldn’t recommend it as a person’s first foray into prog rock or Genesis

Very hit and miss for more, but more miss than hit. Too much broadway.

An adventure of an album. Relatively long but never got boring. Great after a smoke, sitting in a comfy chair admiring the changing leaves on the mountain.

I'm just not a prog guy. There are some passages I like but then there are greater periods when its a noisy mess. Its a double album which does not help but I listened 2.5 times to give it a chance - and perhaps with more listens I would eventually get it.

The Lamb Lies Down on Broadway I enjoyed Selling England by the Pound, this one, not so much. It feels all so very long and plodding, and despite there being some excellent musical moments and playing, and despite admiring the surrealistic ambition of it, I find the story itself rather self important and silly and not very interesting, and ultimately I think that just drags the whole album down. Some bits that did stand out were title track, Fly on the Windshield, Cuckoo Cocoon, the synthiness of Back in NYC, The Chamber of 32 Doors and Lilywhite Lilith and The Lamia (where Rael bangs some snake ladies), but they are so wedded to the overall concept I’m not sure they really stand up as individual songs. Maybe its me and I just don’t get it, but I don’t think this is for me. 🐑🐑 Playlist submission: Lilywhite Lilith

Boy wakes up trapped in a cage, sees people being packaged up like parcels, remembers when he had his heart shaved, tries to escape with the help of a blind woman, has sex with three snakes in a pool, gets his knob cut off which is then nicked by a raven, then saves his brother from drowning, but it's actually himself. It's a tale as old as time. It is clearly rooted in the bloated prog-rock tradition that Genesis helped create. Free-form synth solos, a fantastical narrative, an arrogant belief that an album of >90minutes is ok, but all delivered by a band that is technically at the top of their game ('In the Cage' sums all this up very well). The quality is inevitably variable over such long album. Despite the lack of full cohesion, you can dip into this album and find interesting stuff throughout. The rating is difficult I found this and 'Selling England by the Pound' as genuinely interesting, but also pretty frustrating. Next time someone mentions Genesis I won't automatically think 'Invisible Touch' that's for sure.

No other way to say it: this is just too much. I love Peter Gabriel’s solo stuff, but this album is so prog-rock it almost doubles back to become regressive rock. Disc one does absolutely have some bangers on it, but disc two is a total slog. And I feel like towards the end of the double LP is really where you want to hold the listener’s attention.

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

It's so long, my god! A bit pretentious and self-indulgent, kinda weird, but I didn't hate it. 2.5 rounded up because I didn't feel the urgent need to skip any songs.

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.

A double prog rock album by a band on the verge of losing their voice and lyricist... Clearly the producer never said "maybe that's enough lads?" because an hour and a half is way too much commitment for this kind of thing.

good

I didn't really get whether this was a 'musical' or not? It felt like it was but I also didn't feel like a got a coherent story or theme to it all? Nevertheless, for a 90 minute album it actually held up okay. Obviously a lot of fill, but there were tracks, particularly in the first third that were well worth listening too. Needed distilling.

Boy this was long. Feels like it could have been a single album if they kept the good songs. Didn't hate it but it was a slog.

This started strong in the first side of album 1 and wasn't bad after that. However it just didn't grab my attention.

I made the mistake of clicking on the new 4 cd, 4 hour deluxe edition. It just went on. If I knew it was supposed to be a rock opera from the beginning that may have changed my mindset. Never listening to this again.

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

Découverte incroyable

Weird and wonderful at times. An interesting listen

I've heard of these guys before. This is gonna be an arena rock album, right? Fuck my asssssss. An hour thirty? An hour-thirter in the year of our Lord? Truly sordid things goin on with this list. Progressive rock? I wasn't even correct in my prediction? I'm goin postal. Anyways, this is a pretty cool. I appreciate the "cosmic" sound that rock albums were adopting from around this time, so this is a good fit with that interest. Obviously, this thing is way too long for a single sitting, though the grandiose instrumentals and pleasing vocals go a long way in making this a decent listen. I'll have to relisten to this one a little later down the road - probably once I'm through with this list. The title track is a good opener. I'm a fan of those lively guitars in the background. They go a long way in establishing an epic atmosphere for this album. "Hairless Heart" is a pretty cool interlude. I never would have guessed that the acoustic guitar and strings would pair so nicely with those electronic tones. "Counting Out Time is a nice tune. The triumphant atmosphere and that muffled guitar bit near the end of the song is pretty cool. "The Chambers of 32 Doors" has a pretty sublime atmosphere. Big fan of the somber piano moments. "The Lamia" has some great synths near the end of the track. I don't need to check the book for why this is in here. The music is pretty distinct and quite good overall. I cosign this inclusion.

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.

Would not buy

Enjoyable if a little epic in length. Some interesting songs that seem to be lead ups to the next listening in order.

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

If we're picking genesis albums, this isn't the one. I appreciate the deep cuts and piano heavy rock songs but they have much better albums.

This is prog rock and a bloated offering of it at that. Another review I read referred to too little butter spread over too much bread and that feels about right. It has its qualities (well produced and it attempts to be interesting, high energy once it gets going) but I didn’t get much joy from this album. Also maybe I was in the wrong mood but Counting Out Time was excruciating. A scraping of a 3.

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.

the most English, proggiest prog rock, blathering on at great length 3 stars for the cultural importance (It would have been 2 for the listening enjoyment)

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

Too long !

4 sterne

Another rock opera? 94 minutes? Oh, help me Lord 🙄 01) The Lamb Lies Down on Broadway - 6,0 02) Fly on a Windshield - 6,0 03) Broadway Melody of 1974 - 6,5 04) Cuckoo Cocoon - 6,5 05) In the Cage - 6,0 06) The Grand Parade of Lifeless Packaging - 5,5 07) Back in N.Y.C. - 5,5 08) Hairless Heart - 6,5 09) Counting Out Time - 6,0 10) Carpet Crawl - 7,0 11) The Chamber of 32 Doors - 6,0 12) Lilywhite Lilith - 5,5 13) The Waiting Room - 5,0 14) Anyway - 5,5 15) Here Comes the Supernatural Anaesthetist - 5,5 16) The Lamia - 5,5 17) Silent Sorrow in Empty Boats - 5,0 18) The Colony of Slippermen - 5,0 a. The Arrival b. A Visit to the Doktor c. The Raven 19) Ravine - 3,0 20) The Light Dies Down on Broadway - 5,0 21) Riding the Scree - 4,0 22) In the Rapids - 5,0 23) it. - 5,0 TOTAL: 5,50 (55/100) Current ranking: 593/683 What's the purpose of this album? How is this good to anyone?

All in all, it’s not as prog as I’d maybe thought. My previous prog knowledge comes from the likes of Beefheart, Zappa, King Crimson where the prog element is perhaps more on the nose. The opener is a great example actually. It’s prog-y, sure, but it’s also pretty pop-y and catchy. And generally I love the blend of experimentation and dependable hooks. Like on Back in NYC which I think is in 7/8! But is also just a very solid tune. Or the very Zappa-esque Here Comes the Supernatural Anaesthetist which is also a good mix of whacky and catchy. The lyrics make me laugh. I didn’t focus on them much but I can see why Genesis are kind of looked down upon nowadays by some. Not to say I necessarily agree, but I see how the lyrics can be a bit cringy. I think the lyrics are sort of Black Sabbath-esque but with the verbosity of King Crimson. So it ends up being these wild, florid descriptions that do feel a bit cheesy at times. Also… it does get a bit tiring before long. It just feels like it doesn’t need to be this long… but if this album is the best thing since sliced bread for you, then I can totally see that this being a double album would be ideal. Just not so much for me. Maybe that’s partially because of when I’m listening to it. If I heard it when it first came out in ‘74 it could very well have blown my mind… then again, King Crimson released more mind-blowing stuff in ‘69 soooo… I dunno. I just can’t justify giving it more than 3 stars personally. But if it’s any consolation, I do feel bad for doing so.

Great stuff!! Never heard this one.

Some songs I liked, others not so much. Overall a very diverse album and each song was a surprise!

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

whats the point of this music all over the place

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

This is #day412 of my #1001albumsyoumusthearbeforeyoudie challenge, and… I've fallen into a habit of listening to '70s records on my Technics SU-7300, which I like to think gives the music from this era a particular feel. A case in point is this Genesis album today. I've never heard a Genesis record front to back before, except, oh well, "I Can't Dance." The Lamb Lies Down on Broadway is an epic story set against an extensive progressive/art rock backdrop. I'm not a huge fan of this kind of setting (rather the opposite), but I appreciate the band's impact. "The Chamber of 32 Doors" is a highlight among a few others. And again, I like the album artwork. This is a 3 out of 5. Looking forward to #day413.

Far, far too long. I kinda appreciate the effort, but there's just too much, and a lot of it is just not that good.

This is my first ever Genesis Album. It's going to be long and it's going to be proggy. Time to buckle in. The opening song, "The Lamb Lies Down on Broadway", was fire. I zoned out and have been listening happily to the music for a while until the line "Erogenous zones, I question you" broke through. I don't know the context, but that's hilarious. This album was good, but exhausting. I struggled to stay attentive for all of Disc 2. Tiredly listening to the synth solos on Disc 2 made me feel like the little kid I saw sleeping on a bench in the middle of the Sesame Street parade at Universal Studios Japan. He was sleeping peacefully while Elmo was raging 10ft away. 6/10, but it would be 7/10 if it was fifty minutes shorter.

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

Respect and I like most of it.

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.

I hate prog but this was better than most

Giant double album prog rock opera that tells a drawn out story of a protagonist on a spiritual journey. There were moments I enjoyed and/or appreciated but it was mostly a chore to get through. Especially the second half. Standout track is "The Carpet Crawlers".

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.

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.

mixed reactions about this. My first review was very negative (i am doing this project with someone else so I first listened to this album a while ago). A second listen and I found it a lot more interesting and noted a lot more songs of interest. It is not really my sort of thing, but also not what I was expecting compared to what I knew in the 80s. I never really got into them then and I could not see that changing after listening to this. This was a a bit too prog rock for my liking so my rating remains unchanged, but there are certainly moments that stand out consistently throughout the album but they get lost in the sheer length of this album. It is just too damn long. 3 stars

I am sure this was very deep and meaningful at the time, especially if you were stoned out of your box, but it just sounds a bit cliché and the lyrics sound rather creepy sex pesty

Half of the songs were barely audible.

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

The Lamb Lies Down On Broadway is an album that had everything to be a 4 star album. The music is good with Brian Eno's "Enossification" on some of the tracks as well as all the other musicians doing their part rather well. Peter Gabriel and Phil Collins also held their end of the bargain when it came to the vocals as well. So, why is it only a 3 star album? Well, i'll tell you why, it's because this album is just way too long. The album went on for an hour and a half and never really justified itself being that long. The album never became horrible to listen to but i still found myself losing track on this album. If the album had been cut down a decent bit, it easily could have gotten 4 stars but as it stands, it only gets 3. Best Song: In The Cage Worst Song: The Waiting Room

Nothing special. But maybe I just don't get them.

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.

This album was tolerable, I just got bored after midway listening. It didnt' capture my attention like other past albums have. I am a fan of rock but this album unfortunately fell short of my tastes and I didn't enjoy it compared to other rock albums in this list. But it wasn't bad per se, I just wish it was more upbeat and more captivating for me.

Er, what the hell? The concept s pretentious nonsense. The costumes are ludicrous. There are glimmers of decent music but they are swamped by everything else and it is far too long to hold my interest. Love Peter Gabriel as a solo artist but this ain’t it

This album just doesn’t need to be this long. There’s a better record hidden in here if you just scrapped half the songs, and it would still be plenty weird. Best Track: The Carpet Crawlers

Talented band but gets a little too proggy for me.

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".

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.

Genesis is a bit like a comedy sketch show - very hit and miss. When it hits, it’s great. When it misses, it falls flatter than a 2D pancake. Some of this just became an annoying wasp-like drone in the background.

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.

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.

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.

2/5

Det er lidt ensformig - fangede mig ikke helt, men der er elementer som er gode. Jeg er sikker på det skal lyttes til flere gange, da det er fed musik (jeg forstår det bare ikke helt endnu)

For me, this is a case of a double album not staying relevant in the digital age. I could see this being something that you can conceptualize as coherent storytelling when you flip vinyl, discs and whatnot. But it goes on like a runon sentence when streaming.

A little too long - but some great tracks throughout

a journey, i'm not sure where it went

Long & Boring 1001 album worthy: no - 107/201

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.

it was decent

Very close to a four after my second listen.

It’s good. Could definitely hear some of the influences this had on the evolution of rock. Felt like it ran a bit long to me, there weren’t any bad tracks but a lot just kinda blended together. A few standouts, including In The Cage, Carpet Crawlers, and Silent Sorrows in Empty Boats. 6/10, 3 stars.

Fairly fun

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.

Too long. I understand it’s supposed to be long. Lost interest fairly quickly.

Kind of boring, and weird in a way that a lot of prog is. If you're making prog music it seems to give you license to be irritating and twee in your musical approach, and to be overly sincere about random bullshit. As I'm writing this right now they've just started singing about erogenous zones, and it made me throw-up in my mouth a little bit. It's not all bad. There's some good music in there in small spots, and some interesting instrumentation in places. But it's mostly just tedious, and long, and I really don't like it.

3

At the times pretentious. But fun 3.3

Eh I didn't really enjoy this.

There were some nice sections and a few good songs but the whole thing is bloated and pretentious. It just drags on forever and lacks excitement even though there is a lot going on. Favorites: Hairless Heart, The Carpet Crawlers

Ei ole oikein iskenyt nämä vielä

It feels like one long song

2.5/5 legendary band but Genesis is not my cup of tea

Cover 6 Decent but likely won't come back to 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

I’m really curious about these guys. I know Phil and I love his slow songs but this, I know this is a different breed. It’s like Rush from what I can tell so far. And druggy Bowie. Ya not for me. I appreciate the musicianship but other than that, I have no idea what’s going on. Bowie and Rush seemed to have more direction. It’s crazy to see what Phil Collins became after going through this musical maze of sound. Choice cut: In the Cage

Like 30 minutes less and it woukd have been top notch.

Terrible

Too long

Philly C! Only had time to listen to the intros of first tracks. Sounds like Pink Floyd. Not a bad thing but I liked Tarzan soundtrack better.

Wish I had more time with it. Will listen more. Lamb lies down on Broadway.

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.

me gustaron ciertos temas, me gusta el progresivo pero acá ya se pasan en variedad para mí. Y hay temas en los que los sintetizadores creo se sienten raros, será por la época

A 1970s prog rock album that sounds like ... a 1970s prog rock album. Very long. Whale noises. Lots of other noises too. It went on and on.

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

Not too bad, pretty crazy for 1974

Good one!

There are a lot of great moments here, but they are just that…moments.

When I saw it was a double album, I wasn't sure I could be bothered.

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.

irgendwie ganz cool, aber mir ein bisschen zu abgefahren

interesting concept but it could have been half the runtime.

I don't like having to criticise an album in this way, since I think it's an extremely overused complaint, but I do find this one to be very bloated and too long for its own good. So many genuinely great moment on this project, but there's just so much meandering in between that, which really makes it feel like a drag to get through at times. Especially for a prog rock album, the moments that are less in your face don't really feel like they are providing a whole lot in the way of tenstion or atmosphere. Ovearll, I still think that this album is worth it just for the parts that are amazing, but there is just a lot of filler in there too.

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.

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.

that was a bizarre journey, not at all what I was expecting from Genesis but then I appear to have only been aware of the music Phil Collins made after he lost his hair.

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.

The problem with this record and many prog rock record is the length of the tracks. I just lose my interest.

This is a really long Prog album. Didn't change my opinions on Prog.

I think there's a good album in here, somewhere. But it's so damn long that it gets lost in itself. And it's not good enough to be this long. There's some very interesting things here. But, given the length, and style of music, it's just okay for me.

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.

Most of the songs are short, so in theory it shouldn't have felt all that overwhelming, but it was a slog nonetheless. The one track with a tune (Counting Out Time) comes as a huge relief even though it isn't very good, and it's not even halfway through. No thanks.

jesus fucking christ this thing is long. It's pretty good but it just keeps going.

I was into this as a teen bc I love genesis Peter Gabriel and Phil Collins but hearing it now - nope. Too folky/weird only a few tracks like the title track that say I wouldn't mind hearing that again...

I’m not into this. It doesn’t help there are so many songs too.

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.

I don't know if there is any reason for this, but to me, Genesis feels a bit like kosher Christian rock. It always feels very tame and non-offensive. This is a bit ironic, seeing as this particular album is quite political, but that is still the feeling I get when listening to it. While one must admit it being impressive to craft a 2 hour long rock opera, I must say that I didn't particularly enjoy it. Thematics are appreciated, but not rock operas. And I've also realized that I don't really like Genesis either, so overall this didn't stir up much feelings in me, rather than wishing it to soon be over. If you like Geneis, this is probably your thing, but to me it was dull. Strong 2.

A 90 minute prog album sound like hell to me. This wasn't too bad though. I also know this is highly regarded. There is obviously a story to this Wikipedia confirmed it) but 90 minutes of concentration is not time I have right now. Going to give it a 3 star and have to come back to it. There is just not time enough to review it properly. Coming from me I think that is a good review for a once-over of 90 min progressive rock album. Side note: How many albums on this list is Peter Gabriel in?!

Classic Gensis!!

concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City who is suddenly taken on a journey of self-discovery. Incredibly long and frankly a bit boring.

while i can appreciate some songs and the overarching theme of the album, i just cannot believe that every song needed to be so over the top discordant. i KNOW this man can sing, so why did he sing like that :( still, while i can def appreciate so much of what this album was doing (IN 1974!!!!) i gotta rate it based on personal preference. i would not listen to this album on purpose. but i am glad i listened.

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 enjoyed Selling England by the Pound more. Still though I love how absurdly they go for it and wish more groups tried to tackle such extravagant premises. The plot of the story reads like a bad dream or something from Studio Ghibli. There were a few songs I'd come back to on their own but most I feel only work in the context of the album. At the end of the day, it was an alright listen with a lot of unique elements Rating: 3.4

I know the album name, I remember the cover from the record shop, the title song was a rock radio staple when I was a kid. I am a huge Peter Gabriel fan, but more the latter stuff when he was about the music, world vibes, and much less theatrical. This album is very theatrical and dovetails nicely with his first solo release. Are they telling a story? It feels like chapters not songs, I was lost from the outset. The title track has the hook, some weirdness and a good sound. They sure tamed Phil Collins drum sound down compared to his solo work, it might have made the album better to bring more bombastics to the forefront. The keyboard solo in "In The Cage" was so dated. All the filters on his vocals became really annoying by the 10th song, he sounds half psycho. "Counting Out Time" sounds like a Phil Collins track. It's got rubber ducky sounds but it's catchy and the second best song on the album. "The Carpet Crawlers" is considered a fringe hit, but it's just barely better than average. Best song I didn't know... "Lilywhite Lilith". I didn't enjoy the pace or the songs. I could see where this sound would go in the future so it's a glimpse into coming greatness but this was too prog rocky for me! There was no relaxing after the first song, it was a stressful listen for me and I can't say I enjoyed it. 2 stars at best, if it wasn't PG & Genesis I doubt I would have finished it.

While I do like Genesis, this album is not even close to my favorite of theirs. This album falls in and out of psychedelic rock sounds, which just doesn't do it for me.

# Album Name: The Lamb Lies Down On Broadway # Artist: Genesis # Rating: 1/5 # Comments: Wheres the good genesis at?! Hell no. Who commissioned an album like this?! This is my 2nd genesis album, and i have to say, the PG line up is just not my thing. The album is just way too long. # Top Tunes: None # Would I listen to it again? No

No. Just no. Are these people sadistic?

Rating: 5/10 Meh.

Title track does it for me.

Good, but I think this is an example of the prog excess that pink pushed back against.

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

Favorite Song: Broadway Melody of 1974

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 didn't dislike it, and I do respect Phil Collins, but the synthpop has never been my thing. I did really enjoy I Can't Dance though!

Good

I suppose I appreciate what they were doing here, but the moment it was over my mood improved and my energy level shot up by 100%. I never want to hear it again. 2 stars.

Not atrocious. One good song in there, most of them are fine. Far, far, far too long. Maybe it should be 1 star instead?

More Genesis/Peter Gabriel, my opinion hasn’t changed - I still find it meh.

There is so much of it what the hell.

While I am a big Peter Gabriel fan I had never gotten around to hearing this album from his Genesis years. It was far too long, but strewn among this long album is plenty great tracks. The instrumentation is peak progressive rock for Genesis.

Pretty awesome

This is decent here and there but too damn long.

This has some good stuff but also some lame stuff

It’s better than the other one. But … I can see why Peter Gabriel wrote solsbury hill. There’s little motivic development or thematic structure. They can all play. But give me Tommy, Joes garage, the wall, thick as a brick or queen II. 2.5

What happened? Where did this stuff come from? Even the name "progressive" rock, what is in anyway progressive about this? What's the progression at play here? Was it drugs? It is quite a shock to listen to something like this, I mean what were they thinking? Who is listening to this for pleasure, what do they seek in doing so? What thrill or joy does it bring. I'm gobsmacked by how awful this is, and I've had to listen to Manassas and Napalm Death in this process. Peter Gabriel. Ok so I'm pretty sure that he saw Bruce live after recording this and had the greatest what the fuck moment in the history of Western pop music. Standing out on Solsbury Hill indeed, he must have cringed all the way home. The notes say that he "insisted" on writing all the "lyrics", far out man. Was this the games without frontiers he was thinking of later? And the concept album. Someone needs to write a thesis on the concept of the concept album. Does Pete Townsend have a lot to answer for? Or was it Macca with his moment of madness, with JL letting his guard down due to too much acid? Regardless the concept album concept is, shall we say, totally fucked. I'm not sure I'm going to recover from this one. There had to be a flute right? There just had to be, fucking flute. Why the flute? What did they think they were doing with flutes? What happened, seriously what was this all about? I don't know what to do next after listening to this, I think I need to listen to Powerage or Rubber Factory to restore my faith in humanity? Minus 1,00000000000000

I am almost rendered speechless by this record. It is the absolute nadir of prog rock. Even its defenders admit it makes no sense. I am gob-smacked by the following text, from the tour program for the Lamb Lies Down tour: "Back in the late 60’s progressive music seemed all but dead, barely kept alive by the faint spark of a lingering mellotron. Rock audiences had overdosed on loud psychedelic riffs and gentle acoustic flower-power tunes, wondering all the time if there was anything more to progressive music than strobe lights, incense and the odd synthesizer. Just when adventurous rock seemed forever moving backwards, Genesis began flirting with multi-media concepts. The 60’s had taken rock music through a natural evolution where technical equipment and musical proficiency had been developed to its sophisticated best. The obvious goal for forward moving 70’s rock bands then, was to fuse the two together in a working relationship where music, words, lights, and visuals would ideally come together forming a unified whole. Respected today for albums of surreal musical tales and a striking stage act Genesis began strictly as songwriters determined to sell their pop masterpieces to open ears. ... From their earliest concerts and records, the group stubbornly insisted on doing everything their own way, an individuality that today separates them from other ‘progressive’ groups. Genesis were the naive rockers who brought tea and toast to sleazy backstage concerts as Gabriel began miming to some of the more story-book lyrics in a last ditch attempt to reach the audience. Record companies demanded traditional single releases that they refused to create. Genesis headlined before they reached headlining status as a problem quickly evolved, what kind of band could they possibly open for? The same problem was to plague them during their first few American visits, where a relatively unknown group found themselves in the unique position of headlining concerts. Whether there were 400 or 4000 people in the audience, Genesis worked hard, hypnotically pulling the listener into their own formless world. As the lyrics began to take on a more animated form, as the music became a soundtrack for a film that was happening onstage, a clear direction evolved for the group, merging theatrical stage visuals with the music. 70’s rock was at last moving forward. ... The most common problems revolved around the group’s position in the rock ’n roll hierarch, for both fans and enemies were confused about just where Genesis fitted in the rock family tree. And it came to pass that people wrongly assumed that Genesis bore a strong resemblence to bands like Yes, ELP musically and people like Alice Cooper and David Bowie visually. Musically all that bound those groups together was the keyboard based instruments used to colour different sounds. Time changes, chord structures, song construction, vocals and lyrics differ between them so much so that no obvious similarities exist. Visually Genesis share no bonds with other popular rock posers of our time." What a bunch of pretentious gits! This is everything I hate in an album; a double LP prog concept album. It is a deliberate attempt to create a piece of multimedia narrative prog masterpiece blah blah blah bullshit bullshit. And it falls into all the traps off the attempted form -- too long, too pretentious, widdly-widdly clever clogs, nonsensical narrative -- and doesn't match its own ambitions. The band was disunified, distracted and under time pressure. They knew they had three good sides, but stretched it to four. Loathe as I am to admit it, there is some material on the first album that is often more listenable than Selling England by the Pound because it actually approaches 'rock' on occasion. But this is still unfocussed, bloated, pretentious rubbish that represents the absolute low-water mark of prog, which is a blight on rock and roll. Prog fans just need to wake up to themselves. Phil Collins, bless him, manages to keep his drumming tastefully restrained and maintain some sense of momentum, which is rare in 70s UK prog,

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.

👌

Surprised by how much I enjoyed the majority of this record!

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.

Correcto

my god way waaaayyyy too long. like an hour too long

Some heights, but MAN did they need an editor.

This was a difficult one to grade and I can see why this had a cult following. This was also the first Genesis album I listened to all the way through, and I get the sense you need to be a real ran beforehand to truly appreciate it. I'll give this a 3 but I understand it's probably a 4 if I liked Genesis.

One of the better double albums I've heard so far. Side four was my favorite, which is interesting since I started to get slightly bored on side three. In The Cage and Colony of Slipperman were my two favorites, which is unlike me considering these were the two longest tracks on the double album.

I'm a sucker for prog rock, and the blend of Phil Collins and Peter Gabriel's voices grab me. It may be controversial but I'm leaning high on this one.

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.

Not quite sure what to make of this. Seems like I should like it. Nothing really grabs me, though. Maybe I need to listen to it again. 3.5*?

It insists on itself. I thought it was fairly decent, but it felt they were doing complex chord progressions for the sake of proving they could execute those progressions. Overly complicated without a melody for the listener to catch on to. Subjective, not for me.

An interesting first album for this challenge(adventure??) I don’t think concept albums are really my thing and but I enjoyed some of the songs particularly in the first half. Some parts blended together but the weirder songs kept it just interesting enough to get through the entire thing. I didn’t mind listening to the whole hour and a half so I feel like that says a lot too. I don’t think I’ve ever listened to Genesis before now, but I feel like this album is more for people who are already fans.

I am a bit bored since this is so long 3/5

Peter Gabriel is great. Lots of synthesizers. Modern for its time. Very varied, no two songs the same. 3. Good, but nothing super standout for me.

i miss freaky peter gabriel

A real gem! I listened over and over.

Just not my thing. And way too long for not my thing. Put it on the low end of the 3 spectrum beside Rush.

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.

A cool concept that may supersede its actual execution on the album. “Broadway Melody” into “Cuckoo Cocoon” have some interesting bits of Zeppelin IV influence with the rolling melody guitars and flute playing. “In the Cage” was a cool rockestra thriller and used that whirly synth really well for it’s time, but even then I’ve heard Genesis and other bands do songs like this in a way that stuck with me more than this track did. “Back In NYC” was the mail in the coffin for me. There’s plenty of bombast and dramatic composition, in fact, there’s too much - I had a hard time grasping what was going on lyrically. The fact that this was only maybe a thiiiird of the way through the albums 1.5 hour runtime was daunting. The rest was a slog. Maybe a close reading or a visual companion would’ve got this one over the line, I just wasn’t able to get as lost in this world as I wanted. I know Genesis was capable of more than the sum of this projects parts, and I think the shortcomings can be largely attributed to the bands internal troubles with Peter Gabriel at the time.

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

Just dont like Genesis

This was great! 5/5

I listen to this album three times. I tried to get into the flow of the idea of it being a rock, opera, but but I’m not that great at really picking up on lyrics the first few times I listen to an album so it was lost on me. I love Genesis and I like rock a lot, but this is one of my least favorite albums by them. You can go earlier or later and I like both better, so it’s a three.

Don’t know any of their albums 🤷🏻‍♂️

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

Never listened to this album before, glad I did. Phil’s drumming is sublime.

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”.

This is my first Genesis album ever, and I feel like it is not a great entry point to their discography, as it is an hour and a half long with 23 songs, so it is a lot to digest. Having listened to this album just two times with a lot of pauses in between, I can only provide a surface level review: The production is great, singing and instrumentation are very creative, there are some great ideas and has a very good ending with this grandiose feeling to it. In addition, most of the songs didn't really do much for me. And that's all I can say about it (which is funny to say because I've said more in this review than in many others I wrote previously).

my god, this tried my patience. i was initially excited because who doesn't love Land of Confusion? but my god, what a slog. cornball in a bad way. that synth sounded like it was made by fisher-price. also it's 90 minutes long. i'm a HATER!!!!!!!!!!!

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.

Tough listen. Love some Phil Collin will pass on Peter. This is a long record.

I would have enjoyed any two songs by themselves. The album was a slog.

Way to 70s for my liking

It felt like some abstract poetry. It sounded good at times and it seemed like there was something they were trying to say I just couldn’t figure out what it was.

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.

It felt like it was gonna cool places, but just didn’t. Phil Collins doesn’t shower often.

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.

Cool album. I think I enjoy the more pop oriented Genesis albums that came later, but this album is neat.

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

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

I was quite busy driving in heavy traffic while this played, so I feel the depth was a bit lost on me. Even with a shallow listen I could still sense a complexity that I want to explore again later. I have to go 3/5 right now but I think it’ll be raised after I return

Mike Rutherford used to talk in so many riddles! It was impossible to ever know what he was on about! I think Paul Carrick did wonders for him! 1.6 9/23 Counting Out Time

Seemingly a rare group that got better as they moved into middle age. I'm not huge on concept albums, and this concept could have been conveyed in 30 fewer minutes.

Big fan of 1980’s Genesis music with Phil, but not as familiar with the Peter Gabriel catalog. Their voices are somewhat similar but still distinct enough. Album was a bit too long though.

Some of you may be familiar with the simple, but insightful, take on crafting a successful plot made by South Park's Matt Stone and Trey Parker. In a nutshell, if your story is full of "this happened" and then "this happens" you are probably doing it wrong - a compelling story is made up of "this happened" so "this happens" therefore "this happens". A chain of events or actions and their consequences. Prog rock, to me, is the musical equivalent of the "and the " problem - a load of unrelated musical ideas strung together one after the other. I know plenty of people who swear 70s Genesis albums are the greatest thing to ever happen to humanity, and, lord knows, I've given those first six or so albums plenty of chances to grow on me. But it just isn't happening. While I "get it" and appreciate the craft, it just doesn't appeal to me. It has its high points, but the tracks don't work in isolation as well as say, a Pinball Wizard does taken out of the context of Tommy. Still, it's a bonkers narrative, but as with so many things of this ilk, I'm not so sure it is really as deep and meaningful as it pretends it is - it's all just a bit silly really (I think that's the third album this week that has led me to that same conclusion).

This is a journey of a double album. I really like the first half - I came into this album thinking I'd be in the 2 territory, but the first half is an easy 4 for me. But the 2nd half gets pretty long, without as many of the melodic hooks. So I land on a 3, but man, this definitely surprised me. Need to pocket my preconceived notions.

A very good soft rock album. Not my favourite genre, but great for background while working.

Gabriel Genesis is ALWAYS better than Collins Genesis. Love this album

Very long and I’m not convinced

I don’t get it/over my head?

Ein Stück Musikgeschichte! Grandios!

Huh…turns out I kinda like Genesis.

ass

I usually hate double albums but this was epic. A true prog rock masterpiece.

Aight

Great album

Maybe it's not fair that I should get this just 2 days after Crimson King, but this prog rock novicepiece seriously lacks some much needed epicness. If there is one thing a prog rock album needs to have - it is epicness. The singer's warbly voice and cringy lyrics don't help their cause.

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

Okay. So I really liked the music and I love Phil Collins, but this album was waaayyy too long.

So far, the generator has largely re-enforced my anti-prog prejudices, so I was not looking forward to this one, but it wasn’t as much of a chore as I was expecting. In fact, if it had just been a single album, it might have got a “surprisingly enjoyable” four stars, instead of an “alright but it goes on a bit” three.

(38 known/81 new)

Oh wow. This was an "experience" that I don't want to relive.

My policy on double albums is that you need a really good reason to not just release two separate albums. Usually I'm looking for some sort of concept, but TLLDOB seems to lack one. Side 1 alone as an LP would garner 4 stars, but having to then listen to a weaker version of the same album brings my rating down somewhat. The songs get gradually less convincing in terms of melody and hooks (which are generally the best indicator of how good a tune is). The first half of The Waiting Room, early on disc 2, is bad for this reason. The Colony of Slippermen is similarly hard to approach on a first listen. There are quite a few good tracks to balance these ones out, though. The Carpet Crawlers sounds like something from Pink Floyd's The Wall or The Final Cut – complete with uncomfortably Waters-esque vocals and soft, fast synth lines. The quiet atmosphere is quite different to the rest of the album. One of the best tracks for sure. Lilwhite Lillith is also very strong, if only for the funny way they say "Lillith". What the heck is going on in the lyrics of Counting Out Time? "Erogenous zones I love you / ... / Touch and go with one to six / Bit of trouble in zone number seven / ... / There's heaven ahead in number eleven / Getting crucial responses with dilatation of the pupils / Honey get hip, it's time to unzip / To unzip zip zippa zippa zip, whoopee!" Also in the final track, aptly titled It: "It is chicken, it is eggs / It is in between your legs / ... / It has no home in words or goal / Not even in your favourite hole / It is the hope for the dope" One drug too many, I'm guessing. For the relatively banging predecessor album Selling England By The Pound, this is a bit of a disappointment. 3/5 Key tracks: Broadway Melody of 1974, Carpet Crawlers, Lilywhite Lillith, The Lamia

Le grand déploiement d'un opéra rock allié aux concepts du rock progressif ; mais il me semble que Genesis va plus loin en insufflant tout de même une âme à ses pièces, à son projet, qui sont œuvres de virtuoses mais aussi chargées d'un propos

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

Um álbum duplo de rock progressivo... para muitos, ouvi-lo é uma tarefa herculeana! Mas não se assuste, pois esse disco prende muito sua atenção, e não viaja tanto assim. É um album conceitual que tenta contar a história do personagem Rael vivendo em Nova Iorque na década de 70. Daora até, mas a história é bem solta, e um pouco díficil de acompanhar. Musicalmente, o brilho do album está quase inteiramente no disco 1. Sem querer desmerecer o disco 2, que possui sim seus momentos, mas são apenas isso, momentos. O disco 1 é brilhante do ínicio ao fim, e a banda claramente deixou o disco 2 para explorar elementos diferentes. Crédito a eles, o disco 2 acaba tendo algumas passagens bens interessantes, mas as vezes ele acaba se perdendo em meio a sua própria grandeza. Eu gostaria mais desse álbum se ele fosse apenas o primeiro disco, mas tudo bem, continua sendo uma puta duma aventura ouvi-lo do começo ao fim! Mas sei que Genesis possuem outros discos que gosto mais, de fato, no ranking que fiz da discrogafia deles, esse álbum se encontra na 7º posição. 4/5

I am pretty sure I’d need to devote a lot more time to this album to fully appreciate it, but I just don’t want to do that.

Interessant melodisch album. Eerste keer luisteren had ik er weinig mee op (beetje saai). Maar hoe vaker ik het luister hoe leuker ik het vindt.

The Lamb was lying down because he feel asleep ...

insane concept album, really cool progression

If there’s one thing I’ve learned from this project it’s that the words “concept album” fill me with dread 😟

Masterpiece!

I own this so obviously like it. I have others of theirs I still prefer though.

Exciting and strange, liked it a bit more than their other on the list

If you were to buy a Yes album from the dollar section of Walmart, it would sound like this

Not my first exposure to prog rock so this was pretty nice. feeling a bit more pop rock on some songs so i'm guessing they were transitioning to the genesis most people are familiar with. Nice written and some songs are a bit catchy. nothing i will remember but it was a nice experience.

Wow. One of the best concept albums, and the musical performances are wonderful. The story is bizarre, but there’s so much humanity woven into it. Rebellion, consumerism, lust, self-doubt - even humor. It took several listens and a close read of the lyrics for its cinematic qualities to really surface. No doubt this one is out there, but give a few listens before you make up your mind about it.

Listen, I love a good concept album, but this was a mess. It seemed like they were trying to bite off more than they could chew with it. Even with the long run time, it still felt like they struggled to tell a cohesive story. There are a couple good songs throughout, and “Counting Out Time” and “The Carpet Crawlers” really grabbed my attention, but it’s just not a very strong album. The songs don’t need to spell out the story completely, but there were a lot of times where I just felt lost. Technically it’s a good album, and of course the Peter Gabriel and Phil Collins-era Genesis isn’t going to put out anything truly terrible, but I hoped for a lot more. A 90 minute Genesis concept album should be right up my alley, but this didn’t work for me.

I don't really like Genesis too much to begin with, so having to listen to over an hour and a half of them is way too much.

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

i like a good concept album so i was intrigued going into this. after listening im no longer intrigued. they were way too focused on trying to tell the story that they forgot to make the songs good. the instrumentation is really good but the songs themselves are a slog to get through especially with a double albums worth

Listens: 1.5 Standout tracks: None Nothing particularly exciting for me.

It's not bad - but it's tiring, it feels like a marathon and it squeezes out any interest I could have had. It's like running a marathon, there's times you want to give up and if you don't you might the runner's high again - but it's a rough journey.

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

I adore Genesis, how can a single album have none of the songs I like by Genesis? Familiar with some like Carpet Crawlers and The Grand Parade of Lifeless Packaging but none of them "do it" for me.

ugh. I did not like this.

Noped out at about a hour. The Venn intersection of Slightly Less Cringe Than ELP and Way Less Cool Than MTV Peter Gabriel isn't enough to support 94 minutes. I don't care about cover art but wow that's dumb.

It was too long and experimental, i couldnt feel the concept clear enough so it didnt make sense to me

While it is not my favourite album by Genesis - too many tracks, a story that I personally don't find engaging but more annoying - it grows on me. All of the tracks show a band that works way better together than you'd think after reading about the history of the creation of this LP. "Lilywhite Lilith" is a gem that people don't talk too much about but should

I have given Genesis a fair shot, listening to several of their albums, but they just don’t resonate with me the way Rush does, for example:(

In the cage Hairless Heart* Chamber of 32 doors

p316. 1974. 1 star. A prime example of pretentious, self indulgent musical and lyrical 70's wankage, all on an excessive double album. It's shit like this that gets the 70's a bad name.

I can appreciate the ambition and scope of this album but, ultimately, I was mostly just bored. Favourite tracks: The Grand Parade of Lifeless Packaging Won't be revisiting this one. 2/5

I got about 45 minutes in, and realized, this is just not for me.

could i write poetry to this? n

A great (if overlong) Prog-Rock concept album. Objective proof that Phil Collins is a stellar drummer.

This album does absolutely nothing for me. Probably 2 songs on it ar OK.

Absolute staple of prog-rock. So many beautiful ballads, intense and articulate instrumental passages and brilliant performances from all. If anything, it could be a little shorter with that 94 minute runtime. Still an incredible album

Enjoyable prog-rock, but double album length works against it, 1st album much more interesting and consistent. Standouts: In the Cage

Listened before?: Bits and pieces, but no real familiarity Great, cinematic-feeling album. A bit uneven here and there but overall I enjoyed it.

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

++: Fly on a Windshield, Broadway Melody of 1974, In the Cage, Counting Out Time, Lilywhite Lilith, The Waiting Room, Riding the Scree +: The Lamb Lies Down on Broadway, Cuckoo Cocoon, The Grand Parade of Lifeless Packaging, The Chamber of 32 Doors, Anyway, The Colony of Slippermen a. The Arrival b. A Visit to the Doktor c. The Raven +-: Carpet Crawl, Here Comes the Supernatural Anaesthetist, The Lamia, Silent Sorrow in Empty Boats, Ravine, The Light Dies Down on Broadway, In the Rapids, it. -: Back in N.Y.C., Hairless Heart 7,0/10

Very obviously early Genesis, not a huge fan

Struggle to get into prog Genesis. More and more feel it's really just prog metal I like. This was generally fine but in its length and meandering only partially memorable. On repeated listens I'd probably like it more. But that would take a lot of investment and time...

'Rael Imperial Aerosol Kid.' Rael apparently means 'God's friend' or 'to be exalted,' but only a friend of the pretentious and extremely boring could manufacture a record like this. The storytelling is tacky and uninteresting while the music matches the lyrics by being an utterly soulless + orchestral mess. 'But I know it's me that's hitting out / And I'm, I'm not full of shit.' Allow me to violently dissent, for this is nothing if not full of it, and finally manifests one of its neologisms: 'Grand Parade of Lifeless Packaging.' That's right. So lifeless death'd be more substantial, this album certainly doesn't have 'It,' that universal thing that Rael ultimately becomes one w/. I struggle to know what contextual nightmare could've prompted this drivel.

I have the same problem with this album as I do with Tommy. It feels like they spend more time focusing on creating a narrative than creating memorable music. A lot of the songs here sound the same and nothing really stands out. If you are going to make an hour and a half plus album you need some absolute bangers to carry you through that runtime. The Wall has Another Brick in the Wall, Comfortably Numb, Mother. Mellon Collie has Zero, 1979, Tonight Tonight. Songs in the Key of Life has Sir Duke, Pastime Paradise, Isn't She Lovely. This album has 20 half baked songs that meander and melt together into one boring blob of prog rock. If this album had a normal runtime (half of what it currently is) I would give this a mid/low 3, but it a horrendous hour and a half of nothing. If you want a good hour and a half long album about a lamb check out The Lamb As Effigy by Sprain, they remind me of Swans. Mid 2.

This album has a lot to offer. It’s a concept album about Rael, a Puerto Rican who goes through a series of strange events in New York City. The musicianship is excellent, and the production is polished. The first time I heard it, I wasn’t sure what to think because there’s so much going on. Over time, I’ve grown to enjoy it more with each listen. On the flip side, it’s a long album, and I usually feel pretty burned out by the time it’s over.

That was long. Good though, great musicianship, peotic lyrics. A type of longer rock I'd pick if I had to

слишком сложно и много. я продолжу думать про более тщательное знакомство с дженесис/прогроком/Габриэлем/Коллинзом но позже)

Can't say I really get the hype around Genesis after listening to this. It's not a sound I'd usually lean towards, I wasn't particularly entertained while listening to this, only one or two songs sort of stuck out to me. This is kind of like background movie music to me, but I don't know... maybe I just haven't gained appreciation for prog-rock yet. That said, I didn't hate it, I was just bored.

This could have been a great 45min album but it felt watered down by the length

Progrock is totaal mijn straatje niet. En het is nog een dubbelalbum ook. Typisch ... Enfin, het klinkt allemaal wel aardig, goede grooves hier en daar. De teksten van Peter Gabriel zijn helaas net zo pompeus als de muziek (en het hele genre progrock), en af en toe zelfs ronduit beschamend ("erogenous zones I love you – without you, what would a poor boy do"??) In de rustige intermezzo's klinkt de band het best (bijvoorbeeld het intro van "Hairless Heart"). Al met al rechtvaardigen de sterke momenten ("Fly on a Windshield" is vooral mooi) de afspeelduur van anderhalf uur niet. De tweede helft van het album heb ik een beetje doorgeskipt. Er zit zelfs een nummer tussen met de titel "Here Comes the Supernatural Anaesthetist". Waar je zin in hebt, zeg.

Ik heb deze al een paar keer opgezet, maar er blijft telkens maar weinig van hangen. Interessantdoenerige conceptplatenmakerij, maar de boodschap is bij mij niet aangekomen, als die er is. En als dubbelalbum duurt het - verrassing - veels te lang. Zou gezien makers en genre wellicht hoger moeten scoren, maar ik vond er domweg niet veel aan.

We moesten net nog Selling England By The Pound luisteren en dit is toch één pod nat. En dan is dit ook nog een dubbel-cd. Het is allemaal prima in elkaar gedraaid, maar (wellicht door de pech dat het direct achter een zelfde soort Genisis album volgt) ik was het bij cd 2 toch flink zat.

Vrij kort na het andere album van Genesis, krijgen we al dit (dubbel)album. Soms is dat vervelend, zo kort na elkaar dezelfde muzikant, maar ik noemde al in mijn vorige review dat ik het moeilijk te vergelijken vond. Daar krijg ik nu de kans voor. Zoals eerder gezegd, jammer dat we niet een album uit een andere periode krijgen, maar de wegen van de snobs zijn ondoorgrondelijk, dus we zullen het hiermee moeten doen. Al ben ik vooraf al heel bang: een dubbelaar met een enorm naar snob riekende albumtitel. Het is nog meer een album van composities, een compleet verhaal blijkbaar, een progrock-opera. Maar we missen hier ook weer de voor mij zo belangrijke hitjes, of in ieder geval bekendere of herkenbare nummers. Verder heb ik hetzelfde idee als bij het andere album van Genesis uit de snoblijst. Het is mij soms iets teveel compositie en te weinig liedje. Het is wat dat betreft uitwisselbaar met het andere album, al denk ik dat dit wel iets beter is. Alsnog vind ik het een gemiste kans, dat we niet (ook) een later album van Genesis zonder Peter Gabriel in deze lijst hebben. Het is wederom geen vergeetbare 3, maar meer dan een 3 kan ik er ook niet van maken.

Like Pink Floyd's ‘The Wall’, the fantastical dream sequences/hallucinations make an already convoluted plot tricky to make sense of even with the aid of a written synopsis. I can't accuse Genesis of taking themselves too seriously, as there's humour in the lyrics, but it's clearly overwrought at times too - it's almost stuck halfway between being self-important and being a joke. So I have to wonder why, if you're gonna make the effort to create a sprawling, musically complex opus, you'd commit to making it quite like... this? Or maybe the oddness of it all is its charm…? Don’t get me wrong, the album definitely contains some cool moments but as a whole it’s a bit confounding. And long.