On November 18, "Genesis" released their sixed studio album "The Lamb Lies Down on Broadway".
"The Lamb Lies Down on Broadway" stands as a magnum opus in "Genesis's" catalog and one of the most ambitious concept albums in progressive rock history. The double album, with its sprawling narrative, rich soundscapes, and intricate musicianship, marks the band's final collaboration with Peter Gabriel as their frontman, but also showcases the tension that shaped its creation. The album’s experimental storytelling and surreal themes demands attention and repeated listening. In fact, while the album features stunning musical moments and daring storytelling, its excessive runtime, the loose plot, and imbalanced instrumentation make it a challenging listen.
This concept album was Peter Gabriel’s brainchild, centered on Rael, a Puerto Rican youth from New York City. Gabriel’s insistence on writing all the lyrics resulted in a narrative that is both deeply personal and notoriously difficult to decipher. Even Gabriel himself later admitted that parts of the story were obscure and nearly impenetrable.
Rael, a disaffected youth in New York City, embarks on a surreal journey after witnessing a lamb on Broadway. Drawn into a bizarre alternate reality, he confronts symbolic challenges and encounters, from being trapped in a cave to meeting grotesque creatures and navigating dreamlike landscapes. Along the way, he relives key moments from his past, including gang life, his first sexual experience, and emotional struggles. Rael’s journey involves fantastical elements such as the Lamia, who seduce and die after drinking his blood, and the grotesque Slippermen, with whom he shares a disturbing transformation. He seeks redemption through sacrifices, including castration, and chases his stolen essence down a river. Faced with a choice to return home, Rael instead rescues his drowning brother, John, only to discover his own face in John’s. In the climax, their identities blur, and Rael transcends his individual self, merging with the universe. The story blends existential themes with a dreamlike narrative, leaving interpretation open-ended.
The album’s creation was fraught with tensions within the band. Gabriel’s insistence on writing all the lyrics caused friction, especially as he temporarily left the project to collaborate with filmmaker William Friedkin and attend to personal matters. Meanwhile, the rest of the band crafted the music through jam sessions, with Banks taking the lead in composing most of the melodies and arrangements. This lack of collaboration is evident in the final product, with the album leans heavily Tony Banks keyboards which dominate the arrangements and often overshadow the contributions of Mike Rutherford and Steve Hackett guitars. This imbalance reflects the less collaborative dynamic of the album’s creation, with much of the instrumental work being shaped by jam sessions that Gabriel was absent from.
Still, there are moments of brilliance: “The Lamb Lies Down on Broadway” is a powerful opener with a driving piano riff and theatrical flair that immerses the listener in Rael’s world. "Fly on a Windshield": A hauntingly cinematic piece where Rael is enveloped by a dark cloud. The track features one of the most atmospheric moments on the album, with a dramatic build led by Banks’s keyboards and Hackett’s brooding guitar. “In the Cage” features some of the album’s most dramatic and intricate arrangements, with Banks’s keyboards leading the charge. "Back in N.Y.C." which sees Genesis adopting a more aggressive sound than in past compositions. “Carpet Crawlers” offers a hauntingly beautiful and melodic respite, showcasing "Genesis’s" knack for ethereal atmosphere. “The Chamber of 32 Doors” captures Rael’s existential struggle with emotional weight carried by Steve Hackett guitar. "Lilywhite Lilith": A powerful track built on two song fragments, both of them written by Phil Collins, that stands out for its dynamic structure and evocative lyrics, describing Rael’s encounter with a blind woman who briefly guides him before leaving him trapped in a cave. “The Lamia” stand out for it's haunting melody and climactic resolution. However, at 94 minutes, the album struggles to maintain momentum. Some experimental sections, like “The Waiting Room", "Silent Sorrow in Empty Boats", "Ravine" feel like filler rather than essential parts of the story.
"The Lamb Lies Down on Broadway" is undeniably bold and ambitious, offering moments of brilliance and some of "Genesis’s" most iconic songs. However, its sprawling length, incomprehensible plot, uneven pacing, and imbalanced instrumentation prevent it from achieving its full potential.
For Listening: Spotify, Apple Music
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