The Lamb Lies Down on Broadway (1974)
I think it's fair to say that the idea of the concept album, while it may not be confined to the genre, and while it may indeed have originated in albums far removed from prog rock, such as Sinatra's
In The Wee Small Hours and something I believe by Duke Ellington (?), found its greatest expression and its ultimate fame in progressive rock. Name any concept album you like –
The Wall, 2112 (okay, okay! Only the first side but still),
Close to the Edge, Misplaced Childhood – and they all fall within the prog rock sphere. Yes, there are those outside of that, such as The Who's
Tommy, but by and large, if it's a concept album it's likely to be a prog album. And the grandaddy of them all, pretty much, was this double album monster from Genesis, which finally saw Peter Gabriel take almost total control of Genesis so as to properly realise his vision. Perhaps ironically, this was also the last album he made with the band.
It's gone down in music history as everything from a masterpiece to a flawed concept, an overblown, overlong album stuffed with filler and not much real music, a story that's hard, almost impossible to follow and more difficult to interpret, and of course, a vehicle for Gabriel's ego, though I think this last is unfair, as the man never came across to me as someone with notions of himself. What he was, and is, however, is a consummate storyteller, and he obviously wanted to tell this story. I've never quite understood the idea, but when I was reviewing all of Genesis's discography I read a lot about this album and it seems to be the general consensus that, though there are really only two characters in the plot – Rael and his brother John – both are in fact aspects of the same person. This is borne out when at the end Rael saves John from drowning, looks at him and sees his own face, and it then seems they merge into the one identity.
Remember, too, that this was originally released back when you had to buy the whole album (no selecting tracks off itunes, and why would you anyway, with a concept album?) and they cost enough, so this was surely squarely aimed at the fans, not trying to get new people into Genesis. This was for those who knew Gabriel, knew what he was about, had probably stuck with him and the band from the beginning, and must have had some idea what to expect. Even so, it's one freaky ride from beginning to end, and when it's over the overriding feeling is “Huh?”
The Lamb Lies Down on Broadway
Rippling piano from Banks opens the whole thing, as we're introduced to the main character, Rael. It's been speculated that Rael is an anagram of real, so there's that, but why a lamb? Why Broadway? Well, I guess the latter because they're then able to reference the Drifters' “On Broadway” at the end. As for a lamb? Well, I have my own theories. Firstly, a lamb can represent peace, so maybe Rael is shown the lamb to tell him that away from the noisy, busy streets of New York – and his own churning, confused mind – he can find peace if he follows the lamb. Second, the lamb has been seen as the emblem of Jesus, so maybe there's some religious imagery going on there. A lamb can also represent a sacrifice, so perhaps Gabriel is saying that Rael is being asked to make a sacrifice, in order to gain peace. He must, literally, face himself and find out who he is before he can, presumably, find peace.
10/10
Fly on a Windshield/Broadway Melody of 1974
A more relaxed piece after the hectic excitement of the intro, it explodes into life just after the first minute, Collins' piston-like percussion carrying the track as Rael stands suspended in disbelief, not sure what's going on. A lot of Hollywood icons mentioned here – Groucho Marx, Lenny Bruce etc. Good use of different vocal techniques here, almost as if there were two singers.
8/10
Cuckoo Coccoon
Underground, Rael awakes in some sort of coccoon, unaware how he got there or what it means. Nice guitar intro and lovely use of the flute here, giving the song a whimsical, upbeat and almost innocent feel which the next track will totally shatter.
7/10
In the Cage
One of the more famous songs off the album, the sense of impotence and rising panic in this track is almost palpable, as Rael looks around and sees that the coccoon has become a cage from which he can't escape. Here we are introduced to his brother, John, who sees him but runs off rather than help him. Gabriel is at his best here, raging and terrified both at the same time, and the music literally swirls and eddies at the hands of Tony Banks, creating a very effective illusion of being spun around and around, so that by the time it's over you actually feel quite dizzy and disoriented. Rutherford's bass at the opening of this really adds to the overall feel, sounding like Rael's heartbeat as he realises he is trapped. But it is the organ and keyboard that really makes the song, in concert with Gabriel's frenzied vocals.
10/10
The Grand Parade of Lifeless Packaging
Freed from the cage suddenly, Rael finds himself in a sort of factory where people are being packaged for shipping. There's a marching, militaristic kind of rhythm to this, which fits in well with the idea of an assembly line. Here Rael discovers his own brother again, as the vocals rise and pound out the chant, almost seeming to hammer him down.
10/10
Back in NYC
The first real time the album rocks out, as Rael recalls his time with his gang in New York City, there's a sort of new-wave feel to the keyboards here, and Gabriel's voice is raw and ragged as he perhaps yearns for the simplicity of the streets of his hometown. Also nice phased vocals in the bridge. Things get mighty weird from here.
7/10
Hairless Heart
A total instrumental, as some of the tracks here will be. Very nice, and supposed to represent Rael's heart being shaved. Why? Dunno: maybe it's a kind of cleansing or catharsis of some sort. Nice tune though and slows down the pace after the frantic and rocky previous track.
9/10
Counting Out Time
Back to a boppy, rocky beat as Rael prepares for his first sexual encounter, though things do not go as expected. A fun little song, but it's kind of silly really. Not one of my favourites, I have to say. Lots of clever little sexual images, but slightly tacky I feel personally.
5/10
Carpet Crawlers
A beautiful ballad which sees Rael in a room where people crawl along the floor, unable to escape through the door which is at the top of stairs they can't climb. Driven by dreamy synth and rippling guitar lines, it's definitely one of the standouts of the album, with the softest vocals yet from Gabriel, almost recalling his work on “Stagnation” from
Trespass.
10/10
The Chamber of 32 Doors
Powerful, mournful music finds Rael at the top of the stairs and now looking at identical doors, and unsure which one to go through. The sense of desperation here is really well done, as Rael goes through door after door, only to find himself back where he started. Talk about a metaphor for not knowing which path to take in life!
8/10