This album was released in 1974 and was the last Genesis album with Peter Gabriel. One of the more controversial albums of its time.
The album follows a main character named Rael from Broadway to another plain of existence where he has some strange adventures. This album is a bit long so I'll review each disc over two posts.
First Disc
The Lamb Lies Down on Broadway
This song begins with a fade in piano. It tells about Rael spray painting something on Broadway. During his operation, a lamb lies down on Broadway. What the lamb is I'm not sure, but it seems to be a kind of messenger from another world. Also, it seems to represent Rael, who is a social sacrifice. The song has some very sexual connotations, referring to his gun (spray paint gun) as if it is his *****. The music is upbeat for the most part and could almost be a Broadway song. The riff is pretty rocking.
Fly On the Windshield/Broadway Melody 1974
I'm keeping these two songs together because the vinyls and CDs say different parts of the two songs belong to the two different songs. I realize that my previous sentence makes little sense, so just trust me. The song begins with an eerie acoustic guitar and Gabriel singing softly. All of a suddenly the rest of the band comes in with a somewhat dissonant chord progression that rocks hard. Afterwards, it seems to me that different American cultural icons appear on Broadway. The song ends with the synth and classical guitars going at it gently. Awesome tune.
Cuckoo Cocoon
Now Rael is lost and helpless. The song features acoustic guitars throughout, and is quite tame. The synth, flute, and piano come in once in a while to carry a melody.
In the Cage
It appears that Rael's helplessness turns to hysteria and he starts crying for help. This song is quite intense, starting out with a throbbing bassline and building up with organ, guitar and drums. You can feel Gabriel's passion on this track. Somewhere in the middle of the song it breaks off into, what sounds like, a bass tapping section. An awesome synth solo soon follows. This section of the song appears to be about Rael seeing his brother John, and he asks him for help. The transition from the interlude back into the verse is one of the best in rock music, IMO. One of the stronger tracks on the album.
The Grand PArade of Lifeless Packaging
I've heard people diss this song before, but I enjoy it. It's a verse/chorus build up until the end. At this point Rael finds a factory that appears to be packaging human identities or something. Good song.
Back in NYC
One of Genesis's best song, and maybe the best on the album. Now Rael is recalling his life back in NYC. The song's verse is in 7/8, which I love, and you can hear Gabriel's passion throughout. The pre-chorus sounds like something Tool would do; it's quite dark. The homosexual innuendo's reappear at this point. Awesome tune.
Hairless Heart
This song is a beautiful instrumental. However, this song is when Rael shaves his pubic hair. Genesis is great at juxtaposition. Classical guitar and synth drive this symphonic tune.
Counting Out Time
A catchy song, that would fair well on today's pop charts. Hard driving main riff, catchy chord progression during the chorus, and a bizarre synth solo. Numbers become thematically significant at this point. Also, I have heard other reviewers claim that the song is what happens when Rael gets sodomized. I am unsure of the statement's merit.
Carpet Crawlers
This song is simply beautiful. Quite ballady. It is a constant buildup. Religion takes somewhat of a lashing in this tune. The vocal harmonies with Gabriel and Collins are brilliant. It appears that Rael is back in his current dilemma now.
Chamber of 32 Doors
This is a different tune. It begins with that Hackett tone I love so much, and sounds very southern rockish at first. This part is where Rael goes to a chamber of 32 doors and only one door brings him away. Rael's isolation and hopelessness is communicated very effectively. This song sounds very warm in parts, but very hollow in others, which compliments the lyrics well.
Second Disc
Lilywhite Lilith
This song is awesome. It seriously reminds me of a Queen song. There's vocal harmonies and a hard driving main riff. Very melodic. This is where Rael meets a blind chick who is supposed to lead him somewhere. Also, much like throughout the first disc, musical themes reappear.
The Waiting Room
This is where the psychedelia takes full control. The first 3 minutes is like random percussion and guitar and synth effects. Then, all of a suddenly, a hypnotic riff comes out. Makes me feel like I'm in an alien control room. This is the second instrumental on the album thus far (also Hairless Heart).
Anyway
This is a total ballad. With some hard riffage and piano arpeggios. Catchy, sad, textured, awesome. I'm not sure what it says about Rael though.
The Supernatural Anaethiest
Hmmm, another catchy tune. Again, not sure where Rael is at this moment. Hackett shines on this track. A lot of lead guitar, but nothing really special.
The Lamia
Starts off slow and gradually builds up. The piano is now ever present in the album. This song has such a good melody for the chorus. It totally sends chills down my spine. However, I'm still not quite sure what is going on with Rael, but I think he has sex with the Lamia.The piano has a haunting feel; I love it.
Silent Sorrow in Empty Boats
The third instrumental on the album is intense. I feel like I'm Indiana Jones discovering some lost treasure in a cave. There are vocals (probably a synth patch) that just lift you up. Then you got the Xanadu-esque swelling guitar. Like this is peace in loneliness if I've ever heard it.
The Colony of Slipperman
This song may be divided into three parts, but the version I downloaded is one so I will review it as one. It begins with the same effects of the previous track. It then busts out into an almost goofy organ riff. This seriously sounds like it is an African song; like Paul simon. The organ is like a safari and the vocals are seriously African, that's all I can say. Eventually though, it gets pretty intense and amelodic. Apparently this is where Rael gets castrated. The story goes, or so I'm told, with Rael sexing the Lamia and going to Slipperman to get his organ removed. Like if you were ever in a situation where you want to get this messy business done, this song captures it with warmth and darkness.
Ravine
This song is an instrumental, but it is pretty much noise. I would never listen to something like this on its own, but in the context of the album it fits well... especially after castration.
The Light Dies Down On Broadway
This song is rumoured to be written by Tony Banks in some effort to bring coherency to Gabriel's story. How true it is I do not know. This song is like a reprise of the original track, with a totally different verse. It is lighter in feel and the flute is felt. Some sort of interaction occurs here between Rael and his brother. Apparently he sees his brother drowning or something, and he has to make a fundamental choice. Listen to it yourself to figure it out.
Riding the Scree
The beat rocks. The synth rocks. The guitar rocks. It has quite a dark feel, at the same time it has a sense of urgency. I guess at this point Rael goes into a river of some kind. The outro melody is so wicked. I love it.
In the Rapids
This song begins with vocals and clean guitar. It then goes into a verse that is ballady, similar to "The Dream" part of Rush's "2112." Apparently Rael and his brother are stuck in the rapids of the river. Not exactly sure what's going on. This track flows smoothly into the other.
It
This song is not the best way to end the album. I’ve hung on through the entire thing for this. It could have been better. It is not a bad song, but it is not the strongest on the album and it definitely is not a strong closer. I'm not even sure what the Gabriel's point is. Decent song if not a decent closer. I don’t know, I'm sure it is supposed to have some sort of meaning, but I cannot decipher it.
Overall
This album is definitely worth giving a listen. I cannot really recommend any particular song because most rely on the context of the story. However, I would suggest starting on the first disc either way. The first disc is flawless in my opinion. The second disc has two major flaws: (1) too much noise and lack of musical coherence in spots (not to say no noise, just less would be preferable), (2) poor conclusion...I was expecting more. For individual songs, both Foxtrot and Selling England are stronger, but as a whole I would say this album beats both of them. The music on its own is not up to par sometimes, but Gabriel’s lyrics are amazing. They are mysterious, so you keep wanting to decrypt them. They touch on many interesting things (come one, everyone wants to at least hear about castration and sodomy for entertainments sake). The way he expresses things is amazing. Either way, the best Genesis album when listened to all at once. This album knocks "Scenes From a Memory", even "The Wall" down off their pedestals. Awesome album!
