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The Lamb Lies Down on Broadway - Genesis (Extended Play Lounge Ep. 4) (Patreon)

Published:
2021-09-16 14:24:14
Edited:
2023-05-25 16:25:21
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Vimeo Link: https://vimeo.com/606147377/969bd90312

Our fourth installment of the Extended Play Lounge is the entire double album, The Lamb Lies Down on Broadway, from Genesis. This was my first full time through this album, and it truly was a journey of personal discovery. This was recorded in one full take. There are no jump cuts...just me, my headphones, my computer, and the music of Genesis. Enjoy!

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The Lamb Lies Down on Broadway - Extended Play Lounge: Episode 4

For our fourth episode, I embark on a journey through the entire double album of the monumental concept recording by Genesis. Come along for the ride!

Comments

Ricardo Hector Jimenez Valdes

Yes, all true, but the sublimity of Steve’s job on this last journey or odyssey’s full genesis opus gives dr. D some, if not tons, of reasonable truth, in his very first perception day, of this hallucinogenic-mime workpiece, from the scriptural 5. I mean, he was fairly distracted, we know, in his own mind echoing chambers, so by the time he got to the carpet crawl(ers), he is too busy to even mention, or confirm in any way, that he notices, that, subliminal framework notes/embroidery; which he is surely & undoubtedly listening to, but then again, isn’t it (IT!) exactly what dr. Hackett publicly declared the objective he wanted to persue, back in the day, more than twice, on interviews and documentarian fan literature (like Armando Gallos’ early editions, ) . . . to become like an invisible sound ? almost imperceptibly extant. . . ?

paul listener

We know that Peter Gabriel is responsible for the Lyrics and story, its really about himself(I think), therefore the solution to the Lamb story really is Solsbury Hill

Bill Brinkmoeller

It's almost two years down the road from the time you recorded this video, so I don't know if you'll see this, but I'm posting it anyway. You wanted to know how this particular listen affected me. Well, I can't begin to count the number of times I've listened to The Lamb. Hell, I must have listened to it at least twenty times just the first week I had it. This listen was different, though, I have to say. I got new insights--yes, even after 48 years, there are new things to hear and think about in this album--into both the music (thanks, as always, Doug!) and the story and the symbolism and metaphors involved. Doug, your insights were splendid, and you took on the literal story in some interesting ways, and some of your insights into the inner meanings were nicely helpful. Massive praise to the person who took on this colossal project for producing something that is a genuine companion to the music. A huge amount of thought, in pre-production and in execution, was dedicated to this, and the outcome was a tastefully presented masterpiece. The next time I feel like listening to The Lamb again, I may very well watch this to go along with it. I always love it when you listen to an album uninterrupted--especially when it's an album that is meant to be experienced continuously, as this one is. Thanks, Doug!

Steve Hartke

Enjoyed the video, with the animated, and lyric, accompaniment... Not my first time through The Lamb, and still far from my favorite Genesis. Better understanding of the story, and the themes. Just personally, a tough listen. Always love Peter’s wordplay and rhyming, and much of the music is fantastic, but it’s just not for me…

Slew

My friends and I listen to this album in H.S. the way we understood it is this was based on Peter's tripping.. Rael is the opposite of Real/ Reality.. and we tripped right along with Peter.. Love this album brings back memories. My friends were all girls haha

Adie

So great to have gone on this journey with you. I have been on it many times, and sometimes with friends. It was special to go on it with someone with a great ear and musical intelligence. For me, this was the most muscular Genesis ever got. They were so confident and together, and were prepared to give the lightest thoughts. It was the closest we, the fans, ever got to being with them. The album is critisised for being too long, but it is the room in the work that brings us so close to this wonderful band. Some of the tracks were simply improvisations - I think this was the only time we heard such from Genesis e.g. Tony Banks solo in Riding the Scree; totally spontaneous, and he always dreaded having to reproduce it onstage, as he barely knew what he had done! Still one of my favourite synth solos of all time! Thanks for this. It takes me back, and moves me forward.

Richard Karbowski

I can't wait to hear this one! After work today for sure! I just wanted to let you know that there are 2 prog rock festivals happening soon in New Jersey! First one is called ProgStock in Rahway around October 1-3, and the other is a 1 day event in November called ProgCamp...

Juan Ignacio Quesada

That sound you think is a guitar on "Fly on a windshield" it's a guitar :)

Nick

Fascinating to hear your insights on this Doug. If you get the chance, I highly recommend reading Gabriel's own surreal story of the album, which occupied the entire interior of the gatefold sleeve (it is probably findable via google...)

Blinky

There's a lot of Beatles references I just noticed surrounding "Brother John." "Help!" "No. 9," and the blackbird later all reference Beatles songs. Never caught that before.

Andy Ambrose

Just watched it all...2 days after attending Steve Hackett concert where he played a couple of tracks... it is a truly wonderful album and when first performed live on the LLDOB tour it was to audiences that hadn't heard any of it because the album hadn't been released...imagine their reaction...!!

Nick (edited)

Comment edits

2021-12-25 23:48:41 Yeah. There was also a Simon & Garfunkel reference - "Homeward Bound" - which I'd not noticed before for some reason.
2021-09-16 17:03:57 Yeah. There was also a Simon & Garfunkel reference - "Homeward Bound" - which I'd not noticed before for some reason.
>>67957452

Yeah. There was also a Simon & Garfunkel reference - "Homeward Bound" - which I'd not noticed before for some reason.

Juan Ignacio Quesada

Hairless heart is a guitar as well :)... I think Steve plays a lot using his expression pedal there

Juan Ignacio Quesada

I'm so glad you did The Lamb!!! You should consider Tales from Topographic Oceans by Yes as well

Mark Saxon

Gabriel said this was his version of "Pilgrim's Progress". I have been listening to this album now for over 20 years and it still fascinates me every time I listen to it. You are correct the guitars are a bit sparse but when it does show up, it's glorious! (ie. Lamia, Hairless Heart) Thanks for the video. You should check out one of Hackett's solo albums like Voyage of the Acolyte or Spectral Mornings.

Zsuzsanna Vázsonyi

I have known and loved this album for a very long time, I can't tell how many times I listened to it. But it was like a rediscovery to watch this Extended Play Lounge, it was good to hear your reactions, Thank you! :)

Dennis Rees

Nick D'Virglio (ex-Spock's Beard and Big Big Train drummer) did a great cover of this entire album.

Frits van Voorst

Thanks for sharing this with us. I have listened to this album quite a few times in the last decades but this one was a treat, and helped me understanding the music as well as the story better. Greatly appreciated! On a sidenote: the bass guitar is a Rickenbacker, the same instrument that Chris Squire used almost all his musical career. Hence the similarity in sound.

Walker Bachman

Hey Doug... thanks for taking the time to go through this loooong album from Genesis. I have heard it many times, but I never quite understood it. I think I was taking the story too literally. Hearing your thoughts, superimposed upon the animation, has cleared things up for me, and I now understand it to be a mental journey as much as a physical one. I will listen to this piece with new ears from now on. Thank you!

Walker Bachman
>>67962283

Yes! I agree wholeheartedly. That is a phenomenal piece of music! I would love to hear Doug go through it. Brain Salad Surgery by ELP as well!

Garance A Drosehn

I think this the first time I've heard the entire album, but I've heard many of the songs. Possibly all the songs, but not all of them in a single sitting. There were only a few songs which sounded completely unfamiliar to me. In any case, great job: (1) From Genesis, (2) from the guy who did the video, and (3) from Doug! Thanks!

Walker Bachman
>>67964845

On a side note, for your next Nightwish reaction, I'd like to propose Meadows Of Heaven from Dark Passion Play. It's the closing song on that album, and it's BEAUTIFUL. Unlike anything you have heard them do before.

Dennis Rees

Cuckoo Cocoon is a reference to a vagina.

Blinky

Regarding "Riding the Scree," "scree" is basically loose rocks usually along a slope. So the illustration here is showing exactly what the title describes.

Arrow2theACL

This was my first listen. I definitely feels this is something I'll need to digest a little, but hey that is true with most progressive music, so I enjoy the journey that IT takes me. (Bad Pun) Side 2 on first listen was my favorite because the music fit the story. The end and leading up to the end just didn't do that for me. I was expecting more punch, but maybe that's because I'm so used to listening to modern prog.

Dennis Rees

Doug - you missed it - "without you, man kind hand kinds through the blues:

Arrow2theACL

Oh and Doug, Who was more romantic? Genesis using a book to seduce a woman unzippy zip zip, or DT seducing Victoria with the Dance of Eternity? :) Also, I can see in Doug's mind - Double Keyboard....Cool. Double Kick drum .... Not Cool. lol

Dennis Rees

"you got to get in to get out" - more sex talk....

Kenneth Bernard

I can't tell you the number of times I've listened to this album but I never knew about the video that you watched. Great accompaniment to that album and helps drive home what is going on. Which I'd have known about that years ago...may have helped me piece this together a little (lot) more easily.

Blinky

I still think I like "Selling England by the Pound" more, as an album, but listening through this again reminded me why I loved it so much when I was younger. It's so magical, and really brings you along into the narrative. When I was younger, I definitely missed the self-reliance theme (how every time he turned to others for help, from John to Lilith to the Lamia to the Doktor), he was disappointed. In the end, he had to be the one NOT to disappoint John, including sacrificing himself (like Christ, who also had a brother named John; Peter sure loves his Biblical allegories).

Dennis Rees

Now you know why this was so requested!

Juan Ignacio Quesada

First time I listened to this album was in 1988 and I loved it right away and I listened it from start to finish at least a thousand times. I usually lazy about analyzing the lyrics so watching it now forced me to somehow. I was aware about the plot but never payed that much attention to the details. This is, in my opinion, one of the best concept album in rock history

Dennis Rees

You should listen to this again, Doug, and just focus on the drums - extremely lyrical in their own right.

Marcelo Filho

oh boy! it was different this time hahaha thank you doug!

Nathan-Andrew

I’m about halfway through this, Doug, but I had to stop to correct something that keeps coming up. You are hearing guitar, and almost constantly. Steve is using loads of effects to alter the tone, painting a surreal sonic portrait to go with the story. Also, guitar and keys are often doubling one another. I think this would be more apparent if you were hearing it on CD, or even LP. YouTube audio is not great. Especially for something like this, with such detailed sonic textures.

Theremainsoftheday

Thanks Doug! This is one of my favorite of Genesis. And the guitar was always there, just not in the wat that you waiting for. Many of times when the keys is doing the crazy arpegios, the guitar is doubling but in the upwards haha! Example is in The Carpet Crawlers, listen again. Thank you so much!

Arrow2theACL

I think Doug's ear has been used to the guitar sounds of Rock and Metal over the last year.

David Marshall

Scree: a mass of small loose stones that form or cover a slope on a mountain. "they had to pick their way up precarious scree".

Dennis Rees
>>67967933

I agree with you Blinky. I use to take Selling England by the Pound with me when auditioning speakers. The guitar solo in Firth of Fifth when the bass pedal kicks in rattled a lot of speakers, including subwoofers.

Richard Moore

There are lots of good songs on this album, but for me it never had the end-to-end cohesiveness of Selling England by the Pound or Foxtrot.

Gary Thobaben

Ok. So as a bass player kid I tended to focus on the music itself in my initial listens. So much strangeness and beauty for 17 year old ears! Today, I focused more on the story (I think the illustrations helped center my focus) and in a less literal way. Rael trying so hard to find himself and struggling through that really made an impact today that it didn’t when I was mostly concerned with weird time signatures, bass pedals, and mellotrons (all of which still kick ass).

Paul Mouradjian (edited)

Comment edits

2021-12-25 23:48:37 Re:Hackett & Guitars. The Lamb is more of. Tone Poem than a Rock Opera. Hackett's role in the band was to provide color and not play in a traditional rock band format. During the keyboard centric Lamb, many of colorizations are frim contributions of Hackett and Rutherford. Mike used an Alto Guitar on this tour and the bass pedals. There were portions of the concert where his Rickenbacker was used as well. Hackett's pedal board was extensive for this tour and the group the Musical Box is blessed by the members of Genesis and perform all their tours in the original costumes and sets(remade of course.) There is a tour from the guitarist of His pedal board which matches Hackett's during The Lamb. Hackett uses volume pedals to create that delayed entrance you spoke of Doug. Hack and the guitar is there....much lower in this mix. Please****** do NOT listen to the remix.....the dynamics are horrendous. It goes from barely audible. To BLASTING LOUDER THAN DEEP PURPLE! ;) Seriously. I digress.....Hackett is in there but think of his guitar as a linear string instrument in the orchestra. Many times doubling the keyboard lines with a different color. .... Doug asked a few times finally a guitar or is it? Yes it was but processed to give another texture to the piece as a whole. Without Hackett and Rutherford's Alto Guitar the Live version of The Lamb would have been flat. There are some fascinating analog effects and large control panels that altered polarity from positive to negative. Fascinating stuff. Also a Solid State Amp which Gary Green also used in Gentle Giant and later by Eddie Van Halen. For those who would like to relive the LAMB by the group blessed by Genesis here is the link: https://youtu.be/OlX4moDYEmA
2021-09-16 21:39:02 Re:Hackett & Guitars. The Lamb is more of. Tone Poem than a Rock Opera. Hackett's role in the band was to provide color and not play in a traditional rock band format. During the keyboard centric Lamb, many of colorizations are frim contributions of Hackett and Rutherford. Mike used an Alto Guitar on this tour and the bass pedals. There were portions of the concert where his Rickenbacker was used as well. Hackett's pedal board was extensive for this tour and the group the Musical Box is blessed by the members of Genesis and perform all their tours in the original costumes and sets(remade of course.) There is a tour from the guitarist of His pedal board which matches Hackett's during The Lamb. Hackett uses volume pedals to create that delayed entrance you spoke of Doug. Hack and the guitar is there....much lower in this mix. Please****** do NOT listen to the remix.....the dynamics are horrendous. It goes from barely audible. To BLASTING LOUDER THAN DEEP PURPLE! ;) Seriously. I digress.....Hackett is in there but think of his guitar as a linear string instrument in the orchestra. Many times doubling the keyboard lines with a different color. .... Doug asked a few times finally a guitar or is it? Yes it was but processed to give another texture to the piece as a whole. Without Hackett and Rutherford's Alto Guitar the Live version of The Lamb would have been flat. There are some fascinating analog effects and large control panels that altered polarity from positive to negative. Fascinating stuff. Also a Solid State Amp which Gary Green also used in Gentle Giant and later by Eddie Van Halen. For those who would like to relive the LAMB by the group blessed by Genesis here is the link: https://youtu.be/OlX4moDYEmA

Re:Hackett & Guitars. The Lamb is more of. Tone Poem than a Rock Opera. Hackett's role in the band was to provide color and not play in a traditional rock band format. During the keyboard centric Lamb, many of colorizations are frim contributions of Hackett and Rutherford. Mike used an Alto Guitar on this tour and the bass pedals. There were portions of the concert where his Rickenbacker was used as well. Hackett's pedal board was extensive for this tour and the group the Musical Box is blessed by the members of Genesis and perform all their tours in the original costumes and sets(remade of course.) There is a tour from the guitarist of His pedal board which matches Hackett's during The Lamb. Hackett uses volume pedals to create that delayed entrance you spoke of Doug. Hack and the guitar is there....much lower in this mix. Please****** do NOT listen to the remix.....the dynamics are horrendous. It goes from barely audible. To BLASTING LOUDER THAN DEEP PURPLE! ;) Seriously. I digress.....Hackett is in there but think of his guitar as a linear string instrument in the orchestra. Many times doubling the keyboard lines with a different color. .... Doug asked a few times finally a guitar or is it? Yes it was but processed to give another texture to the piece as a whole. Without Hackett and Rutherford's Alto Guitar the Live version of The Lamb would have been flat. There are some fascinating analog effects and large control panels that altered polarity from positive to negative. Fascinating stuff. Also a Solid State Amp which Gary Green also used in Gentle Giant and later by Eddie Van Halen. For those who would like to relive the LAMB by the group blessed by Genesis here is the link: https://youtu.be/OlX4moDYEmA

Paul Mouradjian

This may help decipher the guitar tones used by Hackett to create his sound. A complete tour of Francois Gagnon, (Steve Hackett in The Musical Box Tribute Band) https://youtu.be/Mfe2R0-3Fmg

Gary Thobaben
>>67979370

Yeah this was the 2009 remix. Agree it’s not as good in a lot of ways (bass bumps though). And regarding Hackett, his melody maker ad from 1970 sums it nicely: “Imaginative guitarist / writer seeks involvement with receptive musicians, determined to strive beyond existing stagnant music forms.” God I love that.

Paul Mouradjian
>>67979370

Gary that helps explain why the guitars are so far back. Ugh.....the Lamb remixes are ....well.....my Momma told me if I didn't have anything nice to say, don't say anything at all. 😆

Paul Mouradjian
>>67969682

Also, I understand the tracks were from the 2009 remix. The Lamb remix was horrific. As in...."Where's the guitar?"

Ricardo Leguizamón

A complete different experience. I’ve listened to this album several times and now I’m feeling like rediscovering it . Thanks Doug for taking the time to react to it.

Russell L. Craft

So, I graduated High School the year this came out. I have absolutely no idea how many times I've listened to it, but it always leaves me breathless.

Guilherme Cruz

There is a interview or such that Tony Smith, all time manager for Genesis members except for Peter, talks about the solo careers that Genesis members had. Peter, Phill, Mike, and Steve have their own successful solo careers and that Genesis was the solo career of Tony Banks. In some ways I agree with him.

Russell L. Craft

The Genesis Tribute band "The Musical Box" (calling them a tribute band is an insult, in some ways, since Phil and Steve have sat in with them and Peter gave them all of his old props) are once again touring to perform this in 2022. I'm hoping to catch that tour when it comes stateside (starting in Europe.)

Nathan-Andrew
>>67969682

That remix… 🤦🏻‍♂️ It was all vocals, drums, and keyboard pads - an attempt to make it sound “current.” 🙄

Roy Torset

Its very easy to hear where the likes of Dream theater,steven wilson,flowerkings etc have been collecting the inspiration from.its quite clear what an impact genesis have had on progressive bands later on🙂

Paul Mouradjian
>>67981549

Hackett has played with them in rehearsals as well. There have been many questions as to how certain parts were played as some have been forgotten.....or figured out close enough by Hackett himself.

Bradley Stone

A couple of the parts you said could have been guitar actually were, with Steve using the volume (swell) pedal to suppress the initial attack.

Bradley Stone

But the album is indeed keyboard dominated, and you are correct, Tony at the top of his game!

Paul Mouradjian (edited)

Comment edits

2021-12-25 23:48:36 As Peter, Phil, Mike & Steve state....Genesis was a democracy as long as you agreed with Tony.
2021-09-17 01:55:54 As Peter, Phil, Mike & Steve state....Genesis was a democracy as long as you agreed with Tony.
>>67986315

As Peter, Phil, Mike & Steve state....Genesis was a democracy as long as you agreed with Tony.

Randy Hammill

Genesis of this era has sometimes been described as a band with a keyboardist trying to sound like a guitar and a guitarist trying to sound like a keyboard. Steve is often doubling lines or providing textures and many of the interesting sounds that you might assume are keyboards.

Randy Hammill

For example, the solo in Counting Out Time after zippy zip zip is Steve on guitar.

Gary Thobaben
>>67979370

Most importantly it removes the sound of Rael’s penis getting sawed off. A travesty!

Randy Hammill

Lol. And you talked through Steve’s solo in The Lamia. While there aren’t many traditional guitar solos on this album, you’ll note there aren’t really many actual keyboard solos (such as the on the The Cage) either. Just lots of Steve and Tony melding together.

Randy Hammill

For me this album is a flawed gem, one in which the parts are almost greater than the sum. Peter’s performance is among his best, yet the immense number of words often obscures the music. I agree that I would like to hear more recognizable guitar. There’s a whole lot more Steve Hackett than you think on this album, but at the height of his “funny noises” period. Mike’s playing is strong, but there is much less of his guitar as well, and it leans very heavily in Tony’s direction in terms of recognizable playing. The music was quite collaborative at this time, but it doesn’t always sound like it. The story/lyrics is sort of its Achilles heel. While all of the members have commented on it, it seems to have bothered Tony the most, where there are strong pieces of music that he feels can’t really be performed on their own because they don’t make sense out of context. I think that the music itself suffers from a similar problem in that in the past they would have taken what amounted to several smaller pieces here and worked them into a more coherent longer musical piece. Some of the shorter pieces are very good, yet feel incomplete, songs like The Cage and Back In NYC were more fully developed and sound more complete on their own. It’s an album that took a long time to grow on me. I do enjoy it, and did so this time as well, but it still doesn’t quite come together as a whole in the way that, say, Foxtrot or Wind and Wuthering does.

Randy Hammill

Oh, and yes, Phil is spectacular on this album.

Bradley Stone

Nothing wrong with a great synth solo, instead of guitar, IMO. Tony's mastery of the relatively simplistic ARP Pro Soloist shines on this album. Thanks for doing this album, Doug - perhaps the greatest of the progressive rock era concept albums. I would suggest you watch this again with the original slide set that they used in the live concerts in 1974, instead of this animation interpretation. I got to see this show twice, Chicago Auditorium (first show of the tour, first time they played it through live in its entirety) and Chicago Arie Crown Theater (they added this show before going back to the UK). The album hadn't even been released yet, so to see this live was mind blowing!

Bradley Stone

Next time you listen...maybe a bourbon, instead of water! :-D

Peter Tutak

And here I was thinking you were going to pack a lunch for this ! I'm pretty sure this was the first time I'd listened to this work all the way though since I was a conservatory student back in 1975, through a pair of Koss PRO4AA headphones. The first listens to this album back then for me were a revelation, not in the lyric content (which I remember as pretty obtuse) but the overall orchestration of the music. That aspect alone was spellbinding and astounding, both. It created music that was crisp and strident, occasionally mysterious, and often voluptuous. It was like hearing Debussy or Delius or Vaughan Williams for the first time, hearing chords and modalities that I was new to understanding, cloaked in instrumentation that elevated the music into the realm of magic. And yes, Hackett is all over the album, but you have have to listen for him. He plays within the pieces, using his instrument more as an ensemble instrument rather that just a solo vehicle, supporting it by providing atmosphere (courtesy of a few well-chosen effects boxes), as well as counterpoint or chordal support. One last thing: The credits on the album also mention "Enossification by Eno". Brian Eno provided support on some of the vocal processing in the overall work, and I think acknowledging his participation is important. Thanks for being a compelling and congenial guide on this work, Doug. Your 100+ minute effort reunited me with the overall beauty of a work that in the intervening years has fragmented into sectional or song listens, simply because of time. And it brought me back more than 45 years into the profound thrill of harmonic and orchestration discovery. Nice work on this.

Enigmaticus

With the possible exceptions of ‘Back In NYC’ and perhaps ‘Counting Out Time,’ I like most of the tracks on “The Lamb Lies Down On Broadway.”

John Sawyer

So that was my first time through that and I loved it. I suspect the song you thought you knew was actually reminding you of something else as it felt like a song I knew but wasn't. Glad I am not the only one who finds those kinds of links.

Johnny Marsh

Doug, wow what an experience with the amazing video running in tandem. Even though I've heard this album end-to-end literally HUNDREDS of times, I learned loads listening to it with you and relearning the lyrics I'd forgotten (or misheard first time round). Thanks you so much. Fab fab fab!!!

doughelvering
>>67998080

That’s the catch 22 with concept albums…can the music end up standing alone or only in the context of the original narrative…

Martin Broten

Nice job, Doug. That's a lot to take in. I bought this album when it came out (yes, I am that old). For a lot of years this was my favorite prog album. I never seemed to get tired of it. I was always into it more for the music than the concept and hearing your interpretation was really interesting. The keyboards are definitely the lead instrumental voice on the album. It seems like they pulled back a bit on the musical virtuosity present on some of their other albums to serve the story better. Anyway, great stuff...and you made it through!

Randy Hammill
>>67998080

Definitely, although some do this better than others. Thick as a Brick, for example. The reason it became an issue here is Peter insisted on writing all of the lyrics for this album (a change in band approach), although the Light Dies Down… was written with others because Peter was taking too long.

Great Scott

It's like I've heard it for the first time -- I'm sure it's been decades since I last played that disc end to end. Back then, I'm sure I just listened to it, but didn't bother to understand it, it was just good music, by a band that was/is one of my favorites. This time, seeing the illustration, seeing the words, hearing a bit of your analysis, puts a different spin on it entirely. I think I can appreciate it now. BTW -- if you go to NB's youtube site, you can see he individually built and released each song, and then combined them into 4 sides, and finally the end-to-end you used here. (There's a few other songs, such as Charlie Freak by Steely Dan, which is another ballad I didn't really appreciate until I saw the matching illustration.) End of side 3, the starscape is the ceiling of the Great Hall in Grand Central Terminal.

Jason Gregorius

This masterpiece sounds so modern and refreshing still today. It's so good!!

Make Latvanen

It was great to take this journey with you Doug! I have been well familiar with Lamb for almost 40 years now but it’s so nice to hear someone else’s points and experiences :) Btw, in Greek mythology, the Lamia are snake-like female vampires that lure men into their ruin, not unlike the Sirens. But in the Lamb, I think they represent the first stage of Rael’s surrender, being able to let go, as they demonstrate to Rael how complex pairings life and death, love and pain are in human life. They feed on Rael’s blood knowing it kills them; they are a mortal threat but ”we all have loved you, Rael” - are they a guilty reflection of the girls Rael has used - and abused, re: earlier mentions of rape? It’s my favorite song on the album and one Steve Hackett still plays live (I’m not sure but he may have had a hand in writing it, it sounds a bit like his solo work). Peter is in amazing form here but he did his parts totally alone, already keeping a long distance from the others, perhaps already having dediced to leave the band. I’m happy the final song is so joyous, it was a great way for Peter to take his bow :)

Denis Perron

Thanks Doug, I loved listening to this again with you. You give light and interesting point of view on this masterpiece.

Michael Kuhl
>>67964415

Nick played drums on that live concert which was performed by Kevin Gilbert at ProgFest 1994

Michael Kuhl

Doug, keep in mind that what you listened to was the Remix of the album by Nick Davis and is not "as the band intended" when they released it. This is the first time I listened closely to the remix along with you and there where several things I picked up on as difference. In "Back In NYC" where the line "No time for romantic escape..." That additional background vocal of No Time.... was not in the original mix. And in the "Colony Of Slippermen" where you pointed out the voices on difference sides of the headphones. That was not separated like that. Certainly there are alot more but those jumped at me while listening along.

Matthew Weber
>>67967933

Jesus' brothers are James, Joseph, Judas and Simon--no John, although John was the "beloved disciple."

Aidan McDonald

Remarkable album! And a fantastic accompanying video, thank you Nathaniel! I have loved this album for many years, and every time I listen I discover something new and delightful and thoughtful tucked away in the lyrics and musicality. "It" just really picks me up, dusts me off, and makes me take another look at myself in much the same way Rael is forced to. Thank you, Doug for the wonderful opportunity to hear this album again in a new light!

Chris Pegman

I realise I can be simple at times, but then again friends call me a thinker. I have however never plumbed The Lamb before. This from someone who ate, slept and breathed Genesis since the mid 70s (to be fair, my first interest in early teens/early 70s with Selling England). Doug, thank you again. I'm lost for words, (as you appear to have been just a few minutes before) finishing watching your thoughts and play through for the first time. The search to find out who you are, and so so much more within. Doug your unpacking, delivery and understanding is just so helpful, and your exhortation after the music stops so right too. You have made an album I have played often but struggled with for 40 years come alive, an album from a band that was a kind of compass to me. You see the irony - knowing who you are/direction (through art, the art of music). Must stop, it's night where I am, I shall sleep with newness. It is real.

Peter Wethman

Hairless Heart is all guitar. I believe Steve uses a volume pedal for the effect.

Peter Wethman
>>67981549

Seeing The Musical Box for the first time in November (COVID permitting). Really looking forward to it!

B Mac

Did you read the story in the album? I have read, I can't recall where, but I do recall reading that this is really about an acid trip. 'I got sunshine in my stomach' (ref to LSD)....and Rael almost doesn't come out of it until the very end...His brother 'John' is really himself which he almost loses. Of course it might not be too. :-)

B Mac

Electric Guitar with volume peddle plus he's also playing a classical nylon guitar

B Mac

Instead of going through the window, and go back, he chose to save John (who is really himself)

Michael Hernandez
>>69941306

To "Orange Sunshine", a Branding of L.S.D., made famous in the late 60's. A recently made Documentary talks about the two Chemists, who made and highly popularized that then Concoction. It can be seen for free on the free Movie app called tubi.

Salvador Montoro Goethe
>>67970033

Wonderful how the voices of Peter and Phil complete each other, also the soft weeping guitar playing in the background, all led forward by the fast 16ths on the hi-hat. What a thrill!!! First time listening with earpods, yes, I know, what a shame, and I heard the fast congas very subtle in the background. Thanks Doug for this chance to revisit!!!

Salvador Montoro Goethe

HI,Doug, hi y'all :-), this time it was very different for me. I am 49 and listening to Genesis since I was 15. I am an aficionado drummer, and every time I tended to listen at the instruments, drums, the subtle weeping guitar, of course the huge keyboards.... But the video, the lyrics on-screen, and the ability to focus on the album for 90 minutes has changed everything!! For the first time I am fully aware of the compound of it all, and yes, you are right, I guess now I am more ready than I have been. Thank you for your rich content, and greetings from Spain! Olé!

Matthew Johnson

I feel that Peter's voice did not fully develop until after he left Genesis. You do start seeing what was to come in this album. He flexes his range in tone, timbre, dynamics, and pitch in ways he had not done before but will do more of later. You really start to hear the richness of his voice in Carpet Crawlers that would appear much more later. Carpet Crawlers is some of his best voice work. Best of his early stuff IMO. You also start to hear all the unique things he would do with his voice later, in this album. I heard Steve Hackett was not so involved in this album as he had personal issues going on when they were recording this. The band was on the top of their game here, not so much Steve though.

Ricardo Duarte

Maybe someone said it here already, but most of the times when you say "this could have been a guitar", it's actually a guitar! Steve uses a lot of legatto playing and volume pedal swells that take a lot of the attack of the guitar out. On Hairless Heart, for example, that's the guitar playing the solo.

Ken Slater

I bought the album on its release date which was actually delayed. So delayed that I already had a ticket to see the show at Birmingham Hippodrome, UK. Some Americans had to see the show BEFORE hearing the album. Ah hour after hearing it I knew Peter Gabriel was leaving the band. He had just written a major work about rebirth. Of course he was leaving. My friends argued with me vehemently. The Progmaster.

Anderson Davies

Another truly amazing eye-, ear-, and mind-opener by Doug! Big thanks for finally unlocking this masterpiece, which I had probably listened to 6 dozen times before already, to me! Loving wonderful pieces like "In the Cage" - "Carpet Crawlers" - "The Lamia" - "IT" I do not miss the guitar very often. Tony's keyboardplay seems to be unsurpassable and draws me in everytime I put on my headphones. Thanks a ton, or rather 16 tons for THAT review especially with the animation video by some artist whose name I missed (any hint in writing?)

Stephen Derraugh
>>67979370

Agree. Even the solos, mostly tone poems and the band, each, picking a slotasong, often akin to orchestral section(s) - the whole, whole, whole for the song. Hackett is beyond brilliant on this album as he just goes to the most amazing places — he paints beautifully/masterly. They all were peaking. I am often surprised people who have listened to the band for 50 yrs and still don’t get the banks/hackett twinning; TB has slyly inferred often — high praise — the enjoyed this playing/style with Steve — that is the ‘magic dust’ we love. Well yeah. Magic. We’re lucky to have it.

Steeleye 2112

After seriously starting a journey of awareness a couple of years ago this means so much more to me now in my fifties than it did when i was 20. For me the whole story is about all of our search for meaning and identity and all the episodes are elements of human experience that could be perceived as false paths or just experiences we need to pass through. Ultimately it is about realizing you can only save yourself and you can only do it through honesty and courage and by being your genuine self and living in the moment. This is not only supreme music but a deeply moving, hopeful message that chimes with what so many awareness teachers profess. I will always adore the work and expect to get more from it as I progress through more challenges.

Steeleye 2112

Thank you so much for spending the time to react to this properly as a whole album. It demands that level of commitment and once again it was a joy to listen to it alongside you.

Matt Leppard

Loved this. Thanks Doug for encouraging me to sign up and get this. I first heard it aged 16 and now I’m 51. I’ve not listened to it in full for years. But Steve is front and center on many songs. Just listen! Please do Pink Floyd Dogs on your free channel

Rick Kress
>>67957301

Phil Collins said he has never read it and probably never will. Bravo. Phil is smart. I read it and it was very disappointing. Gabriel didn't tell us anything, really.

Rick Kress
>>67967247

That is a sexual reference. The others are over active imaginations.

Rick Kress
>>67967393

No. This reference goes along with the 'Packaging' section which shows how we are all being exploited by the system. When people are trying to get to the top they think they are smart and can 'get in' not be caught up in the business and can then 'get out'. But no, they are just crawling on the carpet 'heeding their callers' (their bosses). They never get out. They climb the ladder (stair) but only arrive into a room from which they can never get out. Rael is the only one who has found Lilith. I think Doug was on to the game.

Rick Kress
>>67969183

Just as on Supper's Ready you can hear Phil's jazz/fusion goods. His Brand X skills are showing. So clever and nuanced. He just knows when to add or hold back to make the music better.

Rick Kress
>>67969682

Need to find my album and compare. I must say I feel I am missing something on the CD. You must be right. It is the re-mix.

Rick Kress
>>67970033

One of the things I love about Genesis and sets them apart is all the subtle mixing of voices and colors of sound. Very ambiguous. Tuning the guitar and keyboards to sound so similar is a trademark of this band. They exploit Peter and Phil's similar voices to wonderful effect. Even their lyrics tend to be ambiguous with several layers of meaning. Endless ways to listen. 'The Lamb' uses all their best tricks!

Rick Kress
>>67979370

Thanks for the link. Your suggestion of a tone poem is brilliant. Yes, that is exactly what they did. The approach is most definitely symphonic, but I couldn't put my finger on it. A tone poem. I think this album is one of the master musical works of the 20th century. Up there with Rite of Spring by Stravinsky when you consider the use of electronic instruments, jazz rhythms and abstract lyrics. A tour de force.

Rick Kress
>>67998080

Yet remember this is classic prog. The voice becomes one of the instruments. I find the lyric difficult but taken as a whole it is quite brilliant. Demented in some ways but it adds depth to the chaos of life. They were saying much the same in Supper's Ready. You must search for yourself in yourself. Find a way through. Your way through. Rael finds empathy, his humanity, and sees that everything is connected at the end. It may have been the LSD, but the feeling of unity with all the universe is central.

Rick Kress
>>68001503

The pipe works wonders in sorting out the music. With the lyrics, not so much.

Paul Mouradjian
>>68002799

BACK STORY OF ENOSIFICATION: As it so happened......Eno inspired Phil's solo career. They were recording on the same studio......Gabriel was with Eno and it seems Peter wanted more Enosification and Banks said "NO!....ENOUGH!" ...and that was the end of that...however....In exchange for Eno's time....Gabriel volunteered Phil's drumming to his music.....I believe this was Taking Tiger Mountain by Strategy and Another Green World period. so, Phil, not knowing what was going on went upstairs where Eno was recording. Saw how Eno was writing and playing music to his songs and said....AH HA! I can do this. Phil did the session for trade.

Paul Mouradjian
>>67998080

Actually....Rutherford was playing an Alto Guitar built by Rickenbacker for live performances so he had a low end and a guitar sound as well....which was placed on various degrees of fuzz. This information as told by the Musical Box as they introduced the players after performing "The Lamb..."

Paul Mouradjian
>>67998080

I have heard the interviews from Tony and his feelings abiut The Lamb. Tiny is the Control Freakazoid of Genesis abd Peter and He(the best of friends) would argue constantly.......now comes the Lamb in which Peter was writt2ing the story and lyrics exclusively and Tony hated that with a passion. .....Peter was also going through a family crisis as he and his wife almost lost their newborn. The band were all single and didn't give Peter an ounce of room....and could not understand why they weren't together. This is unquestionably Tony greatest work.....yet he claims not to like the story or " The Lamb..." in clever ways.......He loves hits. ....Tony is one to.always see the glass half empty and nothing is ever complete.....well almost......he loved the "hits " and the $$ that came from it. Anyway.......when Tony talks about the Lamb it was a period of.time he had to let go of his authority band wise....but as we can see and hear.....he made up for it on the musical direction ad this album is almost all keyboard-centric. Genesis and Yes argued immeasurably about the music ...etc......amazing they stayed together as long as they did....well....Yes had the revolving door.

Rick Kress
>>68002799

I felt much as you did on my first hearing. In fact I ignored the words for decades, only reveling in the incredible orchestration. (it was only during Covid that I dove into Peter's lyrics) Watching this marvelous illustration is great, but I find it tends to reduce the music to a movie sound track....and I hate that. Using the effects of Brian Eno just adds another marvelous layer of avant-garde to this work. And it is so well done in my opinion. I am now of the opinion the lyrics are up at the level of the music. There are a lot of interesting ideas winding through the piece. I am impressed Doug picked up on so much during one listen, both musically and lyrically. But there is so much more in there!

Rick Kress
>>68129832

Great comment. As Doug said Rael is insecure. I think the lamb (humanity?) is his first understanding that he is emotionally bottled up and hiding within his gang, but that gang life will kill him (windshield?). The whole coocoo cocoon is his hiding and he realizes he is trapped, caged, and afraid. As he starts feeling his heart and not just anger, he ventures into sex, but without feeling. When he arrives with the Lamia, he is ready for true love. He feels the loss in their dying. By the end he finds he can love and be a human being even without sex (without his scubeedoo). He finds there are more important things when he gives up himself for his brother, John. He finds himself.

FallenAdam

As a kid listening to this, as I was still very much learning English, before reading the story, I always imagined the story to be a version of Terry Gilliam's Fisher King movie. And it's not that far off, that I still kinda do.

Bryan Sheehan

I first heard this when I was 22 and never looked back. This album has been one of my stranded-on-a-deserted-island albums for almost 30 years. I'm glad to see you've given it a listen. Thanks!

Ray Sincere

My favorite visual representation of The Lamb Lies Down on Broadway has always been the series of paintings by Herb Leonhard. https://web.archive.org/web/20071008173400/http://www.herbleonhard.com/Genesis/Genesis.html There certainly was guitar in "Hairless Heart". Electric guitar with volume pedal. Didn't you hear it? That keyboard, that you hear in the background, providing all those arpeggios: the RMI Electra-Piano. Such a beautiful sound. The liner notes were pretty clear that the Supernatural Anesthetist was an embodiment of death. "Silent Sorrow in Empty Boats". No chorus effect. Just one of the Mellotron choir sounds. The slippermen were treated very conservatively in this video. On stage, they were much more grotesque. https://steamuserimages-a.akamaihd.net/ugc/393297711637462878/800485BA901F61A36F799ADE5F097EB19BCD78AA/ That's precisely what happened with the slippermen. Rael's genitals are in that tube. Which John, of course, would not help Rael chase after. You remember, Rael said, "Don't delay! Dock the dick!" And if you were listening to the original mix that came out on vinyl, right at the end of the instrumental section, you would have heard a deep, angry buzzing, like a chainsaw, and then a hard snap. After John has done him wrong, Rael still decides to do the selfless thing and rescue him. The turning point. Rael has always been out for himself. Now he sacrifices when he wants in order to help someone else. My experience? I cried at a few moments.

BRIAN MILLER

Where can I find episodes 1, 2, 3 ?

Skyline Drifter

IMHO, the 2008 remixes produced only two worthwhile listens: The Lamb and Trespass. The rest of the Genesis catalog was mangled and distorted in an embarassing manner through unholy hands in charge of the digital mixing software and what I'm guessing was a CEDAR console. A ridiculous combination of no noise and compression caused everything to be overdriven beyond belief. A total clipping fest if you view the waveforms.

Rick Kress
>>67957452

Interesting. Will have to re-listen with these references in mind.

Edward Wright

Thanks for the insightful analysis. Regarding Carpet Crawlers: There is a theory that the song is a metaphor for conception. It can still represent more general observations of society. It's allowed to do more than one thing. I just know that my personal experience of the song shattered the more I considered the conception connections.

Arrow2theACL
>>73874526

On Doug's main YouTube page on the right side by the Patreon link, there is a link to a excel directory that has a direct link to all Doug's reactions.

BRIAN MILLER
>>73874526

Arrow2theACL : I was asking about Patreon posts for members only. I found them after realizing there is a bug in the Android app for Patreon, and a workaround which allows me to scroll all the way back down to past posts if I access it a certain way (from list of who I support on Patreon, clicking Doug's name, then quickly scrolling many times)

Noah Bryant

As to what Skyline Drifter said, The Lamb and Trespass are a little better than the other '08 remixes in terms of mastering quality, but what many may not realize is that Nick Davis accidentally used scrapped drum tracks instead of the correct ones on several tracks on The Lamb, and I also feel that some of the punch was taken out of The Colony of Slipperman. As far as The Lamb is concerned, I feel the original master is flawless the way it was intended. The only obstacle is finding it on a good recording medium, of which the best I've heard is the rare 200 gram Quiex vinyl re-pressing from either 2001 or 2002. It's difficult to identify without the original stickers, though, because the label and serial number are identical to the first pressing. My brother was lucky enough to acquire it when it came out, and we still have it, but we had to sell off our Technics 1200 turntable and Bellari tube preamp during hard times, and decent turntables are expensive. I hope I eventually have the chance to listen to it another 300 times. I know that the original tapes used for the albums' remixes were in such bad condition that they literally had to be baked in an oven to transfer them to digital, which is in itself a destructive process. I just hope Nick Davis didn't decide to compress the raw digital transfers before mixing, because if he did, there's no chance of ever having the good Genesis remixes we all deserve.

Dave Vick

Rumor has it the idea for the entire 'Lamb' album (all four sides) came to Peter Gabriel whole-cloth from an acid trip. Take this for what you will, salted to taste... Also: Verrazanno?!? Dude; the story happens in MANHATTAN, not Brooklyn or Staten Island. It's the GW Bridge.

Ray Sincere
>>74684670

Well hang on a moment. Tape baking is not a destructive process, from what I've read. We don't know everything about it yet, like how many times it can be done. But it can take old tapes that would be a bit risky and render them safely playable. It definitely beats playing the tapes on a machine and having the oxide shed. THAT would be a truly destructive process. And honestly, baking seems to be pretty common these days. It isn't at all unusual. I do think, though, that Nick Davies did a bad job when making the remix. I'll elaborate for those that haven't heard it. There are some things he fixed. There were some tracks where the vocals were a bit too quiet, or the backing was a bit too quiet. And on "Back in N.Y.C.", he did the backing vocals a solid ("No time! No time! No!") by leaving off the tape wobble effect, allowing them to actually be heard. But there were also places where he introduced distortion, like in the first song, "...at night is verEEEEEE bright...". And he over-emphasized certain frequencies, and made it harder to pick out the different instruments in the mix. They used to be so nice and clear. Going back to "Back in N. Y. C." again, the introduction of the piano in the second set of verses was so clear and present in the original mix. It created such a change in tone. In this newer mix, that change is lost. The piano just goes in and blurs into everything else. And then there are the instruments that got short-changed. Same song: there was this wonderful synth entrance after "so I'll burn it to ash". Comes in in the right channel, big and fat, really makes an impression. In the remix, it's still included, but it isn't panned anymore, and it's too quiet, and it gets blurred into everything else. That's a good word for this mix: blurry. Another big change that everyone notices: when Rael has his genitals cut off in the original version, "'Don't delay! Dock the dick!' I watch his countdown timer tick!", we get to the last quarter of the instrumental interlude, and there's an angry buzzing sound like a chainsaw, and finally a thick crack almost like a bone snapping. Gone in the remix, maybe because it wasn't on the multitrack. Other, subtler things go missing, too. Some extra whizzes and sounds in "The Grand Parade of Lifeless Packaging" that made it feel like even more of a party. There were a lot of places where backup vocals got lost, too, as on "In the Cage". And what did Nick do to the bass throughout this album? It used to make such a powerful thump! Now it's been compressed, over-saturated, whatever, and you already know what I'm going to say: blurred into everything else. I have to say, too, I hate the way Genesis isn't giving us a choice anymore. Go to YouTube or any other streaming platform, and they'll give you the remixes but not the original mixes. For all the albums, I think. It's bull, taking that away from us. And having seen the differences in Nick's remix of The Lamb, I'm honestly wary about what I'll find with the other albums. I mean, when Doug reviewed "Supper's Ready", I noticed the difference in the timing of "It's been a long, long time. Hasn't it?" But other than that, it sounded like a John Anthony mix. (They even got the pot belly — name THAT reference!) So maybe the differences won't be so bad. But I'm still wary.

Ray Sincere
>>74761306

Well actually, the story was worked on and revised plenty. There are leaked rehearsal tapes that show different songs flowing into one another, which ended up being on different sides of the album entirely. Hipgnosis even has a document where Peter Gabriel outlines the story, and there are two options for endings because Peter hadn't decided which way he wanted to go yet. In one ending, John actually drowns!

Itsfun2listen

Gabriel was going through personal issues during the writing of this concept, and was also commissioned by William Friedkin to write the storyline to 'The Sorcerer' he was so impressed with the short story on 'Genesis Live' this is where Gabriel's association with movie soundtrack started, Tangerine Dream did the music and he wrote the storyline. Gabriel didn't do any drugs, he wrote this at the last minute because he was more interested in the movie script stuff. Plus the band weren't getting on very well at the time

Itsfun2listen

I recall buying this album on the day of release from Virgin Records in Lever Street, Manchester. The pressing were terrible, really thin vinyl and most copies were warped, had to take it back several times to get a decent copy, the gatefold sleeve was of pure manufacture as well, I believe this is because the record company tried to reduce the costs of manufacture as they didn't expect a double album. It was only until I was able to get this on CD, I was able to hear without stylus jumps and scratches.

Itsfun2listen

I have listened to this album a lot of times, this was an interesting experience as I have never tried to listen so closely and analyse the music and lyrics. My thoughts are it’s a story about adolescence, it’s easy to rebel and harder to conform to society

guillaume lo-a-njoe

Very nice to see you have experienced The Lamb the way you did. This album is my no 1 and absolute fave together with Pink floyd Animals. About the 'missing' guitar thing: Just have another listen and you'll find Hackett all over. At some points you took the guitar for a synth and that has also to do with Hackets sublime technique of using volume pedals/controls like there is no attack of the note but swells into it. Anyway, loved your take on the lamb. Thx Doug

Chris Ramsbottom

My husband and I are really quite tickled that you've completely glossed over the line "without you mankind handkinds through the blues" at the end of Counting Out Time...! Obviously it must be a UK euphemism for masturbation and unknown in the States!

Chris Ramsbottom

So what is the album about? For me, it is about maturity. You get through childhood (the imperial aerosol kid), into adolescence and sexual fumblings (Counting Out Time), and before you know it the Doktor is removing your sex organ and you are welcomed into the Colony of Slippermen. Old age brings wrinkles, decreased libido, unwanted lumps and bumps, enforced ugliness, and a slow decline into death.

Thijs Bollen (edited)

Comment edits

2023-06-01 10:10:03 this splendid combination of a long known music by me with this incredible right on spot animation was the reason to finally make the choice to pay for the doug (i haven't much to spend). fantastic! this visual artist really add a whole new dimension for me (i am a comics lover (tintin! blake & mortimer)). for the psychological aspects of the story, i think you've talked us through doug, you can join the guru-clan now, analysis approved. so what now? 'the wall' looks quite ordinary next to this mythological stuff. you've missed the extended prog of italy in the seventies. banco del mutuo soccorso with the soundtrack garofano rosso?
2022-02-09 00:27:03 this splendid combination of a long known music by me with this incredible right on spot animation was the reason to finally make the choice to pay for the doug (i haven't much to spend). fantastic! this visual artist really add a whole new dimension for me (i am a comics lover (tintin! blake & mortimer)). for the psychological aspects of the story, i think you've talked us through doug, you can join the guru-clan now, analysis approved. so what now? 'the wall' looks quite ordinary next to this mythological stuff. you've missed the extended prog of italy in the seventies. banco del mutuo soccorso with the soundtrack garofano rosso?

this splendid combination of a long known music by me with this incredible right on spot animation was the reason to finally make the choice to pay for the doug (i haven't much to spend). fantastic! this visual artist really add a whole new dimension for me (i am a comics lover (tintin! blake & mortimer)). for the psychological aspects of the story, i think you've talked us through doug, you can join the guru-clan now, analysis approved. so what now? 'the wall' looks quite ordinary next to this mythological stuff. you've missed the extended prog of italy in the seventies. banco del mutuo soccorso with the soundtrack garofano rosso?

Éric Gagnon
>>77224767

Yeah, I viewed the Musical Box do The Lamb on stage, and they're quite thorough in their reconstitution. I was amazed about how much guitar there was in there! Often, they sounded quite keyboardish

Alan Wheeler

I have to thank you, Doug. For as long as I have known this album, I have cherry picked which songs I listened to. Your reaction lead me to listen to it straight through for the first time.The only downside is I am blind and unable to see the animated video you used for the reaction. It must be awesome! Anyway, thank you, again, for sort of guiding me through this album.

Richard Mason

This has long been my favourite album if all my time. You ask if its different now to the first time? I honestly think that the meaning is different every single time you listen to the album. Depends on your mood depends on what’s happening in the world depends on the state of mind I suppose but the delicate parts and the rock parts are just intertwined beautifully and hear something different every single time you listen to it. I still wonder if it’s an introduction to Phil taking over in the band On vocals because there’s parts of it you think are Pete singing but they’re actually Phil well done for enjoying this rock masterpiece but do make sure you go back to listen to it again and again because it never ceases to reward you. It’s an album to listen to in an evening from start to finish with a glass of whiskey or two. Thank you for doing this Doug I look forward to many more.

Jeff Norman
>>67967393

Double meaning (at least). Along with the "packaging" you refer to, I think it's also about identity: if you feel trapped in "the system," the only way out is to go IN...to yourself, to truly understand who you are. Then you stand a chance of getting OUT.

Tony Wawryk

Saw this performed live back in 1975 with PG still in the band - they played the entire album, followed by Watcher of the Skies and The Musical Box. It was absolutely epic. There's barely a weak track across the four sides, and some are outstanding - Carpet Crawlers, In the Cage, Silent Sorrow in Empty Boats, Back in NYC...superb album.

Bill Oboczky

Not my favorite Genesis album, although I feel there are some strong tracks here. I remember someone saying that they felt the 'big payoff' of the end of the story felt like it was missing, and I have to agree. "IT" is happy enough, but a big majestic reprise of the opening track(s) would have been a more satisfying conclusion to the story.

EphesiansSix

Wow, Doug. What an amazing undertaking. I really felt like I was listening again for the first time along with you. I did talk to the screen a few times (aka you lol) saying things like "that is a guitar" or "wait Doug wait...look at the screen!" 😆. I haven't combed through all the comments, but I can say the piano work you compared to Hans Zimmer, Tony Banks used a crossover hand technique and that is how he is able to knit together those notes so closely. When you commented on the WTC being built, time had reversed at that point...going back to Rael's youth/teenage years, as the WTC was complete at the beginning of the video if you look back :) This album definitely is a journey of self-discovery...some people think of the Lamb as the Messiah, lying down and dying for his friends and therefore Rael becomes a lamb in his own right, sacrificing his life for his brother instead of going back to what was familiar, yet miserable. He chose selflessness for once in his life -- and that is exactly what it cost him. Others think it's a giant acid trip or possibly a nervous breakdown, or that he in fact gets hit by a taxi (the "splat" entrance beat to "Broadway Melody 1974") and dies and this whole thing is his grappling with the afterlife and the window represents getting "revived". A lot of the imagery in the album is meant to be absorbed and listened to and not necessarily understood with a sound and logical mind. The music on this album does in fact grow up quite a bit and "Back in NYC" is literally Peter Gabriel invoking the punk scene in New York- leather jacket on Rael and all. This album was also a very intentionally American album (references, etc) because the previous effort, Selling England By The Pound, was exceedingly and purposefully English. Peter chose to take the focus off the English elite and base his story around a poor half-Puerto Rican kid from the barrio. What contrast. The music is absolutely fantastic - to the point where it's so beautiful -- adjectives almost do it an injustice. There aren't enough describer words for this effort of genuine genius by Genesis and a proper swan song for Gabriel as he announced he was leaving before the tour began. Which just in my opinion increases the value and quality and emotional impact of the album. As for the guitar, Steve Hackett has said in numerous interviews that he had a hard time getting guitar bits in as it is heavily a keyboard album. So the bits of him you hear are few and far between, but a couple times what you thought was keys was Hackett on assorted effect pedals. I don't know if the album would have the same texture if there was more guitar. It just is the magical and magnificent effort that it is the way that it is...but this also echoes sadly that Hackett would only remain in the band one album longer than Gabriel. A foreshadowing of his guitar prowess not really being a necessity of sorts any longer. And then there were three...right? (Enter 80s pop Genesis...) Also, the last lines you hear...it is real...it is Rael...if you condense the last two words you get "It Israel" - so this effort is full of Christian and religious imagery as well as mythology and just flat out immoral craziness. Rael gives hope for all who are lost that even if their 33rd door leads to death that everyone has a purpose -- and you nailed it Doug. The purpose IS the journey. Mad props to taking this on and doing it in one take. I admire you for taking this on and this was a tremendously wonderful reaction video and very fitting for EPL. Thank you for this. Oh and PS: yes he does lose his **ahem** "undercarriage" - Doktor Dyper does clip that off and puts it in the "scoobiedoob" electric yellow tube. You got that right. The lyric that goes with that happening is Rael saying "Don't delay/dock the dick" - yikes! Also The Raven...The Ravine...similar eh? Nice play using Nathaniel Barlam's video too! It's simply divine. I hope you were able to go back and listen again a few times. It just keeps getting better. Like an "all you can hear" buffet of sound. Oh and yes..."Counting Out Time" was a single, but not a successful one. Gabriel and the rest of the band think the lyrical content was too risqué for a pop single. It was released as a single but didn't go anywhere. The band had more success just playing shows than using the radio for success - well at least for the majority of the 70s anyway. 😉 As a matter of fact they toured this album and would play the whole thing (along with costumes and characters that Gabriel was now famous for). The US Tour began before the album was even released. Can you imagine being an English band playing in America -- a country just getting the hang of what you're about and liking it - and then playing not one single song the fan base knew? Bold and courageous and in your face and unafraid to take chances. That was Genesis. RIP to the Gabriel era. And the Hackett era as well. Thanks to you lovely lads for leaving us with some of the best music on Earth to remember you by! Long live The Lamb Lies Down On Broadway. 1974 - FOREVER!! 🙌 🙌 🙌 🙌 🙌 (Those hands kinda look like moths don't they? Hah. How cool - didn't plan that!) Love ya Doug! This was such a special episode for me! Cheers! 🙏❤️ **Also Nathaniel does a similar art video for Supper's Ready! It's so good!! And okay okay...now I'm done. Hard to stop talking Lamb once I get started! Thank you for reading this comment (essay lol) Doug, and anyone else who enjoyed reading it. I poured my heart out about it, that's for sure. Just like you did! So much appreciation! All the feels Doug, thank you!! "IT is only knock and know all...but I like IT..." (fades out)

EphesiansSix
>>68002799

Interestingly enough Tony Banks in interviews is slightly annoyed (maybe more than that?) that Eno even had a credit on the album as he merely contributed vox effects on a few songs. So your oversight Doug would not have hurt Tony's feelings 😆. The effects are so cool tho! Especially in "The Grand Parade of Lifeless Packaging"...so great!!!

Chris Ramsbottom
>>85413578

Steve Hackett was in for two albums after Peter left: A Trick of the Tail and Wind and Wuthering. He left just before Seconds Out, because he'd been mixed too low in the production.

EphesiansSix
>>85413578

Oh shoot! I always forget about Wind and Wuthering! I don't listen to much post-Gabriel Genesis and that album is certainly no exception. Thanks for the correction! :)

Paul Halicki

New Patron here... Just saw the Extended Play list and saw this is on it. Fantastic! Need to listen a little later.

Paul Halicki

Before I watch to your reaction: I think Lamb Lies Down and Quadrophenia are the two best "rock operas". Tommy is in the mix but not nearly as good as either of these two, imo.

Paul Halicki

"Why didn't I catch that last time? Maybe because you weren't ready." It's so weird: The best videos you do are the ones that are about music I've listened to for years. But in your first take you seem to get more insight into the meaning of these pieces than I got listening to it since the 1970s. But I have to remind myself: When I first heard this I was a young teen and didn't know, didn't understand, enough about life to get the meaning you get with your critical informed ear. I listened to this hundreds of times before I was ready, but your first listen, you're more than ready with your life experience.

sam theiner

Sorry, only just watched this one. Sorry, also, if I'm the 10,000th person to point this out. But, I notice that Dr. D. does not seem to be aware of the volume effect pedal (e.g., Dr. D. complains that the first melodic part of "Hairless Heart" "could have been" played on guitar, when in fact IT IS being played on guitar.) One of the main reasons to use a volume pedal is to SWELL the attack of a note. (Some players who play Stratocasters do this with the volume knob on the guitar itself, because the knob on that model is so close to the strings.) Overall, there is way more of Hackett on the Lamb than Dr. D. seems to think because much of it is either incorporated as part of the "orchestra" or has a synth-like attack or tone to it. https://www.sweetwater.com/store/detail/EB6180--ernie-ball-6180-vp-jr-250k-volume-pedal-for-passive-electronics