THE LAMB LIES DOWN ON BROADWAY

1. The Lamb Lies Down on Broadway piano arpeggio anchored in our unconscious, the bass, the vocal that changes from the usual Archangel, voice that tears, that even irritates, that disconcerts; and then the delicate break, phew Peter comes back to us, Steve's very typical guitar floods our ears and reassures us; we have entered into a concept; that I was able to hate this album at the beginning, and today it helps me to persevere in consensual releases 2. Fly on a Windshield ah good news the title is chained, and then there is this characteristic latency, the sound worthy of GENESIS explodes here; the rapid drift with the plaintive guitar, the fat organ, everything is there to make you dream, close your eyelids, you are there; a very dry pad and 3. Broadway Melody of 1974 arrives captivating, an alkaline fountain on a vocal fade and then this finale where the Mellotron brings this hackettian arpeggio, certainly from Olympe before continuing on 4. Cuckoo Cocoon and its second more marked arpeggio, Peter commenting on the story, yes this story that everyone tried to translate in their time, without the networks, without anything, just like a big guy. In short 'Cuckoo Cocoon' that we sang while miming the Archangel's flute; no time for 5. In the Cage with this captivating bass beat, taking... taking you by surprise; the rise, we keep our breath, the Gregorian choir, the organ, ah this rise, ah this riff, ah this guitar in reverberation; small hiccup with the voice too high for me, yes I am harsh; fortunately the break makes me forget this detail and sends me under Tony's fingers who will fiddle with one of his keyboard solos as he did so well; I would have almost forgotten that he was the driving force of the group; pad and the prog with the music travels in drawers: a moment when time stops... And it starts again, it starts again, it doesn't stop, the height of quintessence without knowing it; strange dark outro, end; I get up, I'm going to change the CD. 6. The Grand Parade of Lifeless Packaging and the bucolic atmosphere of Albion, the martial air, crazy folk genre, the Charisma madness as I like to write it; festive and disconcerting rise

7. Back in N.Y.C. follows, with the explosion, the scream, the monolithic keyboard, the persuasive drums. The title flayed like the lamb which made me run away, to move on to the next title, I could not accept that from GENESIS; the finale begins to take shape by mixing chorus and rhythm before launching 8. Hairless Heart for the title that I kept looping, that makes 1-1. This concept, the unstoppable melody on the keyboard that throws you into limbo, hop we start again for a second layer, the Nivana is not far, and 9. Counting Out Time arrives, another Charisma tune worthy of the CAROLL universe; creative madness, rhythm, enthusiasm, cheerfulness, desecrated GENESIS that dares the trumpet, well I write and meanwhile Peter speaks, sings, talks and explains ah yes and stop shouting so we can hear, ah it was in the title, I get lost 10. The Carpet Crawlers ... arrives with muffled steps, the nursery rhyme that glues you to your seat; a slow stratospheric ballad that doesn't stop, a magnified conglomerate between the voice and the instruments, a pure delight 11. The Chamber of 32 Doors arrives, yes concept that means we're waiting even more for the sequel; Steve ahead infusing his magic guitar, the one that also gave the band its golden letters; an intro like we do every 10 years; hop Mellotron, no Moog melting and dripping guitar to be transported into a musical world without history; the title that you listen to religiously without thinking of dissecting it, yes a concept.

1. Lillywhite Lilith nervous, aggressive start with this riff from hard, even soft; this riff which quickly transforms into a tone worthy of a sound from the 60s, cheerful, catchy, in which I already find the future scales of the Archangel solo; in short a beautiful start for 2. The Waiting Room and its psychedelic tone which must have stuck more than one; its avant-garde sound going from spatial to tribal jungle, from the violin-bells agreement; a tinkering with airplane noise, far from the known and hoped-for GENESIS, a bit of chickens... and this sound which is searching for itself, like in '2001', this progressive door which brings this solemn air 3. Anyway and the piano arpeggio, and the dramatic ballad, for the interlude piece; short title not lacking in prog pep with this frantic piano break and the dithyrambic finale that sends far, very far 4. The Supernatural Anaesthetist changes scale and gives pride of place to the syrupy guitar; title that can still be listened to without thinking, the good times when it is imprinted in the brain forever, which makes me write that in the past it was still better! 5. The Lamia change, word of a FB friend, melody declined by the piano before leaving on a Genesisian spleen background referring to the whole universe of the previous albums; it is soft, mysterious, velvety, crystalline, aqueous, it is divine above all and dramatic with Peter again who raises his voice on the Hackettian finale; the whole is sprinkled with Phil's drumsticks and Mike's bass 6. Silent Sorrow in Empty Boats comes as a final outro with the sound of 'Close Encounters of the Third Kind' before its time; ethereal choirs, waves of musical feeling, endless waves that come and go in your brain and continue to make you meditate on the music of GENESIS 50 years later.

7. The Colony of Slippermen arrives, we are settled, we changed the LP, yes before I had time to listen to LP and CD. In short an instrument setting, they could not have done it before, a bit of Japanese too, it is looking for and... 1'45 the title finally starts, the craziest title of the album in 3 drawers, a real rock opera fresco on history, the famous story of Rayen, in short the chro goes on the subjective because time shortens, contracts and already goes to 8. Ravine for this cinematic space before its time; a vibration, a breath that drags on, seems to never stop, musical paradox 9. The Light Dies Down on Broadway comes in the finale before its time, another space time, the Mellotron sparkling for the alter ego of the lamb with his more romantic flute here and a saw 10. Riding the Scree with the clean cut, velvety Banksian solo before the vocal, the syncopated tone, percussive sound effects and the chorus explosion, Tony printing the air 11. In the Rapids in a gap-filling interlude, acoustic arpeggio, soft nursery rhyme launching 12. it for the real finale and Rayen's deliverance; in short all the heroes and musicians are on stage and wiggle for the happy end of this very complicated concept.

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