THE LAMB LIES DOWN ON BROADWAY

Musical diversity and complexity is the trademark of this album and thus ranks it amongst the greatest albums. Needless to say it is perhaps 'the' concept album with an intricate, original, and creative storyline. Following Rael from the streets of broadway to the rapids really is a musical journey if anything is.

Aside from the positive gestalt the album can be discussed by songs. Because of its length and density it is important to conscientiously listen to all the music on the album. Although I like virtually every song on this album some I prefer over others. This is inevitable considering the spectrum of sounds showcased during the album.

After a good introduction with 'Lamb Lies Down on Broadway," the album shifts into a rocking feature with 'Fly on the Windshield'. Gabriel's vocals are particularly strong at the end of the song when he speaks/sings several verses. (The original LP attributes this part to 'Broadway Melody' but the CD considers it 'Fly...'.) Next comes thirty-four seconds of bliss in 'Broadway Melody of 1974.' This filler track is so melodic and agreeable I'm surprised it hasn't been written before in a more classical tradition - or maybe it has? 'Cuckoo Cacoon' follows.

Now, as mentioned by nearly all LLDOB fans, 'In the Cage' showcases Genesis like few other tunes of theirs. Especially phenomenal is the Banks keyboard solo in the early to middle part of the tune. 'Grand Parade of Lifeless Packing' is alright, as is 'Back in N.Y.C', although I must say I never really took to 'Back in...'.

Following a pretty 'Hairless Heart' Genesis provides us with some top shelf pop-rock in 'Counting Out Time'. A shorter and simple-to-listen-to song that I must say I love. It was an elusive like-it-the-first- time prog song. 'Carpet Crawlers' is solid, and is followed by one of my favorite tunes on the album: 'The Chamber of 32 doors'. The sincerity vocalized by Gabriel is atypical for all prog music because of the nature of most prog lyrics. However, the musical harmonies accompanied by the singing present a theme refreshingly life-applicable.

The second half of the album is terribly underrated. I encourage people to listen to it first sometimes if they cannot get into it, as listeners fatigue may be at work (although I never do this because I like the whole thing). 'Lilywhite Lilith' rocks solidy and then we have 'The Waiting Room'. This song unfortunately embodies much of what non-prog listeners fear in prog music; enough said. 'Anyway' picks up the pace awesomely lending itself to mint piano and a jamming solo a little later on.

'Here Comes The Supernatural Anaesthetist' is a little softer and allows room for featuring the variety of facets Genesis has to offer. This vein of constructively constrained - albeit by large bonds - variety endures through 'The Lamia' and 'Silent Sorrow in Empty Boats.'

Next we have an album core in 'The Colony of Slippermen,' which introduces significant plot (Rael finds a whole community of others who have also eaten from the Lamias and have turned rather - to Rael's shock - grotesque.) as well as musical creativity. This song certainly takes several listens. Just when we'd thought we'd heard it all from Gabriel, 'Colony' permits him evermore vocal liberty which he uses effectively, if not oddly.

The rest of the album always felt real connected to me both in its plot and music. Genesis saves their most breaking and creative songs for the end of the album (although not necessarily best). True devotees appreciate this final push that carries from 'Ravine'; through the reprise 'Light Dies Down on Broadway'; 'Riding the Scree' - a superb showcase of Banks; 'In the Rapids'; and finally the mesmerizing and bit confusing 'it.'

My favorite Genesis album and the pinnacle prog album.