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The Lamb Lies Down On Broadway Original recording remastered

150 customer reviews

Price: £15.03 & FREE Delivery in the UK on orders over £20. Details
Includes FREE MP3 version of this album.
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The Genesis of the Seventies was a very different group from the Genesis of the Eighties and the Nineties - although not as different as some people would like to think.

Most of those who picked up on Genesis during the Eighties as their succession of hits encircled the globe had only the haziest idea of what had gone before. “In the later years there were people coming to our ... Read more in Amazon's Genesis Store

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Product details

  • Audio CD (23 Mar. 2009)
  • Number of Discs: 2
  • Format: Original recording remastered
  • Label: EMI
  • ASIN: B001R4MEUM
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (150 customer reviews)
  • Amazon Bestsellers Rank: 3,686 in Music (See Top 100 in Music)

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Disc 1:

Song Title Time Price
  1. The Lamb Lies Down On Broadway (2008 Digital Remaster) 4:52Album Only
  2. Fly On A Windshield (2008 Digital Remaster) 2:45Album Only
  3. Broadway Melody Of 1974 (2008 Digital Remaster) 2:11Album Only
  4. Cuckoo Cocoon (2008 Digital Remaster) 2:12Album Only
  5. In The Cage (2008 Digital Remaster) 8:12Album Only
  6. The Grand Parade Of Lifeless Packaging (2008 Digital Remaster) 2:46Album Only
  7. Back In NYC (2008 Digital Remaster) 5:45Album Only
  8. Hairless Heart (2008 Digital Remaster) 2:10Album Only
  9. Counting Out Time (2008 Digital Remaster) 3:40Album Only
10. Carpet Crawlers (2008 Digital Remaster) 5:15Album Only
11. The Chamber Of 32 Doors (2008 Digital Remaster) 5:45Album Only

Disc 2:

Song Title Time Price
  1. Lilywhite Lilith (2008 Digital Remaster) 2:48Album Only
  2. The Waiting Room (2008 Digital Remaster) 5:17Album Only
  3. Anyway (2008 Digital Remaster) 3:17Album Only
  4. Here Comes The Supernatural Anaesthetist (2008 Digital Remaster) 2:49Album Only
  5. The Lamia (2008 Digital Remaster) 6:57Album Only
  6. Silent Sorrow In Empty Boats (2008 Digital Remaster) 3:01Album Only
  7. The Colony Of Slippermen (The Arrival/A Visit To The Doktor/Raven) (2008 Digital Remaster) 8:11Album Only
  8. Ravine (2008 Digital Remaster) 2:05Album Only
  9. The Light Dies Down On Broadway (2008 Digital Remaster) 3:32Album Only
10. Riding The Scree (2008 Digital Remaster) 4:07Album Only
11. In The Rapids (2008 Digital Remaster) 2:22Album Only
12. It (2008 Digital Remaster) 4:18Album Only

Product Description

When it comes to making albums of epic proportions, few rival this magnificent production that a trip the band took to New York City inspired in 1973. The underlying story is of a street kid named Rael who, thanks in part to the realities of big city life, undergoes a weird and mystical transformation. Containing extended instrumental sections showcasing the extraordinary talents of Tony Banks, Steve Hackett, and Phil Collins, as well as the expressive vocals and often disturbing lyrics of Peter Gabriel, this is the album that placed Genesis truly on the map. --Paul Clark

BBC Review

It's no wonder that Peter Gabriel left Genesis after this album. It's the sound of a leader moving sharply in the opposite direction to their band. A showman onstage and a painfully shy man off, he'd been approached by The Exorcist director William Friedkin, impressed with short story Gabriel had written on the back of Genesis Live, with regards to him writing a screenplay. Gabriel took himself away from the rest of the group, who retreated to the country to write the music for what was to become The Lamb Lies Down On Broadway. Although the film idea came to nothing, the resulting album is occasionally confused, yet frequently brilliant.

The first disc contains some of the most visceral, thrilling music the group ever recorded - the dense 'In The Cage' condenses the side-long pomp of previous epics into eight exhilarating minutes; 'Back In N.Y.C', later covered by Jeff Buckley, is raw, aggressive rock; 'The Chamber Of 32 Doors' contains one of Gabriel's most soulful vocals; and 'The Carpet Crawlers' gave the group a standard which remained in their live set for years. The second disc, some very real highlights aside ('it.' 'Lilywhite Lilith'), could have benefited from editing. However, it is never less than interesting and still impossible not to listen to all the way through.

The Lamb Lies Down On Broadway, along with Tales From Topographic Oceans by Yes has come to be dismissed as reductive shorthand for all that is grim about progressive rock. However, concept aside (a sort of modern day Pilgrim's Progress centering on Rael, a Puerto-Rican leather clad street punk), this is dense, brittle music, that looks as much to harder-edge rock than to anything resembling a madrigal. The problem was, the rest of the band would have rather gone down the madrigal route. At the end of the world tour to support the album, Gabriel left the band. --Daryl Easlea

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Customer Reviews

4.5 out of 5 stars

Most Helpful Customer Reviews

64 of 65 people found the following review helpful By J. C. Bailey on 11 Sept. 2002
Format: Audio CD
A curious one this; a mass of contradictions. A sprawling, pompous prog-rock concept album packed with taught, snappy tunes. A showcase for the virtuoso musicianship of this most British of progressive bands, but featuring some of the most awesomely tight ensemble playing you will hear this side of a Bartok string quartet. This was the sort of music that punk rock was invented as an antidote for, and yet its obession with the phenomenology of inner city street life was two decades ahead of its time (rap is still going down the same graffiti-strewn alley today).
The story behind the stylish, surrealistic lyrics is that of Rael, a young Puerto Rican graffiti artist on the streets of New York, who finds himself catapulted into a symbolic underworld (a sort of Jungian Hades) where the meaning or possibly the meaningless of his former street life is played out in a series of surreal cameos involving a cloning (The Grand Parade of Lifeless Packaging), religion (Carpet Crawlers), various sexual urges and anxieties (The Lamia, The Colony of Slippermen, The Doktor, etc.), disorientation (The Chamber of 32 Doors), and death (Anyway, The Supernatural Anaesthetist). The final message about saving one's own self through self-sacrifice is almost but not quite religious, and its curiously cautious optimism does not at all clash with the rest.
This was the last album Genesis made with Peter Gabriel as principal lyricist and vocalist, and the last but two featuring the astonishing Steve Hackett (now a successful solo artist in his own right) on lead guitar. Provided you can cope with the odd few minutes of self-indulgence it ranks as one the band's best albums. It certainly contains some of the best playing and one of the best studio productions of their career.
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25 of 25 people found the following review helpful By A Customer on 18 Mar. 2001
Format: Audio CD
Brilliant! Moody, dark, mysterious and humerous all in one fine prog package. Even for those who can just take or leave Genesis this is a worthwhile purchase for anyone into prog or the concept album. Check out the keyboard work on 'In the cage' and 'Broadway melody' This album is timeless and strangely didn't sell to well on it's release in 1974. This is the last album Gabriel made with the band and in my view the best thing he has ever done.
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39 of 40 people found the following review helpful By P. Kelly on 30 Mar. 2010
Format: Audio CD
I was very fortunate to have seen the band on the UK Lamb tour back in 1975 with two nights at the Palace Theatre in Manchester. Absolutely brilliant and I can still remember the biggest impact visually on the first night was the identical figure of Peter Gabriel dressed as Rael and an identical dummy on the opposite sides of the stage at the start of the track, IT. Then it was a major stage stunt. It was impossible for a few seconds to understand what was happening with explosions and strobe lights but by today's on-stage graphic techniques probably very tame.

I have the original vinyl and the first CD released from 1985 (in my view this is a very poor recording). I also purchased the re-mastered UK vinyl box set but due to poor pressing of some of the other albums I gave up. Recently I managed to get a copy of the Atlantic/Rhino USA vinyl box set. Now I finally have a full vinyl re-mastered set that I am happy with. The Lamb re-mastered vinyl is excellent. In my view it lacks the higher frequency range in places vs the original but the bass/percussion is much cleaner and more pronounced in the mix. It gives a softer, less harsh sound.

Although in my view this album was the best recorded/produced of the albums from 1970, it was never one you could use to highlight the sound quality of your Hi-Fi system like for instance the Pink Floyd albums. For me with Genesis this never happened until ABACAB was released when Hugh Padgham joined the fold.

So to the re-mastered CD stereo mix, I find it excellent. Like all the others 2008 re-mastered CDs it has a different sound mix vs the original vinyls. I find it has what I like in a good CD: clear, clean, sound low background noise and the music fills the speakers.
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8 of 8 people found the following review helpful By Harry Lime on 5 Jun. 2006
Format: Audio CD
The Lamb Lies Down on Broadway defies categorisation. For me it represents the most imaginative document, both musically and lyrically, the band (and I do say the BAND) ever committed to audiotape. The musicianship is flawless and the arrangements are simply haunting. It's the little touches I find myself coming back to time and again - witness the eerie 50 second coda at the end of In the Cage; the gentle beauty of the instrumental break during Cuckoo Cocoon; the total wig-out of The Waiting Room; there really are too many moments which shiver the fur to list here.

From the accounts of those most intimately involved, The Lamb had a very, very difficult birth. A quick websearch will give anyone interested a good account of the inside story. Steve Hackett is on record as describing The Lamb happening 'despite him, not because of him.' It is a great shame, but often the fate of the artist, that he could not fully enjoy the creation of something which has brought such great happiness to its audience. For, whatever the tensions within the band at the time of recording, there is something about the production, to my knowledge the only 'studio' album in the canon recorded on a mobile unit, unlike any other. Recorded (and for the most part arranged, thought not necessarily written) at a remote location in Glosspant, Wales, with the Island Mobile Studio during August-October 1974, some of the sense of isolation the band have since described about the process, has transferred onto the recording and lends itself in no small part to the themes of dislocation and alienation portrayed in Rael's extraordinary journey towards self-knowledge.
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