"I think this may be Genesis' peak. If not, you could just select the preceding or succeeding album (or, hell, even A Trick of the Tail) and get little resistance from Genesis fans. This album shows that Genesis was evolving in a "two steps forward, one step backward" mentality; they continued to ...""I think this may be Genesis' peak. If not, you could just select the preceding or succeeding album (or, hell, even A Trick of the Tail) and get little resistance from Genesis fans. This album shows that Genesis was evolving in a "two steps forward, one step backward" mentality; they continued to perfect their sound and musicianship, but they also brought back previous elements to their style, such as the whimsical and folk-ish tendencies of Trespass and Nursery Cryme. It's a very British record, as the title would suggest. The album is highly melodic, intricate, whimsical, and warm; it's not cold like a King Crimson or ELP album, but it's also not as folksy as a Jethro Tull LP. I see it as a more refined and mature Nursery Cryme, mixed with some of the majesty and power of Foxtrot. In a world: balanced.
All the songs are great, BTW."[+]Reply
""The Lamb Lies Down on Broadway" is probably Genesis's most exciting release. The long list of numbers of varying length and style makes it an album that you do not easily get an overview of. The story itself (yes, it is a concept album) is not very easy to catch, and personally I was never reall..."""The Lamb Lies Down on Broadway" is probably Genesis's most exciting release. The long list of numbers of varying length and style makes it an album that you do not easily get an overview of. The story itself (yes, it is a concept album) is not very easy to catch, and personally I was never really caught by it. It's the music, which for me makes thi a special album. Some of the group's most beautiful compositions can be found on this album. As goes for the previous three albums (Nursery Cryme, Foxtrot and Selling England) a lot of experimenting goes one; especially concerning rock song structures. These breaks from predictability make Genesis (with P. Gabriel) one of their era's most interesting bands.
Of course there are also many songs where the melodic and more traditional songwriting is predominant and it is among these the key tracks of the album are to be found. The songs "The Carpet Crawlers," "Cuckoo Cocoon", "The Light Dies Down on Broadway" and "The Lamia" are all well written and performed that they still give a chill down my spine.
The short instrumental "Hair Restless Heart" is a number that contradicts that instrumental tracks are always a little boring. "Lily White Lillith" is arguably some of the best rock the band ever recorded.
Among the more complex numbers "Anyway" and "In the Rapids" are among the favorites. And we must not forget the title-track and the single "Counting Out Time"
Part of music is strongly linked to the context of the album and may hardly work very well outside that context - this applies in particular for some instrumental passages.
Unfortunately, Peter Gabriel left the group after this album, and although ithe commercial success continued, much of the magic disappeared with him.
Here, several decades after, the Genesis' albums with Gabriel still appear relevant and exciting, while most subsequent albums seem time-typical and less interesting than they seemed in their time.
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"More accessible, consistent, and well-produced than its two predecessors and two successors, Foxtrot remains the peak of Genesis' catalogue. It just barely edges out The Lamb in my opinion, because unlike that album, there is absolutely zero filler here. Nothing but brilliant arrangements, lyrics...""More accessible, consistent, and well-produced than its two predecessors and two successors, Foxtrot remains the peak of Genesis' catalogue. It just barely edges out The Lamb in my opinion, because unlike that album, there is absolutely zero filler here. Nothing but brilliant arrangements, lyrics, vocals, and instrumentation throughout. Best prog record of 1972; maybe the best prog record of all time. There are very few albums that come close to this one, and even fewer that surpass it. The ultimate artistic statement of this lineup"[+]Reply
"From the opening notes and drum-fill and cymbal action, this one sounds epic. Maybe it had to following the lamb... and peter gabriel's departure? Phil begins the story of "dance on a volcano" in the middle of the action and that's how the entire album feels -- in the middle of a great work. If i...""From the opening notes and drum-fill and cymbal action, this one sounds epic. Maybe it had to following the lamb... and peter gabriel's departure? Phil begins the story of "dance on a volcano" in the middle of the action and that's how the entire album feels -- in the middle of a great work. If it wasn't for the lamb..., it'd be this or selling england by the pound for my 70s favorite genesis. Outside of Gabriel's vocal and flute absence, you'd never know he left. One of my favorite "silent" moments comes in the silent precipice between "entangled" and "squonk". i love the lyrics of both "entangled" (encompassed in a hypnotizing "freudian slumber empty of sound"), "ripples" (a mesmerizing tale of life's beauty) and "mad man moon" the best on the album. "mad man moon"'s the best of the bunch, sporting these lyrics: "Was it summer when the river ran dry,/Or was it just another dam?/When the evil of a snowflake in June/Could still be a source of relief. " and "If this desert's all there'll ever be/Then tell me what becomes of me./A fall of rain?" and "a prison in sand Is a haven in hell,/For a gaol can give you a goal" and "Within the valley of shadowless death/They pray for thunderclouds and rain,/But to the multitude who stand in the rain/Heaven is where the sun shines." and closer "Forever caught in desert lands one has to learn/To disbelieve the sea.". I love the pickup of the piano and fast drumming nearing half-way through 'til about 2 minutes remaining. i really dig this line in squonk: "All in all you are a very dying race/Placing trust upon a cruel world/You never had the things you thought you should have had/And you'll not get them now,/And all the while in perfect time/Your tears are falling on the ground..". "robbery, assault & battery", while not the most poetic genesis tune, is still a lot of romping, humorous fun -- "a trick of the tail" Genesis would revisit the "fading beauty" tale of "ripples" again on We Can't Dance -- i especially like the eerie instrumental middle section. "[+]Reply
"What a way for the classic line up to stamp their mark...The Musical Box, an outstanding piece of music and storytelling. I only wish Stagnation had been done by this line up, even The Knife. For Absent Friends is a nice introduction to Phil and Steve, a kind of keep off the grass number and a th...""What a way for the classic line up to stamp their mark...The Musical Box, an outstanding piece of music and storytelling. I only wish Stagnation had been done by this line up, even The Knife. For Absent Friends is a nice introduction to Phil and Steve, a kind of keep off the grass number and a theme Steve would revisit plenty on his solo work. Hogweed doesn't interest me. Another highlight is Seven Stones, the instrumental section is awesome. Harold The Barrel is a good story but I particularly like Harlequin and it's probably my favourite on the record. I love the harmonics and the pastoral shade it paints. Fountain is a great closer."[+]Reply
"A lot of this album, from "eleventh earl of mar" to "all in a mouse's night" through "unquiet slumbers..." seems inspired by the song "a trick of the tail". The upbeat songs have the energy of "robbery..." without the goofiness (except for "all in a mouse's night"), more introspective, and the ba...""A lot of this album, from "eleventh earl of mar" to "all in a mouse's night" through "unquiet slumbers..." seems inspired by the song "a trick of the tail". The upbeat songs have the energy of "robbery..." without the goofiness (except for "all in a mouse's night"), more introspective, and the ballad pieces have a heady calm about them. The best track is easily "one for the vine", a cyclical tale of hope renewed, capturing the early 70s magic (lyrically recalling the lamb...) in the late 70s mood well, as does "eleventh earl of mar" to a lesser extent. "one for the vine" is one of their "epic" songs right up there with "firth of fifth", "the lamia" and "the return of the giant hogweed", to name a few. "afterglow" and "you have your own special way", both ballads, were the closest things to a hit on this album, "afterglow" a precursor to the approach on "follow you, follow me"."[+]Reply
"Definitely one of the weakest albums from my absolute favorite band. The album really seems confused as to which direction it is going. Some of the songwriting is pretty mediocre here. Especially on "Snowbound" (Hey there's a Snowman/Hey, Hey what a Snowman/Pray for the Snowman/Ooh, Ooh what a Sn...""Definitely one of the weakest albums from my absolute favorite band. The album really seems confused as to which direction it is going. Some of the songwriting is pretty mediocre here. Especially on "Snowbound" (Hey there's a Snowman/Hey, Hey what a Snowman/Pray for the Snowman/Ooh, Ooh what a Snowman). As a comment below me said, this album is very atmospheric and works well as a fall-time album. I also think that the two final tracks are standouts. Overall, this album is just average, and it could have been so much more. Well, at least we have the rest of Genesis' discography to keep us company. "[+]Reply