In June 1974, Genesis found themselves at a pivotal moment in their career. The band, having evolved through various phases, was now at the cusp of creating one of their most ambitious and transformative albums: The Lamb Lies Down on Broadway. Genesis had entered a new phase, both creatively and personally. The group decided to record in a new environment, seeking a place that would inspire their next sonic chapter. They chose Headley Grange, a decaying old eighteenth-century poorhouse in East Hampshire, previously inhabited by artists like Led Zeppelin and Bad Company. But when Genesis arrived, it was in a dilapidated state. The previous occupants had left behind quite a mess, and the house, with its eerie atmosphere, only added to the tension brewing within the band.
Background: A Band at a Crossroads
Phil Collins recalls the haunting experience of living in the house with his first wife and stepdaughter. The place was filled with unsettling noises at night, rats were a constant presence, and the atmosphere was thick with an uncomfortable sense of decay.
Phil Collins, reflecting on the atmosphere, recalls, “I was there with my first wife and Joely and the place was alive at night due to the noises above you, the scratching. You walked out into the kitchen and rats, instead of scurrying away, they kind of stopped and look at you: ‘Yes? You’ve got a problem with this?’ It was horrible. There was a big garden at the back where you could just sit and see these rats going up the vines. Nobody cleared up, so there was food around. It was their house, we just visited it. It was quite amazing. I was surprised nobody was bitten.”1 Despite the chaotic environment, the band pressed on, working through the tension and the strange energy of their surroundings.
The band’s internal struggles during this time were significant. Genesis was transitioning from being a collective of musicians to a group of individuals dealing with family issues. Steve Hackett was going through a divorce, Phil Collins had just married Andrea and adopted his stepdaughter, and Peter Gabriel’s wife experienced a complicated birth. Tensions within the band were palpable, and Peter Gabriel, in particular, felt increasingly alienated from the group. The personal turmoil within the band mirrored the darker themes that would emerge in the album’s narrative.
Writing and recording The Lamb Lies Down On Broadway
It was in this climate of emotional and creative tension that Gabriel introduced the band to the story that would form the foundation of the album. Originally, the band had considered creating a concept album inspired by Antoine de Saint-Exupéry’s The Little Prince, but Gabriel had something much more ambitious in mind. Halfway through rehearsals at Headley Grange, he revealed the story of Rael, a Puerto Rican protagonist on a journey of self-discovery in New York. The narrative was dark, surreal, and influenced by various sources, including West Side Story and the film El Topo by Alejandro Jodorowsky.
The album was planned as a double album, with Phil Collins later saying: “The trouble was that it was a double. The album should have been a single and our next could’ve been a double.”2
The music that began to emerge was a reflection of the personal tensions within the band itself. “‘It’s hard for anyone to get guitar lines that matched up. Do I join the keyboard or do I double the bass? I had to really rack my brains to come up with anything remotely relevant at that time beyond contributing songs,” Hackett later said. The whole album, for him, is “Genesis at its most extreme. You’ve got these very dense keyboard patterns […] and the vocals are trying to break through that and guitar is trying to break through that and you’ve got this competition going on the whole time. It’s almost like Heavy Metal in terms of there’s a wall of sound, you’ve got a density in the lyrics and it creates a very claustrophobic atmosphere and the urban decay of New York is reflected in those lyrics.”3
During the recording, Gabriel was also pulled away for a film project with director William Friedkin, who had become interested in Gabriel’s story from the 1973 Genesis Live album. Gabriel’s absence left the remaining members to carry much of the creative load, and tensions grew. “There’s a slightly strange feeling when one of the guys you’re working with isn’t as keen as you are”, says Mike Rutherford. “It slightly dampens it a bit. If all five are into it and excited about it, you know, chatting in between, it’s a sort of team thing. But if one person is not so sure about wanting to be there, it does rather dampen it.”4 Gabriel returned after a few weeks, but the strain was evident, and it showed in the album’s intense, sometimes fractured, musical and lyrical content.
A Journey of Conflict, Creativity, and Transformation
The Lamb Lies Down on Broadway wasn’t just an album; it was a product of the band’s internal strife. The band’s sound began to reflect the urban decay and emotional turbulence of the time. With dense keyboard patterns, intricate guitar lines, and a palpable sense of claustrophobia, the album was a departure from Genesis’s earlier, more symphonic work. The sound was harder, more urban, and reflected a shift toward a more aggressive, progressive rock style. For Phil Collins, the experience of recording was both cathartic and frustrating. He had begun playing in a jazz rock group, Brand X, which allowed him to explore new musical directions. Meanwhile, the tension within Genesis was escalating, as Gabriel grew more disillusioned with the band’s direction and his role in it.
While the story of Rael was an intricate part of the album’s creation, it wasn’t without its controversies. Tony Banks, for instance, was not a fan of the dark, street-oriented narrative, which clashed with his preference for the more romantic themes found in earlier Genesis songs like “Supper’s Ready.” Nonetheless, the story and the music intertwined, pushing the boundaries of what Genesis had done before.
In terms of the album’s creation, much of the music was developed through jam sessions. The band, particularly Mike Rutherford, Tony Banks, and Phil Collins, often worked separately to come up with new ideas. Guitarist Steve Hackett found it difficult to navigate the dense keyboard patterns, but he still managed to contribute to some of the album’s most memorable moments. For Hackett, The Lamb Lies Down on Broadway marked a significant departure from previous albums, with its wall of sound and dense instrumental textures.
Despite the difficulties, the band managed to complete the album over the course of several months, including sessions at Glaspant Farm in Wales, and Island Studios in London. The pressure was high, with the band working around the clock to finish in time for the scheduled release date. The experience, as Phil Collins recalls, marked the peak of their collective playing ability, as the mobile studio at Glaspant Farm allowed for an organic, unrestrained approach to recording: “I think it was because it was not a proper studio, it was in this sort of barn in a farm in Wales and it was basically like in a rehearsal room and that’s when we always played best.”5
The songs on The Lamb Lies Down on Broadway reflect the band’s personal and creative conflicts. The opening title track, “The Lamb Lies Down on Broadway,” set the tone for the entire album. Gabriel’s vivid lyrics and the band’s arrangements captured the energy and alienation of Rael’s journey, yet the collaborative process was fraught with tension.
Collins noted, “‘What I remember mostly about ‘The Lamb’ is the four of us in the big room jamming and writing and recording […] and in the other room Peter writing the lyrics to the things that were already there.”6 Despite these challenges, the band’s collective efforts brought some of their most dynamic compositions to life, including the haunting “Fly on a Windshield”, which encapsulated the dark, urban themes of the album.
On the track “In the Cage,” the band moved into a heavier, more complex territory, with shifting time signatures and dense instrumental textures. Collins remembers, “We worked well together on ‘The Lamb’ – the two albums gave us the room to do it.”7
Other songs like “The Carpet Crawlers” and “The Lamia” explored more emotional and mystical themes, offering some respite from the chaos of Rael’s journey. These tracks were more reflective, and Gabriel’s lyrics evoked a sense of longing and surrealism that contrasted with the album’s more aggressive moments.
Individual Songs: A selection
The Lamb Lies Down on Broadway
The opening track introduces Rael, setting the stage for his journey through an enigmatic and surreal world. The song is driven by a distinctive bass riff from Mike Rutherford and a rhapsodic piano intro by Tony Banks. The song structure follows an expanded version of the traditional AABA song form. Lyrically, the references to New York and the introduction of Rael set up the album’s urban yet otherworldly atmosphere. Gabriel’s vocals are particularly emphasized, capturing the urgency and drama of the unfolding story. The song became a signature piece, often played during Genesis’s live performances.
Fly on a Windshield
This track exemplifies the band’s ability to create an eerie atmosphere, particularly through Steve Hackett’s delicate guitar work and Tony Banks’s synthesizer effects. The song begins with a quiet, recitative-like passage, building up to an explosive and heavy section with pounding bass pedals and drum beats. This transition between the delicate and powerful moments reflects Rael’s experience as he is sucked into this strange, almost apocalyptic world.
In the Cage
An essential part of the album’s narrative, “In the Cage” has strong biblical undertones, continuing Genesis’s exploration of existential themes. The music is complex, with a driving, almost claustrophobic feel that mirrors the song’s narrative of Rael being trapped. This track is notable for its powerful shifts in dynamics and the atmospheric use of the Mellotron, a key tool in creating the album’s distinctive sound.
Back in N.Y.C.
This track marks a departure from the earlier, more mystical tone, delivering a raw, punk-inspired energy. It’s one of the most unconventional tracks on the album, with its harsh lyrics (“I’m not full of shit”) and driving rhythm. The use of asymmetrical meter and a “pedal point groove” sets it apart, and it showcases the increasing shift towards a more stripped-down, modern style of rock music. The harshness of the song contrasts with the album’s previous themes, signifying a jarring return to reality.
The Carpet Crawlers
Perhaps one of the most well-known tracks on The Lamb, “The Carpet Crawlers” features a compelling melody and the characteristic cascading arpeggios from Tony Banks. The song’s haunting, ethereal quality has made it a fan favorite, and its themes of escape and entrapment reflect Rael’s ongoing struggles. It was the second single from the album and remained a staple in Genesis’s live performances. The song’s lyrics delve into the dreamlike and surreal qualities of the narrative, with an introspective, almost philosophical exploration of identity.
The Lamia
One of the more intricate and beautiful pieces, “The Lamia” uses the Mellotron to evoke water imagery, drawing on literary influences, particularly John Keats’s 1819 poem Lamia. The song’s eerie, descending harmonic progressions parallel those found in other Genesis tracks like “Fountain of Salmacis,” reinforcing the album’s thematic cohesion. The track also exemplifies Gabriel’s penchant for creating vivid, otherworldly characters, such as the Lamia, who are both seductive and dangerous.
The Colony of Slippermen
A deeply theatrical piece, “The Colony of Slippermen” is one of the album’s more bizarre moments. Gabriel’s live performances of the song involved him wearing a grotesque latex costume, enhancing its surreal and nightmarish qualities. The song itself is characterized by shifting tempos, complex musical transitions, and a highly dramatic narrative. It’s a key part of the album’s more unsettling moments, with the “Slippermen” representing a distorted, grotesque view of humanity.
The Light Dies Down on Broadway
Unlike many of the album’s other tracks, the lyrics for this song were written by Banks and Rutherford, not Gabriel. It provides a reflective, melancholy tone that contrasts with the more intense, chaotic pieces of the album. This track is marked by its softer, more introspective mood, making it a standout in terms of atmosphere.
Musical Elements and Innovation
Throughout The Lamb Lies Down on Broadway, Tony Banks uses the Mellotron to create lush, atmospheric textures, while also experimenting with Hammond organ and synthesizers. The album represents a shift towards a more “American” style of progressive rock, with less emphasis on the “pastoral” British sound that characterized earlier Genesis albums. Steve Hackett’s guitar work also became more integral to the sound, adding texture and depth, especially in tracks like “Fly on a Windshield.” Despite his feelings of being an “innocent bystander,”8 Hackett’s contributions are pivotal in shaping the overall mood of the album.
Themes and Concept
The narrative of The Lamb is a complex, dreamlike journey that follows Rael’s quest for self-awareness and escape. The album is rich in symbolism, with characters like the Slippermen and Lamia representing aspects of human nature and transformation. The story is at once surreal and deeply existential, exploring themes of identity, suffering, and transcendence. The album’s setting in a distorted, nightmarish New York adds to its sense of alienation and dislocation.
Reception
When The Lamb Lies Down on Broadway was released in November 1974, the response was mixed. The ambitious concept, dark themes, and intricate arrangements marked a departure from the band’s previous progressive rock sound. Some fans were perplexed by the complexity and surrealism of the album, but others praised it as a masterpiece of progressive rock.
In the years since its release, The Lamb Lies Down on Broadway has been lauded as one of Genesis’s most groundbreaking works. “’The Lamb’ album was the best we had ever been on a record‘,”9 Collins reflects.
Peter Gabriel, who would leave Genesis shortly after the album’s release, had a different take on the record. “It was a difficult time, but I still feel that along with ‘Supper’s Ready’, it’s one of the things that I feel best about from my time with Genesis.”10
For the rest of the band, The Lamb Lies Down on Broadway marked the end of one chapter and the beginning of another. They would go on to find success without Gabriel, but The Lamb remains an emblem of their most ambitious and turbulent period.
Despite mixed reactions upon its release, The Lamb Lies Down on Broadway became a landmark album in Genesis’s discography and in the progressive rock genre. Songs like “The Lamb Lies Down on Broadway” and “Fly on a Windshield” are still considered some of Genesis’s best work, with their intricate arrangements, powerful performances, and evocative storytelling. Gabriel’s narrative, paired with the band’s evolving sound, challenged listeners and critics alike. While it marked the peak of their collective creativity, it also signaled the end of an era. Gabriel soon left Genesis, but The Lamb remains an emblem of their most ambitious and turbulent period—a testament to their creative transformation, personal strife, and the evolution of their music.
Sources
Fielder, Hugh; Sutcliffe, Phil, The book of Genesis. (London: Sidgewick & Jackson, 1984).
Genesis – Together and Apart (2014) (DVD).
MIKE RUTHERFORD UNFILTERED: GENESIS GUITARIST/COMPOSER IN CONVERSATION.
PHIL COLLINS INTERVIEW MAKING ‘THE LAMB LIES DOWN ON BROADWAY’ IN 1974.’THERE WERE RATS EVERYWHERE’!
PHIL COLLINS MY DRUMMING ON GENESIS ‘LAMB’ ALBUM WAS INSPIRED BY JOHN BONHAM OF LED ZEPPELIN.
Platts, Robin, Genesis. Behind the lines, 1967-2007. (Burlington, Ont., Canada: Collectors Guide Pub., 2007).
STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS.
The Lamb Lies Down On Broadway Reissues Interview 2007.
Footnotes
- PHIL COLLINS INTERVIEW MAKING ‘THE LAMB LIES DOWN ON BROADWAY’ IN 1974.’THERE WERE RATS EVERYWHERE’! ↩︎
- Platts 2007: 73 f. ↩︎
- STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS. ↩︎
- MIKE RUTHERFORD UNFILTERED: GENESIS GUITARIST/COMPOSER IN CONVERSATION. ↩︎
- PHIL COLLINS MY DRUMMING ON GENESIS ‘LAMB’ ALBUM WAS INSPIRED BY JOHN BONHAM OF LED ZEPPELIN. ↩︎
- The Lamb Lies Down On Broadway Reissues Interview 2007. ↩︎
- Fielder 1984: 92. ↩︎
- Ibid. ↩︎
- Genesis – Together & Apart (2014). ↩︎
- Ibid. ↩︎
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