In the first half of the 70s of the last century, some of the most significant albums of so-called British “symphonic rock”, “progressive rock” or “psychedelic rock” were produced. Masterpieces and mythical works such as “The dark side of the Moon” (1973) or “Wish I were here” (1975), both by Pink Floyd; “Fragile” (1971) or “Relayer” (1974) by Yes or “Brain Salad Surgery” by Emerson, Lake
Along with these bands, others such as Kansas, Mike Oldfield, Rush, Jethro Tull, King Crimson, Camel and The Alan Parsons Project joined a style of rock that would end up influencing later generations but would give way to prominence at the end of that decade. Other styles would end up flooding the market such as pop rock, punk rock, glam or music.
For many music critics, specialized magazines and fans there is a work composed by Genesis, another of the reference bands of the symphonic movement, which should occupy, if not the first place, then one of the most prominent positions in progressive rock: “The lamb lies down on Broadway.”
A double album that the group, when it was still led by Peter Gabriel, composed during 1974 and released after the summer of that year, competing in quality and proposal with the previously mentioned most outstanding works of that period of British rock. It is also a work that, despite not receiving great criticism after its release, has ended up being a cult work, a double LP highly valued and appreciated by followers of progressive rock.
“The lamb lies down on Broadway” was prepared and composed with a “rock opera” vocation: the lyrics were written by Peter Gabriel (except for the one that gives the album its title) and the rest of the group composed the music. The album is double and contains twenty long songs, carefully composed, which narrate the journey of Rael, a Puerto Rican immigrant and hustler who, after a night of partying, returns home, with the curtain in the background of the intense city of New York and to the rhythm of elaborate symphonic rock. Two singles were released in the United Kingdom, “Counting Out Time” and “The Carpet Crawlers”, while the title track was released as a single in the United States.
The work is not easy to understand given the conceptual complexity of the lyrics, a natural drive of symphonic rock. Genesis’ vocation was to offer a complete live show to its fans beyond understanding what was said in each song. Achieve a unique experience through a show full of effects, costumes, theatricality, very much to the taste of Peter Gabriel. Traces of the last tour that the original group took to present “The lamb” can still be seen on YouTube before their leader left the band to start a solo career.
The double album was the sixth by a group that was formed in 1967 but would not consolidate its members until 1970: Peter Gabriel (vocals and flute), Tony Banks (keyboards), Mike Rutherford (bass and guitars), Phil Collins (drums and percussion) and Steve Hackett (lead guitar). Initially they were a group of friends who got together, like so many others, to have fun making beautiful songs, but Jonathan King, producer and singer, who had had a minor hit (Everyones Gone To The Moon) decided to sign them to Decca. From this collaboration emerged From Genesis Tu Revelation (1970), their first album.
It would be from his second “Trespass” when his name would begin to be known in the British musical ecosystem at the beginning of that decade. From there, other albums such as “Nursery crime” (1971), “Foxtrot” (1972) and “Selling England By The Pound” (1973) would define the composition style of a band that would be consolidated with “The lamb lies down on Broadway.” After the departure of Peter Gabriel, Phill Collins would take over as singer of a group that would remain active but far from the symphonic rock that had been its initial identity.