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In 1974 the British progressive rock group Genesis released their double concept album The Lamb Lies Down on Broadway. The story was described by Genesis's then front-man Peter Gabriel as a 'moral fable' about Rael, a half-Puerto-Rican New York City street tough who is engulfed by a solid cloud into a series of strange adventures in a metaphysical realm. The album is a surreal allegory drawing its material from religious, literary and psychological themes. More than thirty years after its release, The Lamb Lies Down on Broadway still enthralls listeners, earning the distinction of being Genesis's most consistently selling back-catalogue release. Kevin Holm-Hudson analyses The Lamb within the context of Genesis's recorded output, within the progressive rock genre as a whole, and within the context of social and political changes of the mid 1970s. The Lamb marked a conscious shift in their story setting to America, and for the first time the songs were oriented to the present rather than the past or future. Significantly, while 1974 marked the peak of music industry growth and consolidation through corporate mergers, it was also the year in which America was confronted with its limits: through the first of the OPEC energy crises, the resignation of Richard Nixon, the withdrawal from Vietnam, and the effects of runaway inflation. Genesis's native Britain was also to feel the effects of the energy crisis, intensified by a period of economic slowdown that ultimately led to the rise of Thatcherism. The Lamb is set in New York City during this time of uncertainty. Within a few years the economic constraints would affect the industry as a whole and as a result progressive rock would suffer a precipitous drop in industry support. The Lamb Lies Down on Broadway thus makes a particularly rich subject for detailed study, providing compelling intersections between the musical, textual and socioeconomic aspects of an album.
- Sales Rank: #8961036 in Books
- Published on: 2008-11-28
- Original language: English
- Dimensions: 9.50" h x 6.50" w x .75" l, 1.08 pounds
- Binding: Hardcover
- 184 pages
Review
'With Genesis and The Lamb Lies Down on Broadway, Kevin Holm-Hudson makes a significant contribution to progressive rock scholarship. His discussion of the progressive rock concert as theater is valuable and overdue, and his examination of The Lamb Lies Down in Broadway in the context of the cultural and economic currents of the 1970s is illuminating. His Jungian reading of the album's mythic storyline offers plausible interpretations of some of its more obscure episodes, and his discussion of its religious symbolism, its allusions to American pop culture, and its use of unifying musical elements is similarly enlightening. This is a book that no Peter Gabriel-era Genesis fan will want to be without.' Edward Macan, Author, Rocking the Classics: English Progressive Rock and the Counterculture and Endless Enigma: A Musical Biography of Emerson, Lake and Palmer 'Genesis And The Lamb Lies Down On Broadway is a scholarly publication [and] is therefore a more demanding read than [other] book[s]. If you take up the challenge you will discover many new aspects about Genesis' concept album and perhaps see some songs and lyrics in a different light. Perhaps the biggest attraction of this musical gem is that you will keep finding intriguing new facets on this diamond - particularly when the very light of its own origin shines on it. ' Genesis-News.com
About the Author
Dr Kevin Holm-Hudson, Associate Professor of Theory, School of Music, University of Kentucky, USA
Most helpful customer reviews
4 of 4 people found the following review helpful.
The book was amazing. I loved it
By shaden
The book was amazing. I loved it. It's about the band Genesis in its classical era, when it was a progressive rock outfit, notably starring Peter Gabriel on vocals and Phil Collins on drums.
Progressive Rock has traditionally been considered a genre of music that people appreciate on a cerebral level. It's music to be listened to rather than danced to. It's always appealed to me and Genesis is, in my opinion, the best of the prog rock bunch.
I first heard Genesis's The Lamb Lies Down on Broadway in 1998. My friend Christian bought it and showed it to me. I was at first reluctant because I was only familiar with the band as the cheesy 80s Phil Collins band. I wasn't even aware that Peter Gabriel had fronted it, let alone *gasp* that he played the flute! It was like this fantastic revelation for me.
The album completely blew me away when I heard it for the first time. It was so good, from the opening anthemic title track, to the surreal and terrifying Fly on a Windshield, to the gritty Back in NYC (which Jeff Buckley covered in his posthumous album), to the moving Chamber of 32 Doors, to the ethereal The Carpet Crawlers, which is as accessible and beautiful as any pop song ever released...and these songs are only on the first CD! (It's a double album.)
It's also a concept album. Not surprisingly, given Peter Gabriel's famously eccentric style, the plot of the album is quite opaque. This is where Kevin Holm-Hudson comes in. Not only does he offer several interpretations of the album, he also situates it within its originating culture, which helps the reader understand where Gabriel might have been coming from.
The book is certainly an academic analysis. Dr. Holm-Hudson is a musicologist by profession, and that shines through in the book--he includes some annotations of musical passageways from the album, which is a nice addition to the book. I've read a few books and articles that analyze pop music from a musicological perspective, and Holm-Hudson has written probably the most accessible of these that I've read. The book's useful for academics and Genesis fans as well.
I loved Holm-Hudson's readings of the album. He examines it both through a psychoanalytical lens, then a religious one (representing both Western and Eastern faiths in the analysis). The insights are fascinating, and they suggest that Gabriel is quite a brilliant writer, both in knowledge in craft. He used many different sources of inspiration for the album, and Holm-Hudson is able to isolate those and present them.
Much of the book is a compilation of what others have said about the album and the band. Holm-Hudson also brings some weighty philosophical and psychological insights into the mix, quoting liberally from William James and Carl Jung. They are all quite appropriate given the surreal nature of the narrative and add to the overall quality of the analysis.
In the end of the book, Holm-Hudson cites Edward Macan as arguing that progressive rock is all about communicating transcendent moments to the listener. I have to absolutely agree here...TLLDOB does have transcendent moments. Happily, so does this book. It was quite an sublime moment when I finished the book while listening to the waning moments of the album's closer "it." (Jung would probably call this an example of synchronicity.) I drew a lot of pleasure from this book; not only did it help me better appreciate the album, it showed me how an excellent musicological analysis should be conducted.
5 of 6 people found the following review helpful.
I did not know!
By B. Bernardini
After growing up with listening to it,taking a apart,playing it
and listening to the Lamb time and time again. This book gives you great comparisions of life compared to the Lamb.I could not put the
book down. Do you remmember the Lamb publication? The Lamb was
always kinda a mystery album,until you had Genesis fans sit around
and discuss the album. Of course being a bass player I was amazed
to Rutherford's bass playing and guitar work. The group got ever
bigger after this album came out. We started discussing the "factors" of what was the comparsions of this great masterpiece
related somehow to every day life. Then some 15 years ,this book came out. Please get this book,especially if you like the The Lamb
like I do. My first book was the Genesis book written by Armando
Gallo. Which if you can find,get it! I just found this book
very interesting,go buy it!
10 of 11 people found the following review helpful.
Annotated Lamb
By Jason Finegan
I'm the Jason Finegan mentioned in this book. Scott McMahan was running Paperlate in 1993-1994. The Annotated Lamb was an unfinished project for Paperlate that had been building over time. I volunteered to tackle a major revision, adding new material. That version is pretty much the version scattered around today. Others converted it to html. I originally wrote and edited it in plain text using elm. Wikipedia search: Elm (e-mail client). It's gratifying to see that our work is still being referenced throughout the Genesis community. One irritating bit, in this book where the author quotes my words directly, he credits McMahan. (pp. 92-93 for example) I can understand though, since in the Annotated Lamb direct credit was not usually given to which parts of the annotation were written by whom.
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