Genesis never achieved anything quite like this before or after. “That is that”, to quote from "The Deer Hunter". This was the moment in time when such a milestone could emerge from this incredibly talented group of guys in their mid 20s. Some wonderful cosmic accident that quickly dissolved afterwards, but the album remains, waiting to be rediscovered.
In the podcast someone mentioned two important differences between Genesis and other prog rock bands of the early 70s: they were all influenced by soul and Motown of the 1960s, and they always thought in songs – meaning the music had to stay in your ear, had to have a clear, beautiful melodic character. I couldn’t agree more. In that sense they are similar to Supertramp, but with far more ambition.
Peter tells this wonderful story of a youth as confused and angry and lost as I was 40 years ago. Tony Banks could really compose these harmonies, but probably always challenged (in the best way) by Mike Rutherford’s ear for hooks and melodies. And Phil Collins’ drumming is so incredibly complex and innovative.
And now, in 2026, this podcast. With it came explanations of the songs’ content. For the first time I listened to the whole album from beginning to the end, all in. And I have to say: What a masterpiece. Such a perfect blend of fantastic lyrics – the voyage of Rael – with this beautiful music. All the musical talents of the band seemed to be in a perfect balance.
Still, individual pieces of the album kept hovering in the back of my mind over the years: the piano melody and the air-raid-sirens in “The Lamia”. The keyboard solo in “The Cage”. Something lingered.
I liked Phil Collins’s voice (I still do, at least on his records up to 1985), and I have to admit, somewhat shamefully, that I didn’t particularly like Peter Gabriel’s. I was 15 or 16, I was full of teenage-anxiety, constantly in love and full of vague dreams and drawn to music filled with longing and melancholy. “A Different Corner” etc.
I remember, that I liked parts of it; even then I loved “Broadway Melody of 1974”, which still holds a special place in my heart until today. But something in the overall concept – the atmosphere, the darkness, the sadness – kept me from truly falling in love with it. At that time I was deeply into certain Phil Collins songs like "I’m Not Moving", "You Know What I Mean", and "Tonight, Tonight, Tonight", which I played loudly enough to terrorize my parents downstairs.
“The Lamb” rediscovered (25.04.2026)
A few days ago I rediscovered “The Lamb Lies Down on Broadway”, Genesis’ landmark album from 1975. I was triggered by a two-part episode of a German podcast series called "SWR1 Meilensteine" (milestones), a podcast I highly recommend to all music-lovers (in case they understand German of course).
#Genesis #TheLambLiesDownOnBroadway #ProgRock #MusicThoughts
#AlbumLove #Rediscovery #SWR1Meilensteine #ListeningNotes #NowPlaying #MastoMusic #VinylVibes
I didn“t lose an hour. I got one back. Cut out of the densely packed layers of timelines and plans. Probably this is what freedom looks like. An unexpected gift called “An Hour”.
Sometimes it is harder to accept presents and be thankful for them than to find and give a present to somebody else.
For this gift I have nobody to thank for. Still, I am grateful for this little piece of freedom. It’s a craft You have to learn, and if You’re good at it, life becomes a little more like spring.
The Marginalian [Unofficial]