Genesis – The Lamb Lies Down On Broadway (2LP Vinyl) Japanese Pressing
Charisma Records (1974 / This Pressing 1975)
$125.00
Rare 1975 Japanese Pressing In Beautiful Condition! Gatefold Cover Includes 4-Page Insert, Plus Inner Sleeves With Lyrics. The Genesis Masterpiece & The Last To Feature Peter Gabriel.
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Product Description
Rare 1975 Japanese (Second) Pressing Still In Beautiful Condition! Gatefold Cover Includes 4-Page Insert, Plus Inner Sleeves With Lyrics In English, Labels Are Clean. The Genesis Masterpiece Of ’74, ‘The Lamb Lies Down On Broadway’ Was The Last Album To Feature Peter Gabriel In The Group.
Condition – Vinyl: NEAR MINT! Immaculate!
Condition – Cover: EXCELLENT! Light shelf wear, minor discolouring ~ remarkably white for a record that is over 46 years old!
Japanese vinyl pressings are highly sought after by audiophiles and collectors, due to their beautiful packaging and premium sound quality (which explains why American audiophile label Mobile Fidelity Sound Lab chose to have their highly regarded pressings manufactured in Japan). Near Mint condition Japanese pressings are becoming scarcer ~ therefore more collectable and valuable every year.
Side 1:
The Lamb Lies Down On Broadway
Fly On A Windshield
Broadway Melody Of 1974
Cuckoo Cocoon
In The Cage
The Grand Parade Of Lifeless Packaging
Side 2:
Back In N.Y.C.
Hairless Heart
Counting Out Time
Carpet Crawl
The Chamber Of 32 Doors
Side 3:
Lilywhite Lilith
The Waiting Room
Anyway
Here Comes The Supernatural Anaesthetist
The Lamia
Silent Sorrow In Empty Boats
Side 4:
The Colony Of Slippermen
The Arrival
A Visit To The Doktor
The Raven
Ravine
The Light Dies Down On Broadway
Riding The Scree
In The Rapids
It
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Charisma Records (1974 / This Pressing 1975)
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Hard To Find Actual 1977 Japanese First Pressing ~ Complete With Highly Collectable Obi Strip! High Quality Vinyl! Embossed Tri-Fold Cover Includes Insert. Features ELP Epics “Fanfare For The Common Man” & “Pirates” & Keith Emerson’s Meticulously Performed “Piano Concerto No. 1”.
AMG –
A forceful, imaginative piece of work that showcases the original Genesis lineup at a peak... a considerable, lasting achievement and the last for Gabriel. Given all the overt literary references of Selling England by the Pound, along with their taste for epic suites such as "Supper's Ready," it was only a matter of time before Genesis attempted a full-fledged concept album, and 1974's The Lamb Lies Down on Broadway was a massive rock opera: the winding, wielding story of a Puerto Rican hustler name Rael making his way in New York City. Peter Gabriel made some tentative moves toward developing this story into a movie with William Friedkin but it never took off, perhaps it's just as well; even with the lengthy libretto included with the album, the story never makes sense. But just because the story is rather impenetrable doesn't mean that the album is as well, because it is a forceful, imaginative piece of work that showcases the original Genesis lineup at a peak. Even if the story is rather hard to piece together, the album is set up in a remarkable fashion, with the first LP being devoted to pop-oriented rock songs and the second being largely devoted to instrumentals. This means that The Lamb Lies Down on Broadway contains both Genesis' most immediate music to date and its most elliptical. Depending on a listener's taste, they may gravitate toward the first LP with its tight collection of ten rock songs, or the nightmarish landscapes of the second, where Rael descends into darkness and ultimately redemption (or so it would seem), but there's little question that the first album is far more direct than the second and it contains a number of masterpieces, from the opening fanfare of the title song to the surging "In the Cage," from the frightening "Back in NYC" to the soothing conclusion "The Carpet Crawlers." In retrospect, this first LP plays a bit more like the first Gabriel solo album than the final Genesis album, but there's also little question that the band helps form and shape this music (with Brian Eno adding extra coloring on occasion), while Genesis shines as a group shines on the impressionistic second half. In every way, it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave the band after this record: they had gone as far as they could go together, and could never top this extraordinary album.