So after a (somewhat disappointing) listen to the 1983 Genesis album, I decided to switch gears and put on the only album from the Gabriel era that I hadn't listened to yet in my current Genesis binge: The Lamb. A significantly more enjoyable experience on every level over the 1983 album. When I've been listening to these albums this time out, I've known that I would be writing a review so I've kept a blank file open in notepad to make a note of any highlights. (My memory is crap and I'd probably forget half of what I wanted to say by the time the disc was over!) As this disc began, I started keeping notes as usual, but I realized that so many highlights were coming at me so fast and furious that it was a futile effort to try to keep up. By the time I hit the sixth song, I had given up.
On Trespass and Nursery Cryme, Nick Davis seemed to favor a lot of hard panning (especially of keyboard and guitar parts) in the rear speakers. I really loved that approach. On Foxtrot and Selling England By the Pound he seemed to ease up on this a bit and started to use a somewhat more immersive feel, although there were still plenty of moments of hard panning. For The Lamb, it feels as if Nick was using both approaches, the individual songs would dictate which approach was better. As the album opens with the classic piano riff in the front speakers, the fly starts buzzing around your head. Fifteen seconds in and I'm already hooked. The additional keyboards kick in and they're spread nicely around the surround field. Peter and Phil announce the album's title, their rich harmonies attack from behind, the band kicks in and we're on our way. I'm grinning like an idiot and air drumming like yet another idiot. Thankfully I am alone and there is nobody around to witness this. As the second song begins, the Mellotron choir is positioned firmly behind you. ("Something solid forming in the air" indeed....) A nice spread of guitars comes in, then once the heavy part kicks in, Hackett's guitar solo comes up from behind. (I'm not sure why people are complaining that he's buried on all these discs. Lots of moments of full-frontal (or rear-al? LOL) Steve on this album.) On "Broadway Melody" the keyboards fill up the whole room while the guitars stabs come from the rear channels. "Cuckoo Cocoon" has a nice spread of instruments around all channels with the harmony vocals effectively placed in back. When Gabriel starts chanting "round...round....round" at the end of "In the Cage" I jump a bit because it surprises me coming from alternate rear speakers. "Grand Parade" has a very playful mix that fits the mood of the song. I could go on (or could if I had kept further notes) but this mix philosophy continues throughout the discs. There are the occasional moments where the rear speakers seem to disappear. Fortunately, these don't last very long. It's very satisfying and a job well done by Mr. Davis here.
On to fidelity. On Trespass and Nursery Cryme, I was really amazed at how clear and dynamic they sounded given their age. They sound better than you would expect albums from 1970/1971 to sound. On this album, it feels very much of its time. Not quite as dynamic as the other two. But I can't really fault it for that, it was recorded in 1974 after all. Also it was not recorded in the same studio as the other two.
And the music? Well, it has always been my favorite Genesis album. So many standout moments. There are the classics that everyone loves like the title cut, "Carpet Crawlers", "Back in NYC", "In the Cage." But there are also so many deep cuts on this album that are among my favorite Genesis tunes: "The Chamber of 32 Doors", "The Light Dies Down", "Lilywhite Lilith", "Hairless Heart", "Counting Out Time"....the list goes on. There's also a blunt aggressiveness to this album that suits the story of a NYC gang member. Fans consider it part of their prog era, but it is a very different album from what proceeded it and the one that followed it. (Interestingly, I was always very amused that fans of 70's Genesis were so offended by the 1981 single "No Reply At All." It's very similar to this album's title track....just with the Earth Wind & Fire horn section added on!)
I do have to say that in recent years when I've listened to this, I've usually reached for the DVD just so I could see the slide show. But since I knew I'd be writing a review for a hi-res poll I did listen to the SACD this time out. The only major negative I can find here is that you can't have your cake and eat it too. In other words, if you want the visual experience, you have to listen lossy. If you want to listen lossless, you can't have the visuals. It's too bad Universal only got one title into their Genesis Blu-ray program. This would've been the perfect album for that.
I've now (re-)worked my way through the entirety of the Gabriel era. I gave Trespass and Nursery Cryme ratings of 10 while I gave Foxtrot and Selling England By the Pound ratings of 9. Overall I feel this falls between the two (even though it is my favorite Genesis LP.) I really love the hard panning approach on Trespass and Nursery Cryme. But this one comes very close.
It's the freakin' Lamb.
It's nice and discrete.
You get surrounded by Mellotron choirs.
10.