I think it's tough to break the album down into individual tracks, but equally I think there isn't a better way. I see it as a single piece, I always listen to it as a whole and it never disappoints. For me there is a tiny sag on side three but it then builds to a fabulous climax. The opening track is a statement of intent, its already a big departure from the previous album somehow bolder and leaner. You could argue that the band didn't take this approach again until Down and Out. As an album it's timeless and this song sets the scene. I would argue that the album as a whole has dated better than anything else they ever did.
I agree about Mike’s bass on this one. So cool. Tony’s work is just incredible. So complex but he makes it seem so simple. And I love Peter’s vocal especially the line, “Rael imperial aerosol kid..”
Fly on a Windshield/ Broadway Melody 74 We move into this song slowly with some acoustic guitar and keyboards. Gabriel throws a gentle, thoughtful vocal in and when we get to the line "and I'm hovering like a fly waiting for the windshield on the freeway" we are hit with music that rocks in hard, and it seems to be representative of the the fly's impact. During the instrumental section Hackett is playing some fantastic guitar that at times is giving us the doppler effect of cars rushing by. It goes on to be an excellent lead break. Just as Fly had essentially launched out of the remnants of the opening track we have Fly joining Broadway melody as one straight smooth song. The links on here are quite excellent. Broadway has a brilliant and attention getting staccato rhythm, with the instruments double punching the chords behind Gabriel's poetic wanderings. The keys are laying a smooth bed down that this punchy beat rides above. It really is a great song individually, but as a one two three punch it is a fantastic way to open the album. Lyrically Fly seems to be painting a picture of stagnation and the windshield appears to be emblematic of being smacked out of that zombie-like inactivity. The growing instrumental surge between the two sets of lyrics seems to indicate a new movement, a somewhat ominous movement in spite of that prior stagnation. Broadway seems to be full of descriptive contrasts and contradictions. A stew of information that leads to the children playing with needles and pins, which again seems to be a very subtle reference to a possible addiction scenario, that, to me at least, appears to be more prominent in upcoming songs. A fantastic set of tracks that really draw you further into the story and the songs.
The "Fly on a Windshield/Broadway Melody" section is one of the highlights of the album. It is a masterful display of expressive music with changing moods. And Gabriel handles the vocals beautifully. I always felt his voice suited better the material in "The Lamb..." than the music in the previous records.
To me Gabriel had great tone, not an incredible range, but with that great tone and his adventurousness with phrasing and accents it gave him good variety. I think with Lamb being a more straight forward album in a lot of ways, we get to hear Gabriel singing fairly straight and doing a great job of it. Also possibly having written most of the lyrics, perhaps he didn't feel a need to imprint himself on them as much, and also had an emotional connection to the lyrics ... idk, just speculation
Greatest section of the entire album, and the transition as the fly hits the windshield is one of the greatest musical moments ever, in any genre.
Despite spending many hours pondering on the various entities that make an appearance in the lyrics of this album, there are still things that never occurred to me until reading someone else's interpretation on a forum such as this one. For example: the reference to "needles and pins" may or may not be a reference to drugs of the kind you inject, but it's certainly a credible interpretation, and one that I didn't think of before. One thing I never understood is why "the wall of death is lowered in Time Square." If the windscreen is the instrument of death, then why "lowered"?
The transition from "needles" to "needles and pins" references a song by British '60's beat combo The Searchers, including the melody line. I'm pretty sure that's the whimsical reason for the line.
Thanks, but I am fully familiar with the song; in fact associating the phrase with the song title is probably why I missed the other possible significance of the phrase.
I certainly get the reference to the old song .... but I think that's a ruse of sorts. It is the following of the whole story line that makes me believe that there's an addiction/IV issue through the themes. In the opening track we have Rael "Wipes his gun-he's forgotten what he did," Without actual reference Fly indicates a certain amount of being trapped, immobile, stuck waiting for the inevitable in that scenario Broadway describes all these contradictory things that can make life confusing, and in reality the impression I get is that Rael is young, so there's not really much question that in a seventies scenario he is a child. confused hurt children often turn to drugs, and I think that the needles reference is very subtle but still there. Cuckoo Cocoon seems to make that theme more convincing - "And I feel so secure that I know this can't be real but I feel good." - "No, I'm still Rael and I'm stuck in some kind of cave," In the cage sounds like an addicts cry - "But I can't keep me from creeping sleep" - "Rock-face moves to press my skin White liquid turn sour within" - "Lips are dry, throat is dry, Feel like burning, stomach churning" - "Body stretching, feel the retching" - " get me out of this cage" I could be completely wrong, but it seems to be thematic through the album. Perhaps the previously mentioned loss of his *****, is actually a reference to impotence caused by heroin.... Not sure. I was told to have a look at the lyrics more closely and that is what I see. Perhaps having known many addicts in my life just leads me to interpret it this way. Thoughts?
definitely. Not trying to nit pick. i certainly see the story as a whole, but that seems to be the underlying meaning to me.
It's probably a reference to a curtain falling, ending an act, which would be appropriate for the setting (Broadway), though the reference seems a bit forced in this context. Great song, though (IMO).
It was just a general thought, not aimed at you. Sure it can be interesting to try to understand details, but Gabriel's writing is so full of symbolism that can mean different things to different people, that the magic could be lost if going into too much technical analyzing.
I understand that. I don't think anything could spoil this album for me. It's a musical treasure, with many layers
I never focussed much on the addiction aspect but there's this bit in Back in NYC that seems to fit the theme: Who needs illusion of love and affection When you're out walking the streets with your mainline connection? Connection.
yea it's all the way through in one form or another. I get the impression that's the reason some of the lyrics are so cryptic. Perhaps having now been set deep in the US major cities the band was witnessing more the just being well to do English Public School boys. I don't think it is of the utmost importance, but as I say someone asked me to look at the lyrics and that's what I see.... For me it makes the story somewhat more clear
My guess is due to the annual lowering of the ball in Time Square, just a play on words referencing a cultural event in NYC
