{"id":148,"date":"2014-12-22T20:34:19","date_gmt":"2014-12-22T20:34:19","guid":{"rendered":"https:\/\/2026.ikon2023.eu\/index.php\/the-lamb-lies-down-in-phoenix-virtuoso-030-031\/"},"modified":"2014-12-22T20:34:19","modified_gmt":"2014-12-22T20:34:19","slug":"the-lamb-lies-down-in-phoenix-virtuoso-030-031","status":"publish","type":"page","link":"https:\/\/2026.ikon2023.eu\/index.php\/the-lamb-lies-down-in-phoenix-virtuoso-030-031\/","title":{"rendered":"The Lamb Lies Down In Phoenix (Virtuoso 030\/031)"},"content":{"rendered":"

\"\"Civic Plaza Assembly Hall, Phoenix, AZ \u2013 January 28th, 1975<\/strong><\/p>\n

Disc 1 (48:55): 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, Rael\u2019s story, Back in N.Y.C., Hairless Heart, Counting Out Time, The Carpet Crawlers, The Chamber of 32 Doors<\/p>\n

Disc 2 (65:33):\u00a0 Rael\u2019s story, Lillywhite Lilith, The Waiting Room, Anyway, The Supernatural Anaesthetist, The Lamia, Silent Sorrow in Empty Boats, Colony of Slippermen, Ravine, The Light Dies Down on Broadway, Riding the Scree, In the Rapids, It, The Musical Box<\/em><\/p>\n

The first Lamb show in the west was in Boulder Colorado on January 20th.\u00a0 Genesis then played several shows in California before coming to the Civic Plaza Assembly Hall in Phoenix, their only Arizona date.\u00a0 The Lamb Lies Down In Phoenix utilizes the third tape to surface of this show, the almost complete soundboard recording.\u00a0 It first surfaced on Civic Plaza Assembly Hall (Satellite 6 SAT0108-A\/B) in very similar sound quality.<\/p>\n

On the whole the tape is well balanced except for times when Peter Gabriel\u2019s mic cuts out by the second half. The first four seconds of the show are missing, there is a tape flip at 4:11 in \u201cThe Waiting Room,\u201d and Gabriel\u2019s story before \u201cThe Musical Box\u201d is missing.\u00a0 The only real difference between this and the Satellite 6 release is Virtuoso handle the cut better.<\/p>\n

The engineers who made the tape knew what they were doing by raising the different instruments higher in the mix when there is a solo or emphasis. At times Banks\u2019 keyboards dominate the mix, at others Hackett on guitars and still Phil Collins\u2019 drums.<\/p>\n

The double album rock opera was released on November 29th, 1974 and Genesis spent the greater part of three months touring in the US before bring the show to Europe. Phoenix occurs four days after the popular Los Angeles show and is in the final week of shows.<\/p>\n

An article from the March, 1975 Circus magazine contained an article written before the tour.<\/p>\n

\u201cBlue denim delinquent: American rock audiences at first had been inclined to heckle Peter\u2019s subtly atmospheric monologues, chattering during the quieter mood-building instrumental passages. After three carefully planned tours, however, even the most skeptical concert-goers were entranced by Genesis\u2019 dramatic representation of \u2018The Musical Box\u2019 and Peter\u2019s breathtaking flight through the air at the climax of \u2018Supper\u2019s Ready.\u2019 Now The Lamb Lies Down On Broadway (on Atco) had replaced those old favorites, and even Peter\u2019s image had changed drastically. He had cropped his long locks and combed them over his bald streak.<\/p>\n

\u201cHis sleek black jumpsuit had given way to sneakers and bluejeans. Though the band had given their all to provide a totally entertaining reenactment of some of their most imaginative songs ever, the insistent question remained. Aside from the success of their first few concerts with The Lamb, could Genesis convince the world\u2019s largest rock audience to take an extended trip into an unfamiliar fantasy world?<\/p>\n

\u201cBack in his Manhattan hotel room, Peter admitted to Circus Magazine that Genesis had had their doubts about presenting the entirety of their recent double album as the basis for the most important tour of their career. \u2018We were quite worried about introducing the whole of The Lamb to audiences all at once. This new show is very experimental for us,\u2019 Gabriel acknowledged, biting into a banana. \u2018In the past we\u2019ve tried to introduce new material in twenty-five minute segments, phasing it in with the better known songs gradually.<\/p>\n

\u201cIt\u2019s also been difficult achieving a balance between the musical performance and the triple-screen slide presentation that helps the listener to visualize Real\u2019s story more easily. The slides are a much stronger element than ever before, and to a certain extent, they\u2019re an additional risk. They shift attention away from my performance somewhat, although now that I\u2019ve worked with them onstage, I think they do provide an interest-point when the going gets a little heavier lyrically.’\u201d<\/p>\n

The opening \u201cThe Lamb Lies Down On Broadway\u201d sounds a bit tentative, but \u201cFly On A Windshield\u201d sounds incredible. Even though the audience sounds far away in this recording, several shouts are audible at the very beginning of \u201cIn The Cage.\u201d The first Rael story, about the main character buying the book about finding erogenous zones, is very straightforward and lacking in the wit that would be obvious in later shows.<\/p>\n

\u201cBack In N.Y.C.\u201d is very strong, but \u201cCounting Out Time\u201d sounds very interesting with the contrast between Banks\u2019 goofy percussion and Hackett\u2019s violent guitar lines. The tension is thankfully released with a gentle version of \u201cThe Carpet Crawlers.\u201d In the second Rael story Gabriel gets into impromptu rhyming by saying, \u201cThose of you familiar with the affliction of drummers will know perhaps that the only way these lumps and bumps can be successfully removed is by the severing of the sexual organs. Performed in the colony of Slippermen by the notorious Dr. Diper the reformed sniper who for a very small fee will guarantee to remove your very own windscreen wiper.\u201d<\/p>\n

The second half of the show begins with \u201cLillywhite Lilith.\u201d Both Gabriel and Collins sing along which only makes sense since this was the first song Collins wrote with the band when he joined in 1971. During the surreal \u201cThe Waiting Room\u201d Steve Hackett plays a bit of the fast guitar riff of \u201cDancing With The Moonlit Knight.\u201d<\/p>\n

The beginning of \u201cThe Lamia\u201d is cut but the track is still over eight minutes long. The vocals are a bit obscured in \u201cThe Colony Of Slipperman\u201d since Gabriel was wearing the bulky suit, and he also messes up the lyrics to \u201cThe Light Dies Down On Broadway.\u201d He forgets to sing \u201cThe gate is fading now, but open wide, But John is drowning, I must decide Between the freedom I had in the rat-race, Or to stay forever in this forsaken place\u201d and sings the second verse again: \u201cSubway sounds, the sounds of complaint The smell of acid on his gun of paint. As it carves out anger in a blood-red band, Destroyed tomorrow by an unknown hand.\u201d<\/p>\n

Some shows on The Lamb tour had two encores, but all three Phoenix recordings reveal that only one, \u201cThe Musical Box,\u201d was played. Gabriel\u2019s story is cut out but a but of dialogue is present when the tape cuts in: \u201c\u2026take two. This is a trip we learnt in\u2026ah, how to build suspense. It stars the occasional part of Nick the roadie.\u201d Obviously there was a malfunction with the equipment and Gabriel resurrects the Nick the roadie sketch from the Selling England By The Pound tour.<\/p>\n

The encore set in the Lamb shows always sound like a celebration by the band for getting through their rock opera and some of the best versions of the classics can be found on these tapes. This version of \u201cThe Musical Box\u201d is better than most any other version played in Italy three years before. It is a great ending to a great show.<\/p>\n

Go Back<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Civic Plaza Assembly Hall, Phoenix, AZ \u2013 January 28th, 1975 Disc 1 (48:55): 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, Rael\u2019s story, Back in N.Y.C., Hairless Heart, Counting Out Time, The Carpet Crawlers, The Chamber of 32 […]<\/p>\n","protected":false},"author":1,"featured_media":147,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-148","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/pages\/148","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/comments?post=148"}],"version-history":[{"count":0,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/pages\/148\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/media\/147"}],"wp:attachment":[{"href":"https:\/\/2026.ikon2023.eu\/index.php\/wp-json\/wp\/v2\/media?parent=148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}