GENESIS The Lamb Lies Down On Broadway SEALED 1974 No Barcode Peter Gabriel Eno
$
130
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Description
See Review Below!
Cover: MINT! SEALED! (see photos) Nice high gloss on cover. Front and back of cover artwork and text are rich, clear and bright, essentially flawless. Seams and spine are solid and clean, essentially flawless. No writing. Spine print is crystal clear. No bumps nor creases. The Shrink is Beautifully and fully Intact except for small "breathing" holes and a few places where the shrink has split (these are about an inch long and don't stand out. They don't detract from the overall stunning presentation of this album). Price Sticker. Gatefold. Also, the record appears straight; when I look down with one eye down all 4 edges there's no big, ominous bow to it that would suggest that it's warped.
I will gladly accept the return of Sealed records as long as they have not been opened (i.e. as long as they are still in the condition I sent them in). Every record has a "fingerprint" of imperfections in the seal and/or the cover and I separately photograph and keep these details to prevent fraudulently returned items...yep, there are a few rotten apples out there!) I will not accept a previously sealed record that has been opened, even if the complaint is that the record is warped. This is why I look down the edge of all 4 sides of the record, to assess for potential bowing. Look for that in the description of the covers of all my Sealed items. Thanks! By the way, I've never (knock on wood!) had a buyer complain that they received a warped Sealed record. :)
Goldmine Standards.
U.S. Shipping: FREE domestic shipping! Combine any additional albums and they're also shipped FREE! If you wish to take advantage of my COMBINED SHIPPING deal, simply select your records by clicking on "ADD TO CART" on the main listing page. Do this for all of your selections and then go to your cart to checkout. Your combined shipping discount will be computed automatically.
All records are packaged securely with the vinyl sandwiched between two cardboard stiffeners and shipped in a custom cardboard record mailer box.
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Why buy a first or early pressing and not a re-issue or a ‘re-mastered’ vinyl album?
First and early pressings are pressed from the first generation lacquers and stampers. They usually sound vastly superior to later issues/re-issues (which, in recent times, are often pressed from whatever 'best' tapes or digital sources are currently available) - many so-called 'audiophile' new 180g pressings are cut from hi-res digital sources…essentially an expensive CD pressed on vinyl. Why experience the worse elements of both formats? These are just High Maintenance CDs, with mid-ranges so cloaked with a veil as to sound smeared. They are nearly always compressed with murky transients and a general lifelessness in the overall sound. There are exceptions where re-masters/re-presses outshine the original issues, but they are exceptions and not the norm.
First or early pressings nearly always have more immediacy, presence and dynamics. The sound staging is wider. Subtle instrument nuances are better placed with more spacious textures. Balances are firmer in the bottom end with a far-tighter bass. Upper-mid ranges shine without harshness, and the overall depth is more immersive. Inner details are clearer.
On first and early pressings, the music tends to sound more ‘alive’ and vibrant. The physics of sound energy is hard to clarify and write about from a listening perspective, but the best we can describe it is to say that you can 'hear' what the mixing and mastering engineers wanted you to hear when they first recorded the music.
AllMusic Review by Stephen Thomas Erlewine [-]
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.
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