Genesis Palace Theatre, Providence, Rhode Island. 8th December 1974
CD cover and tray artwork, plus a seperate booklet layout for the notes, are available from the art archive at Genesis-The Movement site.
Full artwork
Booklet layout for notes.
Artwork: Download files to disc, unzip, and print from there. All art files are RGB, and are sized correctly at 300 dpi. Final printed sizes should be 12x24 cm (4.75"x9.5") for double cover, and 11.8x15 cm (4.63"x5.92") for back tray (with 6cm spines).
Tracklist:
Disc 1:
1. The Lamb Lies Down on Broadway
2. Fly on a Windshield
3. Broadway Melody of 1974
4. Cuckoo Cocoon
5. In the Cage
6. The Grand Parade of Lifeless Packaging
7. Rael story pt.1
8. Back in N.Y.C.
9. Hairless Heart,
10. Counting Out Time
11.
Carpet Crawlers
12. The Chamber of 32 Doors,
13. Rael story pt.2
Disc 2:
1. Lilywhite Lilith
2. The Waiting Room
3. Anyway
4. Here Comes the Supernatural Anaesthetist
5. Interlude
6. The Lamia
7. Silent Sorrow in Empty Boats
8. The Arrival -
9. The Colony of Slippermen
10. Ravine
11. The Light Dies Down on Broadway
12. Riding the Scree
13. In the Rapids
14. It!
15. Henry & Cynthia story
16. The Musical Box
17. Watcher of the Skies
A few words from David Campbell, who donated his 1st gen tapes for this remaster.
Here are my memories of the taper. It's not much, but it's something...
I met the taper of this show while waiting in line to see Robert Fripp on his solo/spoken word/Frippertronics tour in the Spring of 1983 in Boston, Mass USA. As is normal to pass time, I struck up a conversation with the people around me. After a bit, I began talking to an older guy (I was 20 and he was almost 30) about concerts we'd seen, etc. One thing led to another and I came to find out that he was a avid taper of shows in the Boston area. He'd been recoding concerts since the mid 1970s and was the first person I'd met who taped non-Grateful Dead shows. After the show, we exchanged names and numbers in order to do some tape trading. A few weeks passed and my roommate and I went to his apartment. It was at this point that I realized that this guy had recorded some great shows. But that's all he seemed to do. His job was to record shows for you and I to enjoy.
Over the last two decades, I've taken great pleasure in this work. Now you too will enjoy this man's work when you listen to the Providence Lamb show.
Sound editor's notes from Andrew Skeoch
The Show
This wonderful stereo recording is one of the best from the audience of any Lamb Lies Down on Broadway show, and documents almost the entire gig.
The concert comes from the first US Lamb tour in 1974, and shows a few teething troubles still cropping up on stage. Tony's keyboards in particular cause problems, and loud crackles from his rig can be heard at various points throughout the set. I'm not sure, but it sounds as though at one point during Back in N.Y.C. Tony's 7/8 synth riff drops out altogether, and Hackett carries it alone with Tony filling chords on electric piano. There are also very prominent hums and buzzes from the PA that would have dismayed the band.
Nevertheless, they put on a powerful performance, and during most of the concert, the music is as good as it gets. It is interesting to hear Phil's harmony vocals present throughout, its as though he is just singing along with the whole concert. One doesn't usually think of Genesis songs as two part counterpoint, but its there. And Phil experiments continually, for instance the usual descending harmony line in Counting Out Time is absent, with Phil weaving lines around Peter's main melody instead.
The famous problems with the Slipperman costume and Peter's inability to get the microphone close enough are also present. Whilst Peter is mostly loud and clear during this song, there are times he drops out almost completely, and Phil carries the vocal alone. One can understand why the band were frustrated with this situation occurring consistently, and of course it is one of the reasons Peter re-recorded the vocal for the Lamb discs on the Archive box set.
The audience make a few notable appearances as well; listen to the exuberant whistles during the interlude prior to The Lamia. It is also amusing with hindsight to hear the audience's amazed reactions to Gabriel's unexpected appearance as the Slipperman.
The Source
This recording is outstanding, and has long been recognised as such. All the set up conditions for a great audience recording are present; good equipment, no obnoxiously loud audience members nearby, and it sounds as though the show was taped from near enough to the stage that it doesn't sound distant. The levels are good, with little hiss or overload distortion, and notably, there is not a single microphone bump during the whole recording! All the instruments are clear and there is a great sense of ambience from the hall and audience.
The recording was reputedly originally made on reel-to-reel, although the difficulties of stealth recording with large open reel gear, and that consistent cuts occur at the 45 min flips on different cassette copies of this recording, all point to a common cassette source. Whether that is the master or just a 1st gen duplicating tape is unknown, but going on the audio quality of this recording I think the former is more likely.
The recording documents nearly the entire concert with the exception of two omissions; firstly a small section (possibly only a few seconds) between the audience applause at the end of Carpet Crawlers, and the first chord of Chamber of 32 Doors (which fades in quickly), and secondly the middle minute and a half of Ravine. These missing sequences are almost certainly absent from the master recording. While they both occur at end of cassette tape sides, I think it is unlikely that they would originate in a cassette copy somewhere along the line.
This recording is mainly known from the 'Rael Imperial Aerosol Kid' bootleg, although because of its good sound quality, bits of it appear on other releases, notably the Waiting Room/Anyway section which is used on several boots (Lamb Lives, Suppers Ready with a Little Lost Lamb, From One Fan to All Others) to bridge the missing sections of the
West Palm Beach and Lakeland soundboard recordings of January 1975.
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