voy a añadir aquí algunas palabras de los miembros de genesis (especialmente peter) sobre la gira de
the lamb, que aparecieron en un reportaje de la revista circus.
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peter:"we were quite worried about introducing the whole of
the lamb to audiences all at once. this new show is very experimental for us".
"in the past we've tried to introduce new material in twenty-five minute segments, phasing it in with the better known songs gradually. it's also been difficult achieving a balance between the musical performance and the triple-screen slide presentation that helps the listener to visualize rael's story more easily. the slides are a much stronger element than ever before, and to a certain extent, they're an additional risk. they shift attention away from my performance somewhat, although now that i've worked with them onstage, i think they do provide an interest-point when the going gets a little heavier lyrically".
"i like to keep visuals in mind at the same time as lyrics and music. in the near future, i expect to see groups and artists work more closely together. i think the time is nearly ripe for the first visual artist to become a pop star. there will be situations in which the band itself becomes much less important, and there will be less of an ego thing. if one can build the visual image stronger, one can make the fantasy situation more real and involve an audience more deeply".
"i didn't feel very at home on the stage to begin with. audiences shocked us by not being very interested in the music at first. i started to wiggle about trying to personify the lyrics, and then we started to use the monologues when we brought twelve-string guitars into the act. there were long embarrassed silences while the guitars were tuned. the monologues gave me another outlet by which to express the fantasy".
"there are people who believe that the costumes, props, and slides we use are crutches to hold up crippled music. but if the visual images are conceived at the time of writing, and you don't use those visuals, then you're not allowing the audience to listen to the song in the full strength of which it was created. and that's what we're after, to give the listener as much in a song as we get from it. visuals are only rubbish unless they are integrated with the continuity of the music".
[sobre
counting out time] "that night rael pictured the removal of his hairy heart and to the accompaniment of very romantic music he watched it being shaved smooth by an anonymous stainless steel razor. the palpitating cherry-red organ was returned to its rightful place and began to beat faster as it led our hero, counting out time, through his first romantic encounter. it’s a light-hearted look at the insertion of male organs into female organs".
"the album seems clearer in my head than a lot of what we've done before. we look upon it as being comprised of much shorter units than before. i would like best to see
the lamb as a film, because that would clarify the imagery further than a performance or the record. a film is the easiest medium by which to build another reality".
"the point of rael being earthy and aggressive, is that he provides an accessible response to these fantasy situations. rael seemed a good starting point because he's surrounded by all, this speed and aggression which new york has more of than any other city".
"i'm glad we took the risk, i think it's paid off. audiences have a way of voicing their confusion and complaints crudely during a concert, but i like the feeling of being close to a rowdy audience. i'd rather have an active audience than a stoned and passive one, even if that includes some hostility".
"looking at; the who and yes, it seems they weren't able to play easily entire works like tommy or topographic oceans".
"so far we've been very lucky. our audiences initially tolerated
the lamb and now are actually positive toward it. tonight was one of the first gigs ever in america when i felt we'd really gotten across".
steve:"i think eventually there will be more anonymity amongst musicians in a group, without so many people trying so desperately to find star images".
"with this new stage show, we've left a lot of things looser than i we ever have before. we're taking a chance that our spontaneous improvisations will create something we haven't i had much of as yet. i think we're playing
the lamb even better live now than we did on record".
"there are, of course, some quite obscure parts, but i think that especially as regards new york city and america there are more direct statements than we've ever been willing to make before about a subject in the present time. previously, we'd preferred to 9' work with the past or the future".
tony:"the most important thing to us is the songs, then the playing, and only then the presentation. we're not as concerned with flaunting musicianship. yes and e.l.p. are more dependent on solos. i'm not a soloist as such. i think of myself more as an accompanist who colours the sound".
mike:"at any rate, audiences seem far, more satisfied with
the lamb than genesis could have anticipated".
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Índice 
