Bacharach, Burt
69,
131,
132Band, The (musical group)
9,
138Banks, Tony
1,
2,
11,
23,
24,
25,
27,
28,
33,
34,
36,
37,
39,
50,
63,
66,
69,
70,
71,
79,
80,
81,
82,
83,
84,
88,
92,
93,
101,
109,
110,
113,
115,
131,
146and Gabriel’s lyrics,
48,
49,
99approach to songwriting
59compared with Keith Emerson
147keyboards on
The Lamb 59,
71,
80-
81,
84,
93opinion of live
Lamb performances
106-
8,
111post-production of Shrine Auditorium show
141relations with Peter Gabriel
28,
38,
50,
98,
99,
145-
6Baudrillard, Jean
7,
43,
64,
66,
74Bay City Rollers (musical group)
111BBC (British Broadcasting Corporation)
13,
14,
84,
137,
139,
155Beatles, The (musical group)
xi,
10,
31,
38,
57,
59,
92,
98,
99,
138,
139Sgt. Pepper’s Lonely Hearts Club Band xi,
10,
57-
8,
66,
92,
98
formal similarities to
The Lamb 57-
8,
66,
92influence on progressive rock
10“Strawberry Fields Forever”
59,
138“With A Little Help From My Friends”
57Bee Gees, The (musical group)
24Bell, Max
46,
64,
86,
95,
99,
103bootleg recordings
138-
40of
The Lamb 66,
84,
100,
109,
142,
145,
149-
56Bowie, David
1,
29,
30,
32,
102,
114,
143The Rise and Fall of Ziggy Stardust 41
theatrical style compared with that of Peter Gabriel
30,
35-
6Bowler, Dave
35,
39,
48,
98,
99,
107,
114Brand X (musical group)
50,
58Brave New World 72,
77,
128
Bright, Spencer
21,
26,
47,
49,
117,
136Butch Cassidy and the Sundance Kid 131
Gabriel, Jill
51,
112,
125Gabriel, Peter
38,
41,
44,
130,
131,
132,
143,
146and Biblical imagery
70,
72,
76,
79,
80,
125-
6and Charterhouse
20-
22,
23,
125Birdy (film soundtrack)
137
characterization of Rael
2,
45-
8,
74-
5,
107,
118,
124influence of soul music on
22and Jungian psychology
119,
123,
127Last Temptation of Christ, The (film soundtrack)
3,
125,
137
and lyric writing
52,
68,
73,
81,
95,
98,
99perception as Genesis “front man”
3,
27,
99,
134post-production of Shrine Auditorium show
140-
41proposed collaboration with Alejandro Jodorowsky
134-
6proposed collaboration with William Friedkin
49-
50,
59Rabbit Proof Fence (film soundtrack)
137
relations with Tony Banks
28,
38,
50,
98,
99,
145-
6reasons for leaving Genesis
111-
14,
132,
134religious upbringing of
125“The Rhythm of the Heat”
67sexual imagery in lyrics
36,
75,
77,
86,
90“Sledgehammer”
22,
75,
90and storytelling
34,
104–
5,
125,
133,
142and theatricality,
29–
33,
34–
5,
89,
91,
103,
137,
143“We Do What We’re Told (Milgram’s
37)”
3Gallo, Armando
38,
39,
48,
59,
86,
90,
98,
121,
123,
134,
135,
136,
148Garden Wall, The (musical group)
22,
23Genesis
after Gabriel’s departure
134…And Then There Were Three 36,
55,
75,
148
“Anyway”
57,
60,
94,
127,
140,
141,
147“Apocalypse in
9/
8” (“Supper’s Ready”)
34,
59,
75,
93“As Sure As Eggs is Eggs” (“Supper’s Ready”)
34Awed Man Out (bootleg)
142
“Back in N.Y.C.”
58,
60,
62,
64,
65,
127,
128,
129,
132,
134,
140,
141,
143,
148 analysis of
74–
6“The Battle of Epping Forest”
62,
98,
130,
139and Bohemian communalism
20,
27,
33“Broadway Melody of 1974”
57,
58,
60,
61,
79,
81,
85,
118,
127,
128,
130 analysis of
66–
8“Can-Utility and the Coastliners”
26“The Carpet Crawlers”
52,
56,
60,
80,
126,
127,
134,
141,
143,
146 analysis of
79“The Carpet Crawlers 1999”
79,
134“The Chamber of
32 Doors”
xi,
56,
62,
114,
127,
140,
146 analysis of
80–
81and Charterhouse School
20–
23,
30,
50,
125,
139,
145and Christian imagery
34,
65,
125–
6“The Cinema Show”
36,
59,
72,
126“The Colony of Slippermen”
62,
63,
70,
71,
72,
83,
89 analysis of
90–
91“Counting Out Time”
22,
36,
52,
60,
62,
65,
74,
79,
118,
127 analysis of
76–
8“Cuckoo Cocoon”
57,
60,
70,
114,
127,
128,
131,
140,
147 analysis of
68–
9“Dancing with the Moonlit Knight”
38,
62,
89,
93,
110The Demo Mix Down on Broadway (bootleg)
139“Evil Jam” (alternate title for “The Waiting Room”)
79,
84,
111“Firth of Fifth”
81,
119,
124,
143,
147“Fly on a Windshield”
57,
59,
62,
68,
80,
83,
127,
131,
140,
146,
147 analysis of
65–
6“Follow You Follow Me”
36“For Absent Friends”
46,
125“The Fountain of Salmacis”
36,
87,
88,
123,
126Foxtrot 15,
55,
78,
99,
102,
137,
139,
145
From Genesis to Revelation 23,
24,
58,
84,
125
“Frustration” (forerunner of “Anyway”)
84Genesis Archive 1967–75 34,
91,
118–
19,
139–
42
“Get ‘Em Out by Friday”
36,
41,
73“The Grand Parade of Lifeless Packaging”
52,
58,
60,
62,
114,
124,
127,
128,
147 analysis of
72–
4“Hairless Heart”
59,
74,
77,
79,
81,
107,
127,
140,
146 analysis of
76“How Dare I Be So Beautiful?” (“Supper’s Ready”)
124“ I Know What I Like (In Your Wardrobe)”
36,
38,
45,
78,
134In The Beginning (bootleg)
xi,
139
“In the Cage”
57,
58,
59,
62,
74,
79,
91,
114,
118,
126,
127,
128,
130,
131,
134,
137,
141,
145“In the Rapids”
55,
60,
107,
127“
it, ”
62,
108,
127,
131,
140“The Knife”
25,
27,
81,
105The Lamb Lies Down on Broadway
1970s pop culture in
74,
117–
18authorship of lyrics
47–
9,
81,
92authorship of songs
59,
77,
81,
85,
136–
7autobiographical aspects
114,
120band members’ opinions of
99,
106,
108–
9,
111,
145,
146Biblical imagery in
65,
125–
6bootleg recordings of
66,
84,
100,
109,
139,
140,
142,
145castration theme in
91,
123,
135compared with
Sgt. Pepper 57–
8,
66critical reception of
45,
97–
8,
107,
111,
117–
18,
134fan interpretation of
55–
7“hero’s journey” in
122–
3improvisation in
59,
63,
66,
78,
83–
4,
142instruments in 58.
63–
4,
78,
80–
81,
109–
11,
147intertextuality in
65,
68,
69,
130–
32Jungian psychology in
120–
21rehearsals
46–
51,
83,
97,
139Shrine Auditorium (Los Angeles) performance of
xi,
1,
118,
139–
41threefold structure in
62–
3and the
Tibetan Book of the Dead 66,
93,
95,
127–
9“The Lamb Lies Down on Broadway”
57,
59,
60,
61,
92,
107,
125,
127,
131Lamb Stew (bootleg)
109,
142
“The Lamia”
36,
57,
63,
84,
90,
92,
106,
107,
126,
127,
128,
133,
140,
142,
147“The Light Dies Down on Broadway”
49,
57,
99,
127,
131The Light Goes Down on Empire (bootleg)
142
“Lilywhite Lilith”
56,
60,
84,
91,
127,
128,
133“The Musical Box”
3,
34,
36,
62,
77,
89,
105,
137and “neo-progressive”
143Nursery Cryme 15,
27,
55,
77,
125,
132
“pedal point groove” in
60,
75Rare Tapes (bootleg)
75,
83,
140
“Ravine”
59,
62,
127,
141reception history of
37–
8,
45,
97–
8,
107,
11,
117–
18,
133,
134,
143–
6relationship with Charisma Records
18,
25,
36,
38,
50,
113“The Return of the Giant Hogweed”
46,
130“Riding the Scree”
52,
55,
60,
62,
78,
127“Ripples”
79,
84,
87,
124and rock theatre
29–
34,
36,
38,
143and Romanticism
9,
10,
15,
16,
20,
25,
27,
46,
90,
120,
146Selling England By The Pound 26,
27,
38,
43,
45,
46,
51,
55,
59,
64,
78,
97,
102,
106,
132,
137,
139,
143,
144,
145
“Silent Sorrow in Empty Boats”
59,
62,
92,
127,
143“The Supernatural Anaesthetist”
57,
63,
127,
141“Supper’s Ready”
3,
26,
34,
59,
80,
93,
119,
124,
125,
133Trespass 15,
22,
24,
27,
28,
58,
102,
125,
126,
143
A Trick of the Tail 3,
27,
114–
15,
143
Turn it On Again: The Hits 79,
134
“Visions of Angels”
3,
25,
125“The Waiting Room”
56,
62,
63,
79,
108,
127,
128,
147
analysis of
83–
4,
109–
111“Watcher of the Skies”
34–
5,
60,
89,
93,
95,
105,
119,
131,
134,
137The Way We Walk, Volume 2: The Longs 66,
72
“Willow Farm” (“Supper’s Ready”)
26,
34,
46Wind and Wuthering 83,
143
Genesis in Concert 1976 (film),
66
Giraffe (musical group)
133,
144,
148glam rock
4,
19,
30,
36,
48Goethe, Johann Wolfgang von
82Grand Funk Railroad (musical group)
43Grateful Dead (musical group)
9,
17,
84
Phillips, Anthony
24–
9,
34,
102,
125Pilgrim’s Progress 3,
46,
119,
125
Pink Floyd (musical group)
5,
8,
9,
15,
16,
17,
18,
26,
32,
33,
38,
45,
55,
58,
74,
110,
142Dark Side of the Moon 5,
8,
45,
55,
58
“Grantchester Meadows”
26A Saucerful of Secrets 15
Wish You Were Here 55,
148
Popol Vuh (musical group)
89,
90Procol Harum
9,
15,
18,
77“A Whiter Shade of Pale”
77progressive rock
African-American musical influences in
14,
21–
2Anglican influences in
80and “art for art’s sake” aesthetic
14and the concept album
15–
16and the counterculture
9–
10,
118,
120,
121critical reception of
8–
9,
21,
32,
37,
45,
118and Gnosticism
14–
15,
19,
98as marketing category
8–
15and modernism
9,
11,
103,
146as outgrowth of psychedelia
10–
11,
17,
118political commentary in
11–
12and “progressive” record labels
13regional market patterns in US
100and Romanticism
9,
10,
15,
16,
20,
25,
27,
117–
18,
120,
146stylistic characteristics
8–
9,
14,
17,
18,
78and the sublime
146–
7,
148“taste public” of
98,
133theatricality in
29–
34,
36–
8,
101–
3,
106,
142–
3and university market
1,
100,
152psychedelia
10–
11,
17,
18,
118Public Enemy (musical group)
146punk rock
5,
7,
20,
44,
47,
118,
148
Radiohead (musical group)
98“Raindrops Keep Falling on My Head”
69,
130,
131Ramones (musical group)
7Re-Genesis (tribute band)
143–
4 Lamb for Supper (album)
144Renaissance (musical group)
55Righteous Brothers (musical group)
9Rolling Stones, The (musical group)
35,
95,
131,
132Romanticism
9,
10,
15,
16,
20,
25,
27,
46,
78,
81,
90,
117,
120,
146Russell, Paul
27,
28,
111,
149,
150,
156Rutherford, Mike
24,
26,
28,
34,
37,
46,
47,
48–
9,
63,
92,
93,
98,
108,
109,
110,
114,
141,
145,
146bass work in “In The Cage”
69–
71
Saint-Exupéry, Antoine de
46Schoenberg, Arnold
11,
117Scorsese, Martin
3,
7,
125Searchers, The (musical group)
68,
130Sex Pistols (musical group)
20,
146Sgt. Pepper’s Lonely Hearts Club Band 10,
66,
92,
98
compared to
The Lamb Lies Down on Broadway 57–
8impact on music industry
10impact on progressive rock
10Sha Na Na (musical group)
29Sidpa Bardo 127,
128,
129
Simon and Garfunkel (musical group)
67Sly & The Family Stone (musical group)
26Small Faces, The (musical group)
43Soft Machine (musical group)
8,
85,
86Status Quo (musical group)
97,
103Steppenwolf (musical group)
11Stratton-Smith, Tony
18,
37,
38,
39,
50Stump, Paul
9,
10,
11,
18,
20,
25,
26,
27,
42,
43,
97,
120,
147,
148,
152“swoon” music
68,
82,
128