In “The Colony of Slippermen” and the beginning of the fourth side of the vinyl, Rael meets a group of grotesquely deformed men; the Slipperman costume Peter Gabriel wore for the Lamb tour was the same as what’s described in the song. Upon meeting one of them, Rael discovers that he is indeed one of them, all having fallen prey to the lamias’ charms.
Rael’s brother John makes his 3rd appearance – the first being during “In the Cage,” the second in “The Grand Parade of Lifeless Packaging.” He, too, has become a Slipperman, and the only cure for their condition is… um, castration.
If you’ve never heard “The Colony of Slippermen” before and you’re learning about it for the first time now, I know what you’re thinking, because I thought it too. I believe the modern way of conveying the sentiment is WTF??!!?!?
Against my better judgment, I’m gonna dip my toe into the ocean of psychosis Peter Gabriel is revealing here. So the progression goes Rael meets the lamia, Rael becomes a Slipperman, Rael visits Doktor Dyper to get castrated, Rael is cured. The rather obvious parallel to the lamia sequence is that there’s an inherent connection between sex and devouring, like a black widow killing and eating her mate. Likewise, the parallel to the Slippermen sequence is this: sex causes deformity, and elimination of the sexual urge cures the deformity.
Anyway, there’re some bits about John abandoning Rael again when he’s needed, Rael having the chance to get out of this nightmareland and back to his beloved N.Y.C., and saving John from drowning only to find it’s not John but (GASP!) himself.
Honestly, the story of Rael and his journey lost me a long time ago. I agree with Tony Banks when he says that the story aspect of The Lamb is the weakest thing about it. It contains some simply amazing musical elements (the mind-bending heaviness of “In the Cage,” the timeless beauty of “The Carpet Crawlers,” the brief but epic keyboard solo in “The Colony of Slippermen,” others…) and the lyrics present some great ideas, but the actual plot is bizarre and directionless. I get that it’s a sort of Pilgrim’s Progress and that it’s more about the journey than the endpoint, but it winds up more like Naked Lunch without all the drug references.
Speaking of endpoints, the last thing that happens in the plot of The Lamb is Rael finding out that John is really himself. While this brings up questions of the definition of self and other existential issues, it’s quickly forgotten about with the instant segue into the capping track, “it.” The sweeping and epic tone of “it” are offset by its breakneck tempo; it’s easily the fastest song on The Lamb. The lyrics to “it” are very philosophical, descending into a soup of all the things it is. “It is chicken / it is eggs.” “It is real / it is Rael.” By the way, I’ve tried turning “it is Rael” into “it Israel” and making that mean something – it was futile.
The Lamb Lies Down On Broadway marked a change in the way the band operated, a way that proved unsustainable. With Banks, Rutherford, Hackett and Collins composing the music without Gabriel’s input, and Peter writing the lyrics alone, it put strains on what was before a very democratic band.
Partway through the writing process, Peter got his ego stroked by William Friedkin; Having just directed The Exorcist to great success, he wanted to remake Hollywood by bringing in all new people, including Peter as an “ideas man,” based on one of his song intro stories printed on the back of Genesis Live. After the band made it clear that he couldn’t work on the album and be Friedkin’s hanger-on, Gabriel said goodbye to Genesis. Horrified that he might have been responsible for Genesis breaking up, Friedkin backed off, and Gabriel returned to work. But the rest of Genesis could sense the beginning of the end, because they then knew that this could happen at any time.
Add to that the birth of Peter’s first child and the innumerable difficulties with the delivery. Doctors initially didn’t think Anna-Marie Gabriel would survive. Quite naturally, that ordeal became the center of Peter’s world in both thought and deed, and that meant his work with Genesis was dwarfed. But rather than responding with caring and humanity, the other band members were very unsupportive. That, I think, sealed the deal on Peter Gabriel leaving. He had the courtesy to finish the album and the following tour, but it was a poorly-kept secret that this would be Gabriel’s last hurrah with Genesis.
To me, The Lamb is kind of like a train wreck that explodes in glorious fireworks. It’s quite an awful sight, but a beautiful one too. It confuses me, frustrates me, fascinates me, and ultimately leaves me wanting more. Even though it never has a payoff, I can’t walk away from it – I don’t even want to, because it’s such a fantastic mess. It does what a precious few great pieces of art can, and that’s constantly being ALMOST within reach of its spectators… but not quite.