The Lamia

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Disk One
Lilywhite LilithLilywhite_Lilith.html
The Waiting Room
AnywayAnyway.html
Supernatural AnaesthetistSupernatural.html
Lamia
Silent Sorrow in Empty BoatsThe_Lamb_Lies_Down_on_Broadway.html
SlippermanSlippermen.html
Ravine
Light Dies Down on BroadwayLight_Dies_Down.html
Riding the ScreeScree.html
In the RapidsIn_the_Rapids.html
Disk Two
itit.html
The Lamb Lies Down on BroadwayThe_Lamb_Lies_Down_on_Broadway.html
Fly on a WindshieldFly_on_a_Windshield.html
Broadway Melody of 1974Broadway_Melody.html
Cuckoo CocoonCuckoo_Cocoon.html
In the CageIn_the_Cage.html
The Grand ParadeGrand_Parade.html
Back in NYCBack_in_NYC.html
Hairless HeartHairless_Heart.html
Counting Out TimeCounting_Out_Time.html
Chamber of 32 DoorsChamber_of_32_Doors.html
Carpet CrawlersCarpet_Crawlers.html

The Lamia is one of the most beautiful ballots recorded with the Genesis classic lineup.  The song was inspired by a dream Peter Gabriel and the concept of the song was born.  I am not sure of the history of how and when the song was arranged but by the time it was recorded for The Lamb, Tony had worked out some very detailed keyboard parts for the song. 


Starting with the acoustic grand piano.  The original tracks were recorded up in Wales with the Island mobile and I can only assume that the RMI piano was used during the tracking and recording of the main parts of the song, later replaced by re-recording the RMI part with the Steinway in Island Studios on Basing Street during overdubs and mixing.  In addition to the acoustic grand piano, Tony also has Hammond, RMI organ mode (with FENDER BLENDER and MXR Phase 100), mellotrons (strings and choir), and some ARP PRO SOLOIST bits.

Moving on to Steve’s contributions to the song, it starts off with the wonderful arpeggio work on the nylon classical guitar during the verses.  Then Steve adds some volume pedal electric guitar work during the choruses.  A wonderful and creative slide guitar part during the second accompanied piano bridge before the ending section of the song.  And finally, a wonderful guitar solo that really finishes the track strong!


Mike’s got a very interesting 12 string arpeggio guitar parts where he plays in tandem with Steve’s nylon string guitar parts.  The contrast of the mellow nylon and the biting 12 string create a wonderful accompaniment to Tony’s grand piano playing. Also, Mike adds some BASS pedals (Dewtrons) during the chorus where he also adds some Micro-Frets bass lines... for a short section both the Dewtrons and Microfrets are played in unison.  


However, Mike’s bass during the ending section is wonderfully sync’ed up with Phil’s drumming, just as a great rhythm section should.  This ending section is almost a lesson in how a drummer and bass player need to play “in the pocket” with each other to create a real groove.  It probably is my favorite highlight of the entire song.


Not to be outdone by all this arrangement, Peter adds his flute playing to the bridges between verses and jams out with Steve during the end section.  Peter’s flute playing during the end section was more like jamming and required Johnnie Burns to mix the good parts louder and the “not so good” parts further back in the mix during the end section.  Pete’s flute run at the very end of the song is my favorite flute part of Peter’s Genesis career.

Finally, our attention turns to Phil, who not only adds a great drum track but also adds some pretty good backup vocals during the song.  Phil’s drums are limited to the choruses and the end section of the song but as song, it is typical Phil, with well thought out drum arrangements.  His end section drumming is the soul of the rocking closing section of The Lamia.


Additionally, Phil adds in his percussion prowess in playing a VIBES part during the second verse section and continuing this during the end section of the song... he also sprinkles in a GLOCK part at the beginning of the second verse section.


So, please hit play below to hear the results of the recreation of this wonderful, lovely TRACK.

Below are two on line mixers for you to explore the musical tracks yourself.  The first example lets you MIX, and SOLO the different instruments of the songs so you can hear how it all comes together in the final mix.


The second on line mixer for this song, takes Tony Banks different keyboards and lets you solo, mute and mix them along with a mix of the balance of the song premixed without any of Tony’s parts so you can hear what Tony was playing during each section of the song.


Finally, you can download the MIDI tracks used to recreate the LAMIA if you want to explore how each part was performed... keep in mind, guitar and bass parts in MIDI aren’t perfect but it will help you learn how to play the actual parts in the song.


I hope you find this track both entertaining and educational.  ENJOY!!!!!!