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"The Carpet Crawlers" is a song written and performed by the English progressive rock band Genesis, recorded for their sixth studio album The Lamb Lies Down on Broadway. The song tells the section of the album's story where Rael, the lead character, finds himself in a red carpeted corridor surrounded by kneeling people crawling towards a wooden ...
The second, "The Carpet Crawlers" backed with a live performance of "The Waiting Room (Evil Jam)" at the Shrine Auditorium in Los Angeles, followed in April 1975. The album continued to sell, and reached Gold certification by the British Phonographic Industry on 1 February 1975, [ 89 ] and Gold by the Recording Industry Association of America ...
Counting Out Time" and "The Carpet Crawlers" were released as singles in 1974 and 1975, respectively. Its sleeve is the first of four Genesis albums designed by Storm Thorgerson and Aubrey Powell of Hipgnosis.
All tracks feature the long-lasting Banks-Collins-Rutherford lineup of Genesis, with the exception of "I Know What I Like (In Your Wardrobe)" and "The Carpet Crawlers 1999", which feature the Banks-Collins-Gabriel-Hackett-Rutherford lineup, and "Congo", which features the Banks-Rutherford-Wilson lineup.
Gabriel was late to deliver the lyrics, but has denied that he was too busy to write much music for the album and relied on contributions from Banks and Rutherford. [44] Banks corroborated that Gabriel was the primary composer of the Lamb songs "The Carpet Crawlers" and "The Chamber of 32 Doors" and the sole composer of "Counting Out Time". [45]
The studio recording features a variation on the former lyric ("They say the lights are always bright on Broadway"), but subsequent live recordings feature the original. The bass-playing on the song by Mike Rutherford has been described as having "connotations of aggressive energy" that fits in well with the concept album's angry and defiant ...
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The song's lyrics tell the story of a boy who runs away from his abusive home, and—after some reconsideration—attempts to return, only to be rejected by his father. In interviews, Phil Collins has said that the lyrics are deliberately vague as to whether the narrator or his mother is the victim of the abuse.