Long Walk Home

Long Walk Home

5.0 1
by Peter Gabriel
     
 

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Inspired by Phillip Noyce's Rabbit Proof Fence, a film about three kidnapped Australian Aborigine children heading home in an attempt to escape forced cultural assimilation, Peter Gabriel created a stunning score that rivals his best-known soundtrack work, Passion, for Martin Scorsese's The Last Temptation of Christ. Minimizing the use of

Overview

Inspired by Phillip Noyce's Rabbit Proof Fence, a film about three kidnapped Australian Aborigine children heading home in an attempt to escape forced cultural assimilation, Peter Gabriel created a stunning score that rivals his best-known soundtrack work, Passion, for Martin Scorsese's The Last Temptation of Christ. Minimizing the use of traditional Western instruments such as guitar and horns, Gabriel instead utilizes native Aboriginal choral and instrumental support in creating ethereal soundscapes that are as bleak and foreboding as the Australian Outback, where this true story is set. A low hum, echoing the drone of the native Australian didgeridoo, reverberates throughout the album, upping the quotient of menace found within the crashing and clattering beats of "Stealing the Children"; the eerie swooshing and mechanized thump piercing "Moodo's Secret"; and the wailing drone of "The Tracker." Chasing away the dark clouds of gloom that permeate most of the preceding tracks is "Cloudless," a gorgeous finale steeped in the sounds of Aboriginal chants, along with a blanket of undulating beats and Gabriel's own distinctive harmonies. Far from your run-of-the-mill film score, Long Walk Home is a fascinating trip to the crossroads of contemporary and Aboriginal music.

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Nearly a full decade after the release of Us, Peter Gabriel finally returned with new music in the summer of 2002 -- but it wasn't a new studio album, it was the soundtrack to Phillip Noyce's return to independent Australian cinema, Rabbit-Proof Fence. The film tells the true story of three Aboriginal girls who make a return to their home after being abducted by the government to serve as domestic help to a white family in 1931; as they make their journey through the Outback to their home, they follow the Rabbit-Proof Fence, which had been constructed to prevent animals deemed agricultural pests -- including rabbits, dingoes, and foxes -- from crossing into Western Australia agricultural lands. This, understandably, is a moody, emotional piece, and Gabriel was an ideal choice for the soundtrack, since he proved with his score for Martin Scorsese's The Last Temptation of Christ that he could stay faithful to the indigenous music of the region while synthesizing it with his own synth-based art rock, providing a haunting, emotionally resonant soundtrack to the film. He does a similar thing here, using Aboriginal music as a foundation for much of his music, yet winding up with a score that's ultimately closer to Birdy than Passion. That's largely due to its long stretches of moody, spare keyboards, which dominate much of the album. The keyboards are the dominant sound here, not the rhythms, but it all blends together for a very evocative, dark yet hopeful set of music. It's not a splashy comeback, then, but a quiet return to something Gabriel does best -- creating soundscapes that are at once alien and familiar, eerie yet comforting. That he hasn't done this in a while does not diminish the fact that he's created a strong instrumental piece that stands on its own, outside of the film, holding its own with Birdy and Passion. And it only whets the appetite for a full-scale comeback.

Product Details

Release Date:
04/16/2002
Label:
Emi Import
UPC:
0766488713121
catalogNumber:
887131

Tracks

Album Credits

Performance Credits

Peter Gabriel   Primary Artist,Piano,Keyboards,Vocals,Surdo,Track Performer
Nusrat Fateh Ali Khan   Vocals
Richard Evans   Acoustic Guitar,Bass,Piano,Keyboards,Stick,Human Whistle,Hammered Dulcimer,Shaker,Crotale,Guitar (12 String Electric)
David Sancious   Hammond Organ
Peter G. Hanson   Violin
Adzido Pan African Dance Ensemble   Percussion
Sherry Carter   Wails
Lakshminarayana Shankar   Double Violin
Dinah Beamish   Cello
Mark Berrow   Violin
Roger Chase   Viola
Peter Green   Electric Guitar
Stephen Hague   Drums
Sally Herbert   Violin
Hossam Ramzy   finger cymbals
Manu Katché   Drums
Chris Laurence   Double Bass
London Session Orchestra   Strings
Martin Loveday   Cello
James McNally   Bodhran
Anthony Pleeth   Cello
Dmitri Pokrovsky   Kaliuka
Jocelyn Pook   Viola
David Rhodes   Acoustic Guitar,Percussion,Gong,Electric Guitar,Stick,Vocals,Background Vocals,Didjeridu,Berimbau,Surdo,Shaker,keyboard bass
Robert Smissen   Viola
Assane Thaim   talking drum
Cathy Thompson   Violin
Gavyn Wright   Violin
Fenella Barton   Violin
Mary Scully   Double Bass
Ben Chappell   Cello
Peter Lale   Viola
Duchess Nell Catchpole   Violin
Electra Strings   Strings
Babacar Faye   Djembe
Patrick Kiernan   Violin
Boguslaw Kostecki   Violin
Doudou N'Daiye Rose   African Drums
Jackie Shave   Violin
Benet Houariyat   Vocals
David Daniels [cello]   Cello
Richard Chappell   Tambourine
Ged Lynch   Percussion,Drums,Tom-Tom
Johnny Kalsi   Drums
Julian Leaper   Violin
Donald McVay   Viola
Claire Orsler   Viola
Antonia Fuchs   Violin
Chuck Norman   Keyboards
Jacqueline Norrie   Violin
Dominique Mahut   Percussion
Dhol Foundation   Drums
Blind Boys of Alabama   Vocals
Christopher Tombling   Violin

Technical Credits

Peter Gabriel   drum programming
Richard Evans   Arranger,Producer,Engineer
Tchad Blake   Orchestral Arrangements
Michael Brook   Engineer,Engineering
Stephen Hague   Programming,Producer
Nick Ingman   String Arrangements
Steve Orchard   Engineer,Engineering
Jocelyn Pook   String Arrangements
David Rhodes   Arranger,Producer
Will Gregory   String Arrangements
Richard Chappell   Engineer,drum programming
Johnny Kalsi   Sound Effects
Andrew Skeoch   Engineer
Alex Swift   Programming
Chuck Norman   Programming
Marc Bessant   Graphic Design

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5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
I really enjoyed this score. It captures mood and feeling and I really love that. The score to a movie should make us "feel" what is happening. This one does that and more. It is always an added bonus when I listen to a soundtrack and it plays the movie over in my head. Peter Gabriel is awesome at doing that. I would suggest this for anyone who is moved by film music, but especially to those who believe that the soundtrack tells its own secret version of a story, only known by the composer and your imagination.