Peter Gabriel [1]

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Peter Gabriel tells why he left Genesis in "Solsbury Hill," the key track on his 1977 solo debut. Majestically opening with an acoustic guitar, the song finds Gabriel's talents gelling, as the words and music feed off each other, turning into true poetry. It stands out dramatically on this record, not because the music doesn't work, but because it brilliantly illustrates why Gabriel had to fly on his own. Though this is undeniably the work of the same man behind The Lamb Lies Down on Broadway, he's turned his artiness inward, making his music coiled, dense, vibrant. There is still some excess, naturally, yet it's the sound of a musician unleashed, finally able ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
Peter Gabriel tells why he left Genesis in "Solsbury Hill," the key track on his 1977 solo debut. Majestically opening with an acoustic guitar, the song finds Gabriel's talents gelling, as the words and music feed off each other, turning into true poetry. It stands out dramatically on this record, not because the music doesn't work, but because it brilliantly illustrates why Gabriel had to fly on his own. Though this is undeniably the work of the same man behind The Lamb Lies Down on Broadway, he's turned his artiness inward, making his music coiled, dense, vibrant. There is still some excess, naturally, yet it's the sound of a musician unleashed, finally able to bend the rules as he wishes. That means there are less atmospheric instrumental sections than there were on his last few records with Genesis, as the unhinged bizarreness in the arrangements, compositions, and productions, in tracks such as the opener "Moribund the Burgermeister" vividly illustrate. He also has turned sleeker, sexier, capable of turning out a surging rocker like "Modern Love." If there is any problem with Peter Gabriel, it's that Gabriel is trying too hard to show the range of his talents, thereby stumbling occasionally with the doo wop-to-cabaret "Excuse Me" or the cocktail jazz of "Waiting for the Big One" or, the lyric "you've got me cookin'/I'm a hard-boiled egg" on "Humdrum". Still, much of the record teems with invigorating energy as on "Slowburn," or the orchestral-disco pulse of "Down the Dolce Vita", and the closer "Here Comes the Flood" burns with an anthemic intensity that would later become his signature in the '80s. Yes, it's an imperfect album, but that's a byproduct of Gabriel's welcome risk-taking -- the very thing that makes the album work, overall.
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Product Details

  • Release Date: 9/28/2010
  • Label: Real World Prod. Ltd
  • UPC: 180030000611
  • Catalog Number: 61
  • Sales rank: 7,141

Album Credits

Performance Credits
Peter Gabriel Primary Artist, Flute, Keyboards, Recorder, Voices
Steve Hunter Acoustic Guitar, Guitar, Pedal Steel Guitar, Electric Guitar, Rhythm Guitar
Jimmy Maelen Percussion
Robert Fripp Banjo, Electric Guitar, Classical Guitar
Tony Levin Bass, Tuba, Leader
Allan Schwartzberg Drums
Dick Wagner Guitar, Background Vocals, Soloist
Jozef Chirowski Keyboards
Michael Gibbs Conductor
Larry "Wires" Fast Synthesizer
Technical Credits
Peter Gabriel Composer
Brian Christian Engineer
Tony Cousins Remastering
Bob Ezrin Producer
Jim Frank Engineer
Keith Grant Engineer
Martin Hall Composer
Robert Hrycyna Engineer
Rod O'Brien Engineer
George Graves Mastering
Richard Chappell Engineer
Robert Stasiak Engineer
Dan Blore Sleeve Restoration
Craig Richardson Mastering
Mic Smith Introduction
Michael Gibbs Arranger
Dave Harris Engineer
Marc Pessant Graphic Design
Larry "Wires" Fast Programming
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