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PETER GABRIEL

Crossover Prog • United Kingdom


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Peter Gabriel picture
Peter Gabriel biography
Peter Brian Gabriel - Born 13 February 1950 in Chobham, Surrey, UK.

Musician, writer and video maker, Peter GABRIEL is one of the most loved musicians in prog-scene. He was the singer and front-man of GENESIS since 1967 to 1975, but thatīs another story...

GABRIEL started his solo career in 1977, and since then he has released 8 studio albums, 2 live albums, 3 original sound tracks and 3 compilations, always with the collaboration of a lot of different and great musicians and playing different musical styles. 1977 was the date of the release of Peterīs first album "Peter Gabriel 1", one year after "Peter Gabriel 2" was published, both albums have a similar sound (pop-prog-rock), and count with the production and guitars of KING CRIMSON's Robert Fripp and Tony Levin on bass, being Tony an active member of Peter's band since then. "Solsbury Hill" was the hit single of GABRIELīs first work, both albums include classic songs that are still being played on his actual shows. In 1980 two things happened, one was the release of Peter's third album "Peter Gabriel 3", this one being the most complete work till date in the opinion of a lot of fans, and also was the foundation of WOMAD (World Of Music, Arts and Dance) where Peter and other members of WOMAD played a series of festivals around the world, where they mixed traditional and modern music. In 1982 Peter published "Security" album, with a different sound, more electronic and also it was the first time that Peter began to use African sounds in his albums. This was followed by the double live album "Peter Gabriel Plays Live". Two years after Peter released his first OST "Birdy" (Alan Parker film), which was a great mix of eerie sounds and relaxing music.

Just one year after, in 1986 "So" was published, which was a well known and best selling album, with a clear pop sound and hit singles like "Sledgehammer" and "Donīt Give Up" (with the collaboration of Kate Bush on vocals) and the great "Red Rain". This album won several awards, especially for his video clips, very sophisticated for that year. Three years after, Peter published his second OST, Martin Scorcese's "Last Temptation Of Christ", one of the most experimental and innovative albums, with a mix of different musical styles. After this album a compilation "Shaking The Tree Sixteen Golden Greats" was published, and in 1988 Peter was involved in some benefit concerts, like "Human Rights Now...
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PETER GABRIEL Videos (YouTube and more)


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Peter Gabriel 1 (33 RPM Version)Peter Gabriel 1 (33 RPM Version)
Remastered
Real World Productions 2017
$10.70
$5.99 (used)
So (25th Anniversary Remaster)So (25th Anniversary Remaster)
Remastered
Real World Productions 2012
$8.50
$10.27 (used)
Peter Gabriel 3 (33 RPM Version)Peter Gabriel 3 (33 RPM Version)
Remastered
Real World Productions 2017
$10.80
$9.98 (used)
So (33 RPM Version)So (33 RPM Version)
Remastered
Real World Productions 2017
$17.76
$19.99 (used)
Shaking the Tree: Sixteen Golden GreatsShaking the Tree: Sixteen Golden Greats
Remastered
Real World Productions 2010
$7.99
$3.60 (used)
Peter Gabriel 2: ScratchPeter Gabriel 2: Scratch
Remastered
Real World Productions 2010
$9.44
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Peter Gabriel 3: MeltPeter Gabriel 3: Melt
Remastered
Real World Productions 2010
$9.99
Peter Gabriel 4: SecurityPeter Gabriel 4: Security
Remastered
Real World Productions 2010
$8.90
$8.89 (used)
Scratch My BackScratch My Back
Real World Productions 2013
$3.90
$2.01 (used)
Peter Gabriel 1Peter Gabriel 1
Remastered
Real World Productions 2010
$9.44
$5.98 (used)
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PETER GABRIEL discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PETER GABRIEL top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.55 | 607 ratings
Peter Gabriel 1 [Aka: Car]
1977
2.99 | 492 ratings
Peter Gabriel 2 [Aka: Scratch]
1978
4.20 | 790 ratings
Peter Gabriel 3 [Aka: Melt]
1980
3.93 | 548 ratings
Peter Gabriel 4 [Aka: Mask or Security]
1982
2.97 | 177 ratings
Birdy (OST)
1985
3.83 | 616 ratings
So
1986
4.09 | 392 ratings
Passion - Music from The Last Temptation Of Christ
1989
3.64 | 431 ratings
Us
1992
3.49 | 195 ratings
OVO
2000
3.31 | 114 ratings
Long Walk Home - Music from The Rabbit-Proof Fence
2002
3.98 | 530 ratings
Up
2002
2.76 | 117 ratings
Big Blue Ball
2008
2.91 | 218 ratings
Scratch My Back
2010
3.59 | 178 ratings
New Blood
2011
2.91 | 52 ratings
And I'll Scratch Yours
2013

PETER GABRIEL Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.08 | 216 ratings
Plays Live
1983
2.41 | 42 ratings
Plays Live - Highlights
1983
3.92 | 139 ratings
Secret World Live
1994
3.54 | 40 ratings
Live Blood
2011
4.30 | 10 ratings
Live in Buenos Aires 1988
2011

PETER GABRIEL Videos (DVD, Blu-ray, VHS etc)

4.07 | 30 ratings
P.O.V.
1990
4.32 | 176 ratings
Secret World Live
1994
4.51 | 183 ratings
Growing Up Live
2003
3.80 | 73 ratings
Play: The Videos
2004
3.80 | 68 ratings
Still Growing Up - Live And Unwrapped
2005
4.10 | 49 ratings
New Blood - Live In London
2011
4.42 | 12 ratings
Live In Buenos Aires 1988
2011
4.39 | 30 ratings
Live In Athens 1987
2013
4.20 | 25 ratings
Back to Front: Live in London
2014

PETER GABRIEL Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.52 | 37 ratings
Ein deutsches album
1980
3.82 | 44 ratings
Deutsches album
1982
5.00 | 1 ratings
Collectors' Edition
1990
3.85 | 89 ratings
Shaking the Tree Sixteen Golden Greats
1990
3.27 | 14 ratings
Revisited
1992
3.77 | 49 ratings
Hit
2003
4.00 | 2 ratings
Scratch My Back / And I'll Scratch Yours
2013

PETER GABRIEL Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.03 | 20 ratings
Solsbury Hill
1977
3.57 | 14 ratings
Modern Love
1977
1.94 | 15 ratings
D.I.Y.
1978
3.40 | 10 ratings
D.I.Y.
1978
4.10 | 21 ratings
No Self Control
1980
4.24 | 26 ratings
Games Without Frontiers
1980
4.03 | 23 ratings
Biko
1980
4.13 | 15 ratings
Solsbury Hill
1980
3.25 | 4 ratings
I Don't Remember
1980
0.00 | 0 ratings
Spiel ohne Grenzen
1980
3.91 | 4 ratings
Wallflower
1982
3.32 | 19 ratings
I Have The Touch
1982
3.68 | 22 ratings
Shock The Monkey
1982
4.18 | 17 ratings
I Don't Remember
1983
3.04 | 5 ratings
Solsbury Hill (Live)
1983
0.00 | 0 ratings
Out Out
1984
2.34 | 10 ratings
Walk Through The Fire
1984
3.88 | 24 ratings
Sledgehammer
1986
3.79 | 25 ratings
Don't Give Up (w/ Kate Bush)
1986
2.38 | 22 ratings
Big Time (maxi-single)
1986
3.25 | 8 ratings
Sledgehammer - Dance mix
1986
2.95 | 2 ratings
In Your Eyes
1986
3.78 | 9 ratings
Solsbury Hill
1986
3.13 | 11 ratings
Biko/No More Apartheid (maxi-single)
1987
3.37 | 16 ratings
Red Rain
1987
3.33 | 9 ratings
Shakin' The Tree (w/ Youssou N'Dour)
1989
3.45 | 11 ratings
Steam
1992
3.81 | 16 ratings
Digging In The Dirt
1992
3.80 | 5 ratings
Digging In The Dirt - Brown Linen Box
1992
3.67 | 12 ratings
Blood Of Eden
1993
3.33 | 3 ratings
Be Still
1993
2.90 | 10 ratings
Kiss That Frog
1993
3.71 | 7 ratings
SW Live EP
1994
2.67 | 3 ratings
Lovetown
1994
3.60 | 5 ratings
While the Earth Sleeps (w/ Deep Forest)
1996
0.00 | 0 ratings
That'll Do
1998
3.00 | 5 ratings
The Story Of Ovo
2000
3.43 | 7 ratings
More Than This
2002
2.32 | 12 ratings
The Barry Williams Show
2002
3.38 | 8 ratings
Burn You Up, Burn You Down
2003
3.27 | 11 ratings
Growing Up
2003
0.00 | 0 ratings
Big Time (with Electro Kingdom)
2005
4.25 | 4 ratings
Peter Gabriel
2007
3.00 | 2 ratings
Salala (featuring Angelique Kidjo)
2007
4.00 | 3 ratings
Whole Thing
2008
3.88 | 24 ratings
Down to Earth
2008
4.00 | 9 ratings
The Book of Love / Not One of Us
2010
3.60 | 6 ratings
Courage
2013
0.00 | 0 ratings
Sledgehammer
2015
4.25 | 4 ratings
The Veil
2016
4.17 | 6 ratings
I'm Amazing
2016

PETER GABRIEL Reviews


Showing last 10 reviews only
 Sledgehammer by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1986
3.88 | 24 ratings

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Sledgehammer
Peter Gabriel Crossover Prog

Review by TenYearsAfter

4 stars 'FIRST REVIEW OF THIS SINGLE'

1. Sledgehammer

Peter Gabriel often reminds me of the late genius David Bowie: highly creative and innovative, great visual stage antics, musical chameleons, surprising their audience with yet another musical genre, delivering high quality pop top hits and ahead of their time. To continue comparing Gabriel with Bowie, it often comes to my mind that Sledgehammer could have been a David Bowie composition. Sledgehammer was the first single release of Peter Gabriel his fifth album entitled So (1986) and a worldwide hit: it topped the charts in Canada and the USA, and of course was the mindblowing and awarded video a huge contribution to the popularity of Sledgehammer (I can't listen to this song without seeing the images of the video). So Peter Gabriel went from the most charismatic frontman in progressive rock to a top selling solo artis, and a celebrity.

Sledgehammer starts with that very distinctive intro featuring a synthesized shakuhachi flute. Then it's swinging time: a catchy bass, Earth, Wind & Fire-like brass and Peter his soulful voice, this a perfectly structured and coloured blend of soul, funk and pop. Halfway again that synthesized flute and then female vocal harmonies join (including P.P. Arnold, once The Nice was her backing band), the propulsive percussion is great and Peter sings very powerful, with obvious hints from his soul inspiration. A masterpiece in its kind, and the doorway to international success, soon he released Big Time (also from So), another Top 10 USA hit!

About the lyrics, it's Freudian Extravaganza, a flood of hidden sex and phallic symbols! On the Internet I read: 'In the US in the 1980's local radiostations where often controlled by christian organisations. They where banning songs they ment where unsuitible for christian minds. So Peter Gabriel wrote Sledgehammer. If you listen good in the beginning of the song he says "how can anybody fool them". If the radiostations banned the song they would admit, that they themselves have a "dirty mind", so they played it...... and were fooled'.

2. Don't Break This Rhythm :

A strong blend of natural exotic percussion and modern technology (synthesizers and samplers), topped with Peter Gabriel his wonderful emotional vocals (the title is an excellent metaphor for the relationship in this song), it could have been a Peter Gabriel IV song.

P.s.: Thank you visitors and musicians for your Likes, social comments and Facebook messages! It's a huge boost to continue writing reviews here, now I am on my way to #100.

 Don't Give Up (w/ Kate Bush) by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1986
3.79 | 25 ratings

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Don't Give Up (w/ Kate Bush)
Peter Gabriel Crossover Prog

Review by TenYearsAfter

3 stars 1. Don't Give Up

What would have happened if first choice Dolly Parton had not turned down Peter Gabriel his request to be the female singer in this duet? Anyway, Peter Gabriel his good friend Kate Bush was willing to do the job, the rest is history! On the Internet I read: 'The song was inspired by the Depression-era photographs of Dorothea Lange, showing poverty-stricken Americans in dust bowl conditions. Gabriel saw Lange's images in a 1973 book titled In This Proud Land. He felt that a song based on this was wholly appropriate to difficult economic conditions in England under Margaret Thatcher. He composed lyrics within a situation about a man whose unemployment causes stress in his domestic relationship. The verses, sung by Gabriel, describe the man's feelings of isolation, loneliness and despair; the choruses, sung by Bush, offer words of hope and encouragement.'

The song starts in a dreamy atmosphere with a slow beat, a soaring flute sound from the Fairlight digital sampler and Peter Gabriel his fragile voice, with a melancholical undertone: 'No fight left or so it seems. I am a man whose dreams have all deserted. I've changed my name, I've changed my face. But no one wants you when you lose.'

Then there is Kate Bush her voice, sweet and encouraging, a huge contrast, what a brilliant idea! 'Don't give up. 'Cause you have friends.' The music remains dreamy, with that slow beat and soaring keyboards, as a frame for the painting with words. Fragile piano runs join, wonderfully blended into the emotional atmophere.

Halfway Peter raises his voice, it sounds very emotional, even desperate: 'Got to walk out of here. I can't take anymore. Going to stand on that bridge. Keep my eyes down below. Whatever may come. And whatever may go. That river's flowing. That river's flowing.' Now soft fretless bass play joins, And then there is Kate again, she keeps on supporting him and pointing at the positive things in life, so many people will recognize this situation, from both ends:

'Don't give up. 'Cause you have friends. Don't give up. You're not the only one. Don't give up.'

And the final words by Kate Bush: 'Don't give up. 'Cause I believe there's a place. There's a place where we belong'. Wonderful words, so supportive. In the short final instrumental part a hypnotizing climate with a slow beat and in the background celestial voices that sing 'Don't give up', to emphasize the unconditional female support.

2. In Your Eyes

A romantic ballad with Peter his distinctive voice, tender piano play and a slow rhythm. The music alternates between mellow and slow accelarations and the refrain is with Peter his voice and vocal harmonies. The use of the Fairlight delivers a pleasant musical colouring. In the end a female African singer adds a special flavour.

According to many sources the song is about Rosanna Arquette, I read on the Internet: 'Actually it was a kind of response to what the band Toto did. Their keyboardist used to date ms Arquette, but she broke it off with him for Peter. So the band got together and penned the song Rosanna for her. Funnily enough, she wasn't overly impressed, and was only truely blown away when Peter Gabriel released In Your Eyes in response.

My rating: 3,5 star.

 Biko by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1980
4.03 | 23 ratings

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Biko
Peter Gabriel Crossover Prog

Review by TenYearsAfter

4 stars "FIRST REVIEW OF THIS SINGLE"

1. Biko

Peter Gabriel in an interview: "The musical side of the song 'Biko' was inspired by hearing a shortwave Dutch radio station playing the soundtrack to a not very good Stanley Baker epic called Dingaka. There were elements in the choir and grooves which made me want to explore further. I started to listen to various bits of African music.'

The intro and outro are South African funeral music that was used on Biko's funeral, including the words by the crowd singing 'Bakhala uVorster! Ngomhla sibuyayo, kophalal igazi! Ngomhla sibuyayo. Ngomhla sibuyayo. Ngomhla sibuyayo, kophalal igazi!' (intro) and 'Senzeni na! Senzeni na!' (outro), very impressive and it highly contributes to creating a typical African atmosphere.

The music starts with Brazilian drum beats, distorted guitar play and a synthesizer bagpipe sound, this creates a hypnotizing atmosphere with an ominous undertone. Then Peter Gabriel his emotional voice joins: 'Port Elizabeth weather fine. It was business as usual. In police room 619. Oh Biko, Biko, because Biko. Oh Biko, Biko, because Biko. Yihla moja, yihla moja (which means "descending spirit", TYA). The man is dead. The man is dead'.

"Because Biko', brilliant alliteration.

'You can blow out a candle. But you can't blow out a fire. Once the flames begin to catch. The wind will blow it higher.' Wow, what a splendid metaphore and indeed, the Apartheid kept on killing, but in the end that brutal South-Africa government system was stopped, in 1994 Nelson Mandela became the first native president of South- African people, 14 years after the song Biko.

Biko ends with "Oh Oh Oh", it sounds like an archetypical cry for freedom, for justice, what an end, what a song, what a great composer, singer, performer and human being Peter Gabriels is!

2. Shosholoza

"Shosholoza (Go In Peace)" is a song from the movie Dingaka, that delivered Gabriel a few ideas for his song, "Biko." Originally just a chant, Gabriel added music, a fine example of Gabriel his interest in African music, but not really a song with Peter Gabriel vocals.

3. Jetzt Kommt Die Flut

Peter Gabriel used a phonetic transcript, the translations were done by German director and author Horst Konigstein. To me it sounds a bit clinical, it lacks the emotional undertone of the original English lyrics.

 Solsbury Hill by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1977
4.03 | 20 ratings

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Solsbury Hill
Peter Gabriel Crossover Prog

Review by TenYearsAfter

4 stars "FIRST REVIEW OF THIS SINGLE"

1. Solsbury Hill

When Peter Gabriel released this single in 1977 his former band Genesis had become a 'biggie', while his artistic and financial future was still very uncertain. Between the The Lamb recordings and his first solo album he had experienced an emotional rollercoaster: so many heavy emotions and feelings, from the problems to deliver the lyrics to the difficult pregnancy of his wife Jill during that time.

From the first moment I heard Solsbury Hill, I was very moved by the vocals, the atmosphere, the lyrics and the instrumentation, what a timeless beauty! The great thing in Solsbury Hill (the title is derived from a hill near his hometown Bath) is the contrast between the simple structure of the music and the complexity of the wide range of emotions Peter is singing about.

The acoustic rhythm guitar by Steve Hunter sounds cheerful, on the other hand the synthesizer strings have a slightly melancholical undertone. As a musical translation of being happy, but still feeling the frustrations of a troubled period: 'When illusion spin her net. I'm never where I want to be. And liberty she pirouette. When I think that I am free.'

Listening to the strong autobiographical lyrics makes this song more and more a moving experience.

'My heart going boom boom boom' this emphasizes his emotional world, how brilliant to use these expressive words. And for Peter, who grew up in the upper middle class in South-England, it was far from easy to show his vulnerability and insecurities. That is 'not done' in the socalled 'upper-stiff-lip-mentality' in South-England. So I consider this as a brave effort.

'I was feeling part of the scenery, I walked right out of the machinery', the most obvious hints about Genesis. Now he is determined to go his own way and taking financial risks for creative freedom, rather than earning money and being frustrated in Genesis: 'Hey I said, you can keep my things, they've come to take me home." This is musically translated in a final part that slowly turns into bombastic with propulsive electric guitar, emotional cries and powerful drum beats, impressive!

2. Moribund The Burgermeister :

This track is also from Peter Gabriel his first debut album, an other 'cup of tea' than Solsbury Hill: very dynamic, from mellow to sumptuous outbursts, with a The Lamb undertone (Colony Of Slippermen sound) and strong vocals, in fact an excellent B-side!

In order to promote his first album Peter Gabriel went on tour, he succeeded to put together an incredible band: Robert Fripp and Steve Hunter on guitar, Alan Schwartzberg on drums, Tony Levin on bass and Larry Fast on keyboards, wow!

 Peter Gabriel 3 [Aka: Melt] by GABRIEL, PETER album cover Studio Album, 1980
4.20 | 790 ratings

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Peter Gabriel 3 [Aka: Melt]
Peter Gabriel Crossover Prog

Review by The Dark Elf

5 stars From a compositional standpoint, the idiosyncratic Gabriel hasn't merely chosen the path less traveled, he's clear- cut a gaping glade clean through the forest. Whether as the outrageously caparisoned front man and storyteller of Genesis, or as a visionary solo artist delving into world music and visual media, Gabriel is not only singing from left- field, he's up in the nosebleed bleacher seats with the field barely visible below. And it is precisely because of the unconventional vocals, the quirky beats, the irregular time signatures, and the unorthodox subject matter of Peter Gabriel's third solo release (popularly christened 'Melt') that makes it an essential listening experience.

You have to hand it to Gabriel. With the release of 'Melt' in May of 1980, he came out with one of the best albums of 1980s only six months into the decade. It is certainly on par with other stellar releases from the period, such as U2's 'Joshua Tree', Paul Simon's 'Graceland'', Talking Heads' 'Remain in Light', or Gabriel's own 'So' album from 1986. But whereas 'So' was more commercially successful (with the MTV hits 'Sledgehammer' and 'Big Time') and far more huggable for the masses (don't we all get nostalgic when we hear 'In Your Eyes'?), the thorny 'Melt' pricks one's sensibilities and is satisfying from a visceral standpoint, with a psychological depth and intensity to the storytelling few albums from the 80s could match.

The first thing you notice is that there are no cymbals... throughout the entire album. There are other percussion instruments, but the lack of cymbals creates tension - a totemic, animistic thrum and rumble - that permeates the album with an unrelieved edginess bordering on hysteria. The purposeful mania instilled by Gabriel is amplified further with the "gated drum" sound, a dramatic reverb effect that produces a booming but highly-compressed punch to the drums created specifically for this album and employed with gusto by drummer Phil Collins (who appears on four tracks). Collins would memorably re-use the gated drum effect on his hit "In the Air Tonight", but perfected it on Peter Gabriel's stunning third self-titled solo album, known as 'Melt' (for the distinctive cover photo). And 'Melt' (1980), even more so than Gabriel's mega-hit 'So' (1986), is the best album of the 1980s. Aside from distinctive vocals, studio techniques and musical innovations, 'Melt' is, for all intents and purposes, a "psychological treatise' on the human condition: compulsion, obsession, isolation, schizophrenia, amnesia, prejudice, bigotry, anger institutionalization, and murder. Herein lie the darker dimensions of thought and action, delivered with an actor's flair by Gabriel.

'Intruder', a flesh-crawling ode to home invasion, begins the mind games with the grating, metallic grind of clippers on twisted wire, discordant keyboards, and Collin's strident drumbeat, and ends with a bit of whistling-with- criminal-intent made famous by Peter Lorre in the movie 'M' (1931). 'No Self Control' mirrors the troubled tendencies of 'Intruder', but amps up the mania, as well as the volume, with Gabriel's recurring avant-garde partners-in-crime Robert Fripp on guitar and Kate Bush on backing vocals, along with a vicious turn on drums by Collins. 'I Don't Remember' (amnesia), "And Through the Wire" (communication overload) and 'Lead a Normal Life' (asylums) are each excellent tunes, but the truly stellar songs are the allegoric satire on nationalism "Games Without Frontiers" (again with Kate Bush singing 'jeux sans fronti'res' or "games without frontiers"), and "Not One of Us", which cleverly attacks hatred and prejudice born out of fear and ignorance.

And then there are the two epics. The first, 'Family Snapshot', is a suspenseful character study of a publicity- seeking loner who kills a public figure, in which Gabriel, through the use of internal monologue, grafts the memoirs of assassin Arthur Bremer onto scenes of JFK's assassination in Dallas. The effect is riveting. Finally, there is "Biko", about Stephen Biko, a South African civil rights leader murdered while in police custody. The horrid event gained worldwide attention due in part to Gabriel's profound lament. "Biko" was the greatest protest song of the 80s, and the grand lyric 'And the eyes of the world are watching now', proved prophetic. 'Melt' is fully realized and conceptually brilliant, a stark look at man's inhumanity to man, and the madness that stirs in the minds of many.

 Passion - Music from The Last Temptation Of Christ by GABRIEL, PETER album cover Studio Album, 1989
4.09 | 392 ratings

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Passion - Music from The Last Temptation Of Christ
Peter Gabriel Crossover Prog

Review by SteveG

5 stars Even if the music from the album The Passion by Peter Gabriel cannot be labeled as prog, it's so stunningly revolutionary that it will easily rest among the pillars of prog music. This OST was conceived as a music of ancient times and modern times. Of far away and somehow near. The secret of how Gabriel accomplished this is as easy as it is complicated. Mr. G took world rhythms, African and Middle Eastern melodies and combined these with modern ambient drones and soundscapes using all maner of modern and ancient instruments and voices. Including samples from a Fairlight sampler, Akai S900 and an Emulator, as well as his trusty Roland, Prophet and Fairlight synths, which helps the music to keep one foot firmly in the 20th century and adds a dose of Gabriel's then current musical DNA to the sound mix. Featuring his own hypnotic near chanting vocals coupled with world music chants from the likes of Youssou N'Dour and the quawwali style vocals of the great Nusrat Fateh Ali Khan, almost by default we have a memorizing musical mix that could only be sublime. Other players of note include the great Shankar on his one and only 10 string double necked violin and David Sancious on keyboards and vocals.

Adding exotic instruments such as Armenian doudouks as well as North African and South American percussion almost puts the music into the realm of the other worldly. Which is exactly what the music was supposed to do for this fantastic film that explores the human side of the Christ figure and the movie's many parallel philosophical themes.

The standout tracks include "The Feeling Begins" , "Of These, Hope", "A Different Drum" (which features Billy Cobham on drums) and the absolutely stunning 7 minute mediation titled "The Passion" which features a truly ethereal Nasrat Fateh Ali Khan.

No song from The Passion is similar to "Roundabout", "Suppers Ready" or "21st Century Schizoid Man." They are also not similar to anything else available at the time, be it prog or not. And that makes this jewel of a musical adventure even more precious. 5 stars.

 Live In Athens 1987 by GABRIEL, PETER album cover DVD/Video, 2013
4.39 | 30 ratings

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Live In Athens 1987
Peter Gabriel Crossover Prog

Review by rdtprog
Special Collaborator Metal / Heavy / RPI / Symph Prog Team

4 stars This show called previously "P.O.V." has been restored and remix with the new technology. I can't compare this version with the first version. I can only appreciate the sharp picture quality. I have seen worst picture quality on recent high definition concerts, it just tells you how good it is. This was the "So" tour which was the album where I lost my attachment to Peter Gabriel music, but there are enough old songs to satisfy me like the great "San Jacinto" and "Family Snapshot". It surprises me that "Red Rain" didn't show up on this set list. The final 2 songs "In Your Eyes" and "Biko" are too long and kind of boring, but was a wise choice to put them at the end to get the crowd doing. It's always fun to hear Tony Levin on bass and naturally the voice of Peter Gabriel. The package contains second disks of Peter Gabriel videos. I have never been a fan of music videos, it is more a distraction for me, but here, the surround sound mixes by Daniel Lanois and Richard Chappell makes things worth it.
 Live Blood by GABRIEL, PETER album cover Live, 2011
3.54 | 40 ratings

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Live Blood
Peter Gabriel Crossover Prog

Review by tarkus1980
Prog Reviewer

3 stars A live album to cap off the "Peter goes orchestral" project was inevitable, but that doesn't mean it was really necessary. In person, I bet this would have been a lot of fun (especially since this album was recorded a while before the release of New Blood), and maybe if he hadn't released New Blood I would find more novelty here than I do, but as is this pretty much just rehashes the other orchestral albums, and what few additions this album does provide are more mixed than I might have guessed. There is a rather lovely rendition of "The Drop" here, with very sparse orchestration, and "Biko" works decently enough in this context to deserve repeated listens. Sadly, though, "Signal to Noise," the one Gabriel number here to have featured an orchestral in its original context, falls surprisingly flat, simply because the lack of chanting turns out to leave a glaring hole, and the minimalist backing vocals from Ane Brun and Melanie Gabriel simply aren't strong or interesting enough to fill it (this is actually a more general problem on the album than just this song; I didn't mind them too much on New Blood, and actually liked Ane quite a bit there, but they both come across as pretty second-rate here, and there are times when Melanie barely even gets to that level).

I don't want to go nuts and pretend that large parts of this aren't enjoyable. Everything that worked on New Blood basically works here ("San Jacinto" ends up pretty rousing in this setting, as do "Red Rain" and "Mercy Street"), and I actually like the rendition of "The Boy in the Bubble" (preceded by a hilarious spoken introduction, in which Peter first comes clean that the process of getting other people to cover his songs hadn't gone quite like he'd hoped it would, and then mentions that, for "The Boy in the Bubble" he "stripped all the African blood out of it, and we're left with another miserable white man's song") here more than on Scratch my Back, and overall the list of included songs is pretty decent. And yet, 2 hours and 20 minutes is an awful lot of time to spend listening to something like this, where everything gets pounded into the same general template, and I say that as somebody whose tolerance for late-period live albums that function as compilations is quite high.

Also, surprise surprise, "Don't Give Up" is no better live with an orchestra than in studio with an orchestra, and it was no better in studio with an orchestra than it was originally. What a gross way to finish the "regular" performances (there's a rendition of "The Nest That Sailed the Sky" to close out, and while it's basically just the original version it leaves a better taste in my mouth than what came before it).

Honestly, if he had just removed the covers (except maybe "The Book of Love"), thrown away the orchestra, and released a live album with the same track listing as found here but with his regular band, I probably would have ended up enjoying it significantly more. As is, as great as so many of the songs here are in their essence, and as well as Peter's voice continues to hold up, I just can't feel much enthusiasm for this.

 Us by GABRIEL, PETER album cover Studio Album, 1992
3.64 | 431 ratings

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Us
Peter Gabriel Crossover Prog

Review by Prog Leviathan
Prog Reviewer

4 stars Not only is Us a fantastic follow-up to Peter Gabriel's well regarded So, it's one of Gabriel's best albums period. Us slinks and rocks and drifts through its nearly hour-long running time with pure class. Gabriel's compositions are wonderfully realized and varied, from the big art-pop hits like "Steam" or "Digging in the Dirt," to thoughtful and emotive ballads like "Blood of Eden," and even to the abstract and highly interpretive moments that fill the space between. This is a great album, one that richly rewards the listener with lush music that lifts, tickles, provokes, and rouses. While I don't think that there were moments in Us that quite reach the emotional heights of So, it feels more consistent, varied, and experimental. This is Gabriel showing us his highly refined skills as singer, songwriter, and entertainer; the guy knows his stuff, crafting songs that are approachable enough for the masses but interesting enough for we prog-heads... that's a rare thing, and one that should be relished with many listens. Be sure to check out the diverse instrumentation, and especially the thick bass grooves laid down by the masterful Tony Levin, and the dense keyboards of Brian Eno. Highly recommended.

Songwriting: 5 - Instrumental Performances: 4 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 4

 I Have The Touch by GABRIEL, PETER album cover Singles/EPs/Fan Club/Promo, 1982
3.32 | 19 ratings

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I Have The Touch
Peter Gabriel Crossover Prog

Review by Guillermo
Prog Reviewer

3 stars Another single from PETER GABRIEL's fourth self-titled album from 1982 (also titled as "Security" in the U.S. and as "Peter Gabriel 4" in some countries like Mexico).

"I Have the Touch" in the Side "A" of this single, is an edited version (3:45) of the original album version (4:31) which also has some mixing differences in comparison to the album version. A song with energetic drums by Jerry Marotta and very good stick bass playing by Tony Levin. I prefer the live version which GABRIEL included in his "Plays Live" album from 1983.

"Across the River", in the Side "B" of this single, is a song which was only first released in the Side "B" of this single. A song credited as being written by Peter Gabriel / L. Shankar / David Rhodes / Stewart Copeland, and arranged by Peter Gabriel. It maybe only has Peter Gabriel on keyboars and vocals, plus violinist L. Shankar (who also appeared on PHIL COLLINS's first solo album, titled "Face Value", from 1981), guitarist David Rhodes and drummer Stewart Copeland (from THE POLICE, and who coincidentally also appeared in MIKE RUHTERFORD's "Acting Very Strange" album from 1982). It is a song which in musical style could have been included in GABRIEL's fourth solo album. With some World Music / African Music influences, keyboards atmospheres, violin solos, and very good and energetic drums and percussion playing from Stewart Copeland. This song also was played by GABRIEL and his band during his 1982-83 tours, but was not included in his "Plays Live" album from 1983.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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