Something to Say if Anyone Hears: May 2016

Hi there!

A number of years tend to arrive and then depart without giving much thought. Interestingly, as I get older, many social and cultural artifacts that seemed new and exciting now are looked at as old and hopefully lasting; along with the hope that younger people can enjoy and be amazed at what we were and are still amazed at.

I point this out because this week, May 19 to be precise, marks 30 years since the release of the landmark Peter Gabriel album So. Years go by and the album becomes more and more ahead of its time and beyond its time. It is also one of the few albums I will listen to from back to front a number of times during the year. Either to mark a special occasion, notice new textures and soundscapes I had neglected to hear before, to see how far Peter Gabriel has come since then, and in a way to remember the time and the significant impact this one album/video/tour had. Indeed, looking at this from a 2016 perspective, we do not seem to have a collective knowledge and liking of when an artist releases a new album or music video that everyone that is a fan of art and pop music, knows and likes. There may be only a small number nowadays, such as Kanye West, Jay-Z, Beyonce, Lady Gaga, Taylor Swift and Radiohead to name just six.

Even back in the 1980's, an album would drop and the album and artist would be the talk at the water cooler for months on end. Mind you it would not be everyone talking about this, yet if a good album was out it was analyzed and discussed continuously. So was one such album. This gem of a Peter Gabriel album came under the right circumstances. It was the peak of MTV's influence as a cable network for music lovers, along with a burgeoning era where the introduction of the Compact Disc allowed people to hear music as clear as could be and as easily as could be. It came during the New Wave 80's, what I would consider as the second British Invasion of singers and bands. Mr. Gabriel's preferred rock and roll classification, a hybrid of Art/Progressive rock fused with World, Pop and Soul influences, was experiencing a sort of revival and retroactive recognition thanks in large part to Art Rock being a New Wave precursor. As well, many artists by this time had grown to expand their sound with the latest synthesizers and electronic sequencers and engineering equipment. In effect, you could have an orchestra right at your fingers when playing a keyboard.

Not only were the circumstances in the industry ripe for So, this came at an important time for Peter Gabriel himself. It had been 11 years since he left Genesis, and during that time Mr. Gabriel had released 4 self titled albums along with a live album and a soundtrack album based on the movie Birdy. He had also done notable tours and started the world music festival WOMAD. Using the latest studio and keyboard technologies available, and with an interest in doing more slightly pop songs, and the creation of Mr Gabirel's home studio Real World; So took about a year to complete. Indeed, a number of stories to tell on how the album was made was later put forth as an installment of the long-running documentary series Classic Albums. I particularly like those anecdotes Daniel Lanois speaks of in enticing the completion of some songs. What came out was perhaps Mr. Gabriel's highest selling and most accessible album to date. So brought Peter Gabriel a few years at least as being on league with the pop and rock giants of the time; the album sold 9 million copies and went 5 times platinum in the US, peaking at number 2 on the Album harts in the US and number 1 in the UK. Two tours came out of this album; Conspiracy of Hope, which went to numerous stadiums and had numerous artists for social and political awareness. And This Way Up, Mr. Gabriel's own tour which got him to perform in arenas and stadiums worldwide.

Interestingly, Genesis had their first number 1 album with Invisible Touch that same year; and Steve Hackett, who had left Genesis in 1977, achieved a top 20 hit with When The Heart Rules The Mind collaborating with Yes guitarist Steve Howe. This was a good year to be a fan of either Peter Gabriel, Steve Hackett, Genesis or any combination therein. I will get to those other albums in a later time. Right now, I think an analysis of So is of interest. Perhaps the best way to do it is to go track-by-track.

Red Rain: A brilliant and abstract beginning to a great album. In a lot of respects, Red Rain melded Peter Gabriel's earlier experimental songs with a greater emphasis on lyrics and structure. Lyrically, Red Rain was supposed to be the thematic element in a story Mr. Gabriel had conceived of earlier in his career, Mozo. Much of the details have never been released, but Mozo would have involved a flood in a village caused by supernatural elements. The song itself, possibly a metaphor for nuclear fallout and/or AIDS, has some of the most impressive keyboard playing Gabriel was utilizing at that point; mainly due to some cutting edge synths and pianos like the Fairlight CMI, Yamaha pianos and Sequential Prophet synthesizers. I also am impressed with the distinctive bass playing of Tony Levin, heard throughout the album. A good opening song that is still played regularly at Mr. Gabriel's concerts.
Sledgehammer: This was the big hit, going number 1 on the Billboard Hot 100 (and dethroning Genesis' Invisible Touch no less!). And yes, it still holds up. A very impressive song which is impressive in stating in no uncertain terms "let's have intercourse". It came with an impressive music video which I still think is one of the best of the era. Not much more can be said that has not already been said; just watch the video and be amazed once more.
Don't Give Up: It is equally a great Peter Gabriel song along with a great Kate Bush song. It is a duet, and one of the better duets I have heard. A song regarding the problems and personal frustrations unemployment and an economic downturn has on a family, with the optimistic slant that a better tomorrow may be ahead. If you ever get to hear Don't Give Up live, it gets very lively towards the end. The song, along with others on the album, have personally helped me during periods when I was done on myself.
That Voice Again: Only recently starting with the Back To Front tour has That Voice Again been performed live. None the less, it is an impressive piano driven song which deals with the longing of being back with a loved one. Fortunately, the lyrics Mr. Gabriel wrote do not go through obvious cliches and are well versed.
Mercy Street: Influenced by the writings and life of Anne Sexton, Mercy Street is a precursor for the trip-hop and House/Trance movements, in my opinion. A good song to start Side B on the Vinyl edition.
Big Time: The other top 5 chart topper off of So, Big Time has held as one of Peter Gabriel's most accessible pop songs. Only towards the end does it delve into double entendres ("bulge in my big big big..."); the rest is a biting commentary on making it in the industry and overindulging on life's pleasures. I always thought this was Mr. Gabriel taking a subtle yet impressive dig at his old band Genesis, since by that time they had become arguably the biggest band of the era. Phil Collins, in particular, was everywhere: there was his Genesis moniker and there was his solo ventures. Indeed, Phil Collins recently said in an interview with Classic Rock magazine's Prog spin-off that he got more money while Peter Gabriel got the acclaim and recognition, such as his Rock and Roll Hall of Fame induction in 2014.
We Do What We're Told: influenced by the experiments in brainwashing done by Dr. Stanley Milgrim and the 37 patients who did not submit, this has the least lyrics yet is possibly the most unnerving song off of So. It is also a distinctive ambient work.
This Is The Picture: A collaboration with Laurie Anderson and Nile Rodgers which is at times funky, at times abstract, and yet so unique. This song was the first one to be performed in the This Way Up tour, one of the highlights of the show as can be seen in the Live in Athens 1987 concert film.
In Your Eyes: 30 years have passed, yet In Your Eyes is quite possibly one of the best love songs of that time and of all time. Indeed, of the many Peter Gabriel songs out there, In Your Eyes has been covered and re-interpreted the most, and has been heard in so many different occasions. Who could ever forget its usage in the Cameron Crowe gem Say Anything, with John Cusack holding his boombox to win the love of Ione Skye. Or its place in Mr. Gabriel's concerts as at least the third to last song on the set list. And note, the song was not entirely a hit on the charts, yet became one after the fact. In Your Eyes is great on its So version, yet is unique when performed live, including added lyrics and a world influence brought to the forefront, which was most known when involving Youssour N'Dour.

To summarize, the Peter Gabriel album So is one of the most important albums of its time, and might be considered among the best 100 albums released in my lifetime. I actually own the 26th anniversary box set, which with the album and audio and DVD features and the book enclosed is a gem in and of itself. And for Mr. Gabriel himself, So was a watershed in many ways. His first no. 1 album, first no.1 song, the most MTV Video Music Awards given to Sledgehammer and him being given the Michael Jackson Video Vanguard Award, a Grammy nomination for Best Album (losing to Paul Simon's Graceland), over 6,000,000 copies sold, 6 music videos released with 5 of them being alongside the best of that time, and over the years a reputation that has only grown.

This was also an important landmark for Peter Gabriel because So was the album that ended any debate as to whether he was better in Genesis or on his own. While I think both eras and artists are equally important, and indeed it should be known that Genesis did get inducted into the Rock and Roll Hall of Fame themselves in 2010 with Mr. Gabriel going in 4 years later, So was the album that eclipsed Gabriel-era Genesis. And yes, it does mean that as much as we may wish for a miraculous epiphany, there is no way that the classic Genesis lineup of Peter Gabriel, Steve Hackett, Tony Banks, Mike Rutherford and Phil Collins will get back together again. As can be seen in the 2014 BBC documentary Sum Of The Parts, there is still subtle yet bitter tensions when the five of them are in the same room. But you know what, Mr. Gabriel does not need Genesis to prove his artistry and influence. He has been able to do it on his own, and exceedingly well. Indeed, Peter Gabriel may be the one in Genesis that might get knighted one day, or receive a Kennedy Center Honor if so chosen.

You see, this is a clear reason of the need for artistry and creativity, and its important in our everyday lives. So and many other albums and artists may not have got me to be doing music (my voice is just adequate and I can barely play a keyboard), but it was there for me and many to discover and have as a memory of our times and a reassuring comfort when life was down. The best art and creative artists can do that and do it well, when the bulk of the art from that era and any era for that matter is disposable and not worth our time. To that I say for this specific art and album, thank you and great job Peter Gabriel. And Happy Anniversary!

PS. Best of luck to Mr. Gabriel on his upcoming tour with Sting, titled Rock Paper Scissors. It should be interesting.

One journey to a trip down memory lane,

Robert

Oh and here is the album in all its influential glory.