Peter Gabriel’s So: 30 Years Old Today

gabrielVirgin Records, released 19th May 1986

Bought: Our Price Richmond, 1986

‘At the time of coming back, he had tremendous determination. He said, “I do want to make it! I do want to succeed!” Instead of going along with the idea that he is different, special, unique, precious, So was about him saying, “F**k that! I’m going to allow myself to succeed.”’

Jill Gabriel, quoted in ‘Peter Gabriel’ by Spencer Bright

So was the Peter Gabriel album that put him – albeit very briefly – into the Big League, alongside the likes of Madonna, Michael Jackson, Phil Collins, Prince, Hall and Oates and Springsteen. He stopped being simply the slightly esoteric, hugely-respected, highly-intelligent man about the arts, and opened himself up to mainstream success via more direct lyrics and music. And it worked a treat. So still sounds fantastic today; it’s a near-perfect mix of art and commerce.

photo by Steven Toole

photo by Steven Toole

In interviews, Gabriel has described the ’83/’84’ period as a dark time in his life. He mixed and released an excellent live album and looked for solace in film soundtrack work, producing two fairly inconsequential tracks: ‘Walk Through The Fire‘ from ‘Against All Odds’ and ‘Out Out‘ – produced by Nile Rodgers and featuring Adrian Belew on lead guitar – from ‘Gremlins’. Far more substantial was his soundtrack for Alan Parker’s ‘Birdy’, but, most importantly, it was the project that introduced him to So co-producer Daniel Lanois. Gabriel later credited Lanois and his then wife Jill for steering him back towards more positive thoughts, and much more ‘up’ music and lyrics.

Gabriel came up with 20 new songs by early 1985. Lanois helped him whittle them down to 12, and then six months of pre-production began, focusing on song structures and arrangements. So was mainly recorded at Gabriel’s home studio, Ashcombe House near Bath. Working at home was intended to save money on big studio fees and also speed up the creative process, but lyric-writing was still a big problem and a lack of words necessitated two missed release deadlines for So: 31st July 1985 and 14th December 1985. Virgin were patient. Lanois once even nailed him into a back room to force him to come up with some lyrics – Gabriel was not amused, at least not for a few hours. ‘It is the most upset I’ve seen him at the studio,’ guitarist David Rhodes remarked. Lanois had made his point.

Musically, Gabriel very much leaned on tried-and-tested collaborators such as Rhodes and Tony Levin – it’s hard to imagine anyone else playing bass on So. He’s so much part of the music. Check out his ‘drumstick bass’ (later marketed as Funk Fingers!) on ‘Big Time’. No one else would have thought of that. Joni Mitchell’s then husband Larry Klein also plays some lovely fretless on ‘Mercy Street’. French-African newcomer Manu Katche amazed everyone with his drumming, particularly on ‘That Voice Again‘ and ‘In Your Eyes’. He had a new twist on Stewart Copeland’s style and also somehow found the time to fit occasional tom-tom flurries into his grooves too.

Migrant Mother by Dorothea Lange

Migrant Mother by Dorothea Lange

Red Rain‘ opens with some resplendent Copeland hi-hat work, and ends with the kind of piano/vocal coda that Simple Minds excelled at – the influences were now flowing both ways. ‘Don’t Give Up‘ was inspired by a BBC TV documentary about the effect of unemployment on British family life, and also the photography of Dorothea Lange, portraying dust-bowl conditions during the Great Depression.

Mercy Street‘, dedicated to poet Anne Sexton, shows evidence of Lanois’ influence; its opening ambient textures resemble Brian Eno’s ‘Under Stars‘ which Lanois co-produced. Gabriel’s low-octave vocals apparently had to be recorded first thing in the morning for maximum deepness. The song’s Brazilian/African groove predates Paul Simon’s Graceland by six months or so.

We Do What We’re Told (Milgram’s 37)‘, concerning social psychologist Stanley Milgram’s infamous experiments, was originally recorded for Melt in 1980. While musically very rich and dark (I always think of Kate Bush’s ‘Running Up That Hill’ when I hear that opening minor chord), lyrically it is possibly a little half-baked – it’s hard to see what ‘One doubt/One voice/One war/One truth/One dream’ has to do with the experiment.

Big Time‘ is Gabriel’s amusing, self-mocking, Randy Newmanesque satire on success and celebrity – ‘This drive for success is a basic part of human nature and my nature’, he later said. Musically, it’s a potent mixture of driving Copeland drums, treated rhythm guitar, synth bass, quasi-industrial samples and some great Hammond organ by Simon Clark. Another much rockier version – featuring Jerry Marotta on drums – was also recorded but scrapped just before the mastering stage.

‘Sledgehammer’ was the last song written and recorded for So. Ironically, it dislodged Genesis’s ‘Invisible Touch’ to become a US number one single in July 1986. A catalogue of sexual innuendos, it’s one of the weirder hits of the 1980s. Its odd cheerfulness may come from the fact that it’s mainly in a major key, a rarity for an R’n’B-influenced track. David Rhodes’ rhythm guitar part is eccentric and the Farfisa organ bizarre. The opening sampled bamboo flute was copied by hundreds of keyboard players across the UK (or at least a few in my school). The groundbreaking video for the song, directed by Stephen Johnson (who had used similar techniques for Talking Heads’ ‘Road To Nowhere’ clip), required 100 hours of Gabriel’s time.

Apparently Gabriel was obsessed with the album’s sequencing: he made up endless cassettes featuring just song endings/beginnings, testing all the different permutations. He always wanted ‘In Your Eyes’ to close So, but was persuaded otherwise when told that its drums and bass wouldn’t hold up very well at the end of a long side of vinyl (though it’s hard to ‘hear’ it anywhere else but at the beginning of side two…). He finally got it where he wanted it on the definitive remastered version.

Gabriel’s only concession to the record company was to name the album something apart from ‘Peter Gabriel’. So seemed suitably off-the-cuff – ‘It had a nice shape but very little meaning’, he later said. He also decided that a simple cover shot would better suit the directness of the music and lyrics than some of the more disturbing covers of albums past. So‘s design and packaging still look fantastic today.

The album topped the charts on both sides of the Atlantic and by summer 1987 had sold over 5 million copies worldwide. Gabriel promoted the album extensively before embarking on Amnesty’s Human Rights Now! with Sting, Tracy Chapman and Bruce Springsteen in 1988. He had a lot more than music on his mind – he waited a full six years before releasing the official follow-up to So.

More power to PG – a national treasure.

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Talk Talk’s The Colour Of Spring: 30 Years Old Today

talk talkEMI Records, released 1st March 1986

By the release of The Colour Of Spring, there was barely any trace of Talk Talk’s previous synth-pop incarnation. Out went the Duran Duran, in came the Debussy, Traffic and Satie. Instrumentation was generally centred around acoustic piano, acoustic guitar, Hammond organ, electric bass and drums, with the addition of quirky items like the Variophon, Mellotron, melodica, harp and dobro.

Talk-Talk-The-Colour-of-Spring-Inlay-back

The core unit of singer/co-writer/co-producer/keyboardist Mark Hollis, co-writer/co-producer/keyboardist Tim Friese-Green, bassist Paul Webb and drummer Lee Harris distilled their sound to eliminate all but the essentials.

The opening 16 bars of the majestic, haunting ‘Happiness Is Easy’, a winning combination of man and machine (Lee Harris’s drums and a nifty bit of programming, followed a little later by Martin Ditcham and Morris Pert’s percussives) is surely one of the great album intros of the ‘80s. It hooked this writer immediately back in 1986 and has sold the album to several friends since.

The 1980s were full of albums whose big-name guest spots barely made a mark on the music. Not The Colour Of Spring; the session players are chosen with the precision of a good movie casting director. ‘I Don’t Believe In You’, a left turn into doomy, atmospheric rock, features one of the great guitar solos by Robbie McIntosh. That final phrase, lasting just long enough to survive the key change, always kills me. David Rhodes’ deliciously swampy lick, with minor but important amendments, holds ‘Life’s What You Make It’ together.

Double bassist Danny Thompson’s tone is immediately recognisable on ‘Happiness Is Easy’, before ex-Average White Band man Alan Gorrie brings in some light funk for the piece’s second half. Steve Winwood also adds some tasty Hammond to three tracks, while Friese-Green’s piano on ‘April 5th’ (much more on this beautiful song soon) even brings to mind the great Bill Evans. We must also acknowledge James Marsh’s exquisite cover artwork, an auspicious start to his triptych of TT album designs.

Though to my ears The Colour Of Spring tails off around the middle of side two, the album was a hit, reaching #8 in the UK chart and #50 in the US, while ‘Life’s What You Make It’ remains one of the most original singles of the mid-‘80s. Next stop was the post-rock magnum opus Spirit Of Eden – the retreat from pop would be almost complete.