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Peter Gabriel: Plays Live 40 Years On

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PG’s first live album – released 40 years ago this week – touched down incongruously during 1983’s Summer of Fun, crashing into the UK chart at #9 alongside Let’s Dance and Thriller (but Japan’s posthumous live album Oil On Canvas did even better – it was the week’s highest new entry at #5).

Plays Live was ostensibly recorded during four dates of the American tour in December 1982. Gabriel had taken some choreography lessons and often ventured into the audience for ‘Lay Your Hands On Me’, sometimes ‘falling backwards’ from the stage in the manner of those corporate team-building/trust exercises.

But he was very transparent about there being a lot of ‘cheating’ on this album – many overdubs/vocal corrections were undertaken with the assistance of co-producer Peter Walsh (fresh from Simple Minds’ New Gold Dream) at Gabriel’s Ashcombe House studios near Bath.

Plays Live hangs together very well – it’s immaculately sequenced and you certainly get your money’s worth, clocking in at a shade under 90 minutes. The tracks taken from Peter Gabriel IV AKA Security are a huge improvement on the studio versions. ‘Humdrum’, ‘Not One Of Us’, ‘No Self Control’ and ‘DIY’ are similarly transformed to become radical, vital updates.

There’s even an excellent Melt outtake called ‘I Go Swimming’. And when the band are freed from the sequencers and drum machines, they really sound like a band – check out the ‘floating’ tempos of ‘Humdrum’ and a few other tracks.

Jerry Marotta’s huge drum sound and (quite advanced) used of drum machines were not everyone’s cup of tea – Bill Bruford was still kvetching about it to Modern Drummer magazine during a 1989 interview. Both Marotta and synthesist Larry Fast, a key collaborator, were given the boot by Gabriel at the end of 1983, to much consternation.

My entrée into Plays Live was the (remixed) single release of ‘I Don’t Remember’ courtesy of its video being shown on ‘The Max Headroom Show’ in 1985. Marcello Anciano’s disturbing clip featured nude dancers from the Rational Theatre Company and some figures inspired by the artist/sculptor Malcolm Poynter. It’s hardly surprising that it missed the top 40…

Peter Gabriel: ‘Lead A Normal Life’

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Peter Gabriel’s brilliant 1980 self-titled album is probably best known for its much-discussed ‘gated reverb’ drum sound, the ‘no cymbals’ rule and the tracks ‘Games Without Frontiers’ and ‘Biko’.

The record portrayed various characters on the fringes of society, whether due to war, intolerance, mental illness, crime or racism.

But its penultimate track, the somewhat forgotten ‘Lead A Normal Life, is a chilling, minimalist classic whose power grows with each passing year. It’s set in an unnamed, uncharacterised institution – a borstal, high-security prison, crisis centre or mental asylum? The latter seems most likely.

It’s fair to say mental illness was a taboo in late-1970s Britain, even while the borstals were subject to Thatcher’s ‘short, sharp shock’ doctrine (in the era of Alan Clarke’s devastating film ‘Scum’), unemployment and institutional racism were rife, crime was on the increase, the Yorkshire Ripper rampant and The Troubles in Northern Ireland very much on the agenda.

In short, it sometimes felt like this song WAS normal life in 1979. And many aspects of life in 2021 may lead one to a similar conclusion.

Legendary Atlantic A&R man Ahmet Ertegun, upon hearing Peter Gabriel III, reportedly asked if Peter had recently spent any time in an asylum. This may have hit closer to home than is often reported.

Gabriel elaborated a little on ‘Lead A Normal Life’ in September 2013’s MOJO magazine: ‘I think the assumption was that you couldn’t write about something like that unless you had experience of it. I later discovered I had depression around the time of my marriage breaking up (in early 1987). But maybe there was something more there.’

The lyric is very brief, but its power comes from colloquial, off-hand phrases, as if spoken by a (somewhat blithe) visitor of an inmate (or an ‘official’ visitor – ‘A Clockwork Orange’ came to mind while listening again recently). Despite the calming view of the trees, surely the institution is anything but ‘nice’.

Musically, the track is built around Morris Pert’s minimalist marimba (and slung mugs or child’s xylophone?), Peter’s haunting Yamaha CP-70 piano figure/ominous chords and Fritched, primal-scream vocals (with treatments courtesy of Larry Fast), Jerry Marotta’s tribal toms, David Rhodes’ guitar loop (or feedback?) and Dick Morrissey’s brief, stacked tenor saxes.

Producer Steve Lillywhite expertly uses muting/fading-in and deep reverb to create big black holes in the track, crafting a cogent arrangement in the process which easily holds the attention for four-plus minutes. It’s an object lesson in how to use silence to enhance a mix.

‘Lead A Normal Life’ is a masterpiece on a subject rarely touched in ‘rock’, evoking loneliness and disturbance in equal measure, shot through with Peter’s trademark compassion. He’s even played it live a few times, to chilling effect.

Further listening:

The Police: ‘Invisible Sun’

XTC: ‘Fly On The Wall’

David Bowie: ‘Scream Like A Baby’