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Peter Gabriel I Hear That Voice Again

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1986 studio anthology by Peter Gabriel

And then
So (album).png
Studio album by

Peter Gabriel
Released 19 May 1986
Recorded Feb–December 1985
Studio Ashcombe Business firm, Swainswick, Somerset
Genre
  • Pop[1]
  • art pop[two]
  • art stone[3]
  • progressive pop[4]
  • worldbeat
Length
  • 41:56 (vinyl)
  • 46:21 (CD)
Label
  • Charisma
  • Virgin
  • Geffen
Producer
  • Peter Gabriel
  • Daniel Lanois
Peter Gabriel chronology
Birdy
(1985) 		So
(1986) 		Passion
(1989)
Singles from So
  1. "Sledgehammer"
    Released: 21 April 1986[nb 1] [seven]
  2. "In Your Eyes"
    Released: August 1986[8]
  3. "Don't Give up"
    Released: 27 Oct 1986[9]
  4. "Big Time"
    Released: 23 March 1987[10]
  5. "Ruby Rain"
    Released: half-dozen July 1987[11]

So is the fifth studio album by English singer-songwriter Peter Gabriel, released on 19 May 1986 by Charisma Records. After working on the soundtrack to the film Birdy (1984), producer Daniel Lanois was invited to remain at Gabriel'southward Somerset home during 1985 to work on his next solo project. Initial sessions for So consisted of Gabriel, Lanois and guitarist David Rhodes, although these grew to include a number of percussionists.

Although Gabriel continued to utilise the pioneering Fairlight CMI digital sampling synthesizer, songs from these sessions were less experimental than his previous material. Still, Gabriel drew on various musical influences, fusing pop, soul, and fine art stone with elements of traditional world music, particularly African and Brazilian styles. It is Gabriel's offset non-eponymous album, So representing an "anti-title" that resulted from characterization pressure to properly market place his music. Gabriel toured So on the This Fashion Upwards tour (1986–1987), with some songs performed at human rights and charity concerts during this flow.

Often considered his best and nearly accessible anthology, So was an immediate commercial success and transformed Gabriel from a cult artist into a mainstream star, becoming his best-selling solo release. It has been certified fivefold platinum by the Recording Industry Clan of America and triple platinum by the British Phonographic Industry. The album'southward lead single, "Sledgehammer", was promoted with an innovative blithe music video and achieved item success, reaching number one on the Billboard Hot 100 and subsequently winning a record of nine MTV Video Music Awards. It was followed past four farther singles, "Don't Surrender" (a duet with Kate Bush-league), "Big Time", "In Your Eyes", and "Red Rain".

The album received positive reviews from virtually critics, who praised its songwriting, melodies and fusion of genres, although some retrospective reviews have criticised its overt commercialism and 1980s production sounds. And so was nominated for the Grammy Award for Album of the Year in 1987 just lost to Paul Simon's Graceland. It has appeared in lists of the best albums of the 1980s, and Rolling Rock included the album in their 2003 and 2020 editions of the 500 Greatest Albums of All Time. In 2000 it was voted number 82 in Colin Larkin'due south All Time Superlative g Albums.[12] And then was remastered in 2002, partially re-recorded for Gabriel's 2011 orchestral project New Blood and issued as a box set in 2012.

Recording [edit]

Songs for the album were written and prepared in 1985 at Gabriel's dwelling house Ashcombe House, an estate to the north-east of Bath

Since 1978, Gabriel had composed his music at Ashcombe House, including his album Security (1982) and the Birdy soundtrack (1984). He had an inexpensive studio in the next barn consisting of two rooms, ane where Gabriel would produce his vocals and piece of work on lyrics, and another where the music would be assembled.[13] Preparing for And so, Gabriel considered Pecker Laswell and Chichi'southward Nile Rodgers as potential producers. He eventually asked his Birdy collaborator Daniel Lanois to stay at Ashcombe and work with him further.[14] [15]

Rehearsals began in May 1985 and consisted of Gabriel, Lanois and guitarist David Rhodes. Gabriel had begun work on some songs and provided Lanois and Rhodes with chord structures, around which they improvised compositions. Lanois recalled they had "a overnice starting point [every bit] in that kind of scenario, it's not a good idea to have a lot of people around because you become nervous that y'all're wasting other people'southward time". Consequently, there was a relaxed atmosphere surrounding these sessions and the trio would jokingly refer to themselves equally the "Three Stooges". This besides involved the wearing of construction site hard hats equally they had a "turning up for work humour".[sixteen] As sessions grew, engineer/mixer Kevin Killen, bassist Tony Levin, and drummer Jerry Marotta became significant contributors, and were aided past percussionists Manu Katché and Stewart Copeland and violinist 50. Shankar.[17]

The studio's basic equipment consisted of "two analog 24-track machines, a Studer A80, and a Studer A80 shell that had been modified by a local electronics wizard, with its own audio cards and ship controls".[nb ii] To record vocals a Neumann U47 tube microphone and a Decca compressor were used without equalization.[18] All of Then 'due south songs were made in a similar format. Gabriel would record a piano demo on a modified "B automobile" and play this to the band. During rehearsals, the band would listen to the B motorcar through headphones and record their output onto the "A machine"; parts of Gabriel'south demo would besides be transferred to the A machine at this stage. Subsequent takes of the song were then put onto the B machine in order for the band to hear what they had played with the demo, every bit well as the song's new and sometime takes.[18]

Other equipment included the "groundbreaking" Fairlight CMI synthesizer, which Gabriel said in an interview for Billboard meant "more human imagination is involved". He added, "the artistic controlling process has go more important than technique. You take a wider range of tools, a wider range of decisions".[19] [twenty] Although remaining continually inspired to produce new music, he often struggled to write lyrics and would procrastinate.[21] His proclivity to being dissatisfied with them required Killen to isolate certain vocal performances equally the master track, in gild to keep other tracks available and so new lyrics could be edited in.[18] Lanois took adverse measures to encourage his writing, such as destroying his much-used telephone in the nearby woods and, on ane occasion, nailed the studio door shut to lock him inside.[21]

Towards the end of recording, Gabriel became "obsessed" with the rail listing and created an audio cassette of all the song's ancestry and ends to hear how the sounds blended together.[22] He wanted to have "In Your Eyes" as the final track, only its prominent bassline meant it had to be placed earlier on the vinyl edition as in that location is more room for the stylus to vibrate. With later CD releases, this brake was removed and the runway was placed at the end of the album.[23] Then was completed in February 1986 and cost £200,000 to make. It was over-dubbed at Power Station Studios in New York, despite Gabriel considering sending it via a reckoner-phone fix up, reasoning, "that'south a lot of data to send via telephone. Isn't it amazing though? You can send a vocal thought around the world to musicians then axle parts back past satellite".[twenty] It was mastered past Ian Cooper in mid-February 1986 at London's Townhouse Studios.[22] [24] [25]

Composition [edit]

So has been described as Gabriel'due south about commercially accessible and least experimental anthology,[3] [26] i that features popular songs[1] and incorporates art popular[2] [27] and progressive pop[4] throughout. Like his previous albums, its basis is in fine art stone, although on And so, Gabriel develops an increased focus on tune and combines this with elements of soul and African music.[3] "With a song like (the previous album's) 'The Rhythm of the Heat' or 'The Family unit and the Angling Net', if I were to strum that along on a guitar or piano, the song might not work very well ... whereas more of the things on this album exercise work just as lyric, melody and chords in a more traditional sense."[28]

The songs are highly influenced past traditional world music, particularly African and Brazilian music, with Gabriel incorporating rhythms and drum beats from these regions.[29] [thirty] In a 2011 interview for Uncut, Gabriel said, "I'd had my fill of instrumental experimenting for a while, and I wanted to write proper pop songs, albeit on my ain terms."[31] Jon Pareles of The New York Times notes that Gabriel "doesn't but add on African drums or Indian violin to ordinary songs; they are function of the foundation."[29] Chris Roberts of Classic Stone likewise notes that the anthology "[takes] the Fairlight synth and [adds] a palatable dash of world music to art pop."[32] Daniel Lanois' production was noted as textured, replete with ambient details and "immaculate warmth giving each note room to breathe, its textures lavish (in the preferred style of the time) without beingness sterile".[30] [33]

Side one [edit]

Gabriel wanted the album to "crash open at the front". Despite disliking "metal" percussion instruments, he was persuaded past Lanois to let the Police force's Stewart Copeland to play cymbals and howdy-hat on its opener, "Red Pelting".[17] [35] Gabriel sings – in his upper register, with a throaty, gravelly texture – of a destructive world with social problems such as torture and kidnapping.[29] [30] Its concept originated from a dream in which he envisaged the parting of a vast, red sea and human-like drinking glass bottles filling up with claret. Information technology was too intended to continue the story of Mozo, a recurring graphic symbol on Gabriel'southward first and second albums.[36] [17]

"Sledgehammer" was the final track to be conceived. Most of Gabriel'southward band had packed away their equipment and were fix to leave the studio, but he asked them to reassemble to quickly run through a song he had an thought for.[37] "Sledgehammer" was partially inspired by the music of Otis Redding, and Gabriel sought out Wayne Jackson, whom Gabriel had seen on tour with Redding in the 1960s, to record horns for the rail.[34] Opened by a shakuhachi bamboo flute, its crush is dominated past contumely instruments, particularly Jackson's horn, and features lyrics arable with sexual euphemisms.[xxx] [38] [nb 3] Manu Katché'due south drums were recorded in one take as he believed any subsequent version would be inferior to his original estimation of the music.[40]

So 'southward almost political argument, "Don't Surrender", was fuelled past Gabriel's discontent with ascent unemployment during Margaret Thatcher'south premiership and Dorothea Lange'southward photograph "Migrant Mother".[41] [30] The track began as a rhythm pattern of irksome, low-pitched tom-tom drums that Gabriel made, and Lanois believed could serve as the centrepiece of a song.[42] Tony Levin added bass to create a more harmonious sound,[43] and during the 2nd half of the track, put a nappy behind his bass strings to dampen the sound.[44] Gabriel ensured the song, which follows a narrative of an unemployed man and his lover, was written equally a conversational piece. He initially sought Dolly Parton to portray the woman, although Parton declined; his friend Kate Bush-league agreed to feature.[41] Bush serves as the song'southward respondent, she assumes a comforting role and with fragile vocals, sings lines such equally "Residuum your head/ you worry too much".[26] [33]

The anthology's first side culminates with "That Vocalization Once again", in which Gabriel explores the concept of censor, examining the "parental voice in our heads that either helps or defeats us".[thirty] [45] Co-written with David Rhodes, who plays guitar over Katché and Levin'southward input, the song was written after Gabriel's initial discussions with Martin Scorsese about scoring The Concluding Temptation of Christ (1988).[46] [nb 4]

Side two [edit]

"In Your Eyes" has been described every bit Gabriel'south greatest love song.[3] Inspired past the Sagrada FamĂ­lia and its architect Antoni GaudĂ­, Gabriel sings over a drumbeat of merely feeling consummate in the optics of his lover.[29] [49] The track'due south powerful temper is created through the singing of Senegalese musician Youssou N'Dour, who sings in his native language.[45] [49]

Gabriel became interested in the late American poet Anne Sexton after reading the album To Bedlam and Part Fashion Back. He defended So 's 6th track to her, calling it "Mercy Street" afterward "45 Mercy Street", a poem released in another posthumous collection.[46] "Mercy Street" is set to ane of several ForrĂ³-inspired percussion compositions that Gabriel recorded in Rio de Janeiro. When these compositions were unearthed in the studio, they were accidentally played back ten per cent slower than the original recording, giving them a grainy quality that Gabriel and Lanois idea highlighted the cymbal and guitars.[50] It features ii harmonious Gabriel vocals; 1 a shadow vocal an octave beneath the chief vocal. Intended to give a sensual, haunting outcome, this was hard to capture except when Gabriel first woke upwards.[51]

The trip the light fantastic song "Large Fourth dimension" has funk influences and is built on a "percussive bass sound".[three] [thirty] Its lyrics satirise the yuppie culture of the 1980s, materialism and consumerism and are the event of Gabriel'due south self-examination, after he considered whether he may have desired fame after all.[29] [thirty] [52]

"We Do What We're Told (Milgram's 37)" was recorded for Peter Gabriel or "Melt" [53] and is described every bit an interlude. It references the experiment on obedience carried out past American social psychologist Stanley Milgram, intended as a reference to the obedience citizens evidence to dictators during times of state of war.[54] Marotta's drums on the song – said to resemble "a heartbeat heard from the womb"[26] – were coupled with Shankar's violin and "2 overdubbed guitar tracks by Rhodes".[54]

While "We Do What We're Told" was the final song on initial LP versions of the album, the cassette and CD releases shut with "This Is the Film (Excellent Birds)", which Gabriel decided to include only forty-eight hours before the album's submission.[55] "First-class Birds" was equanimous with American musician Laurie Anderson. This was interpolated with a recording called "This Is the Picture", on which Nile Rodgers plays rhythm guitar.[54] According to Anderson, she and Gabriel "could never agree on what a bassline was. (I think I probably don't hear so well downward in that location.) I wanted to learn from him, simply it turned into a standoff and so nosotros each put out our own version of the song."[56] Her version, with Gabriel on additional vocals, appeared on her 1984 anthology Mister Heartbreak. Prior to the vocal'south inclusion on So, Anderson and Gabriel performed it during the 1984 global satellite television circulate Practiced Morning time, Mr. Orwell.

Release [edit]

Then is Gabriel's start not-eponymous album. Gabriel has noted his dislike for titling albums, mainly considering it distracts from the sleeve design.[57] In an interview for Rolling Stone, he explained that his American label Geffen Records refused to release Peter Gabriel 4 until information technology was retitled Security. He elaborated that for And then "[he] decided to go for the anti-title ... It tin be more a piece of graphic, if yous similar, as opposed to something with meaning and intention. And that's what I've done ever since".[58] When the album was profiled in the Archetype Albums documentary series, Gabriel quipped that its short title meant information technology could be enlarged and useful when marketing information technology.[57] Before the anthology was eventually named So, information technology was meant to be entitled Skillful.[59] The album's cover is a portrait of Gabriel photographed by Trevor Fundamental, who was then virtually famous for capturing the bell artwork for Mike Oldfield's Tubular Bells (1973). The sleeve was designed by Peter Saville and Brett Wickens; Saville was best known for designing several sleeves for Manufacturing plant Records artists and was paid £20,000 for his work on So.[60] [61] Gabriel recalled: "The only compromise I made was to go with Peter Saville'southward idea for a retro-style portrait. I was told my usual obscure LP sleeves alienated women."[31] The cover was partly influenced past lensman David Bailey's piece of work.[62]

So was released on 19 May 1986. It topped the charts of seven countries worldwide, including the United kingdom, where it became Gabriel's second number i anthology. In the United States, Then became one of Geffen Records' well-nigh commercially successful releases, peaking at number ii and remaining on the chart for ninety-three weeks.[63] In Apr 1986, "Sledgehammer" was released as the album's lead unmarried and became Gabriel's start and only number i on the Billboard Hot 100, displacing Genesis' first and only US number one "Invisible Touch on".[64] [38] The runway reached number four in the U.k., where information technology ties with "Games Without Frontiers" every bit his highest charting single, and peaked at number one in Canada.[65] [66] The success of "Sledgehammer" can exist seen, in part, due to its hugely pop and innovative stop motion music video, designed by Aardman Animations. Gabriel would proceed to say in an interview for Rolling Stone that he believed the video exposed Then 'due south songs to a wider audience, bolstering the album'southward success.[67] Ii high-charting singles followed, "Don't Give Upwards", which rose to number nine on the UK Singles Chart and a less successful 70-9 in America, while "Big Time" peaked at number 13 in the UK and number viii in America. "In Your Eyes" saw moderate success in America, where it reached twenty-six on the Hot 100, while "Scarlet Pelting" peaked at forty-six in the United Kingdom.[65] [68]

Bono contacted Gabriel to perform at A Conspiracy of Hope, a series of Alive Assistance-inspired concerts that intended to spread awareness of human rights bug in lite of Amnesty International's 20-fifth anniversary. Gabriel accepted and in June 1986, he performed alongside Sting, The Law, Lou Reed, and Joan Baez, with a set up that opened with "Red Pelting" and featured "Sledgehammer". Gabriel described it as "the best tour [he'd] always been on".[69] In the aforementioned month, Gabriel performed at London'south Clapham Common, along with Male child George and Elvis Costello, for Artists Against Apartheid.[70] Gabriel somewhen embarked on the ninety-three date This Way Up tour to support And so, beginning in Rochester, New York on 7 November 1986. Ane of the dates was a special ii-night residency (20–21 December) at Tokyo's Meiji Jingu Stadium to fund a global computer organization for the University for Peace, a United nations project.[71] [72] The tour suspended in early 1987 until June when it reached Europe, before going on to America and finishing at the Lycabettus Amphitheatre in Athens in October.[72] Gabriel partially performed Then at The Prince's Trust Concert and at Man Rights Now! Bout in 1988.[73]

Critical reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [3]
Entertainment Weekly B[74]
The Guardian [75]
Mojo [76]
Pitchfork 9.i/10[77]
Q [78]
Tape Collector [79]
The Rolling Rock Album Guide [80]
Uncut 8/ten[81]
The Village Vox B−[82]

So received by and large favourable reviews from music critics. Jon Pareles of The New York Times wrote "only a scattering of Western rock musicians have managed to apply exotic rhythms and instruments with and so much ingenuity and conviction". Pareles also praised his vocals, describing them as "grainy but not bluesy, ageless and joyless, the vocalism of some ancient mariner recounting disasters".[29] Tim Holmes writing for Rolling Stone described the album equally "a tape of considerable emotional complexity and musical sophistication" and was pleased that the records would assist exposing Gabriel to mainstream popular music.[26]

Terry Atkinson of Los Angeles Times viewed the anthology equally offer "an astonishing variety of tones, moods, and topics and a consistently powerful level of expression". Although disliking "Big Fourth dimension", Atkinson concludes So is "a great album, possibly Gabriel's best".[45] Steve Hochman, also of Los Angeles Times, praised Gabriel'south reinvention too, describing it as "real progress" compared to the contemporaneous piece of work of other progressive stone acts such equally Genesis, GTR and Marillion.[83] Chicago Tribune 's Lynn Van Matre praised the album'due south "wave of funky rhythms" and called for more appreciation of Gabriel's talent, just noted a lack of "quirkiness" and said in that location were no tracks equally impactful as his 1980 single "Biko".[84] Robert Christgau was also lukewarm in The Village Voice, writing that "Gabriel's then smart he knows rhythm is what makes music go, which relieves him of humdrum melodic responsibilities but doesn't go him upwards on the ane—smart guys do get for texture in a pinch."[82]

Then has connected to perform well in almost retrospective reviews. Stephen Thomas Erlewine of AllMusic commended Then every bit the "catchiest, happiest record he ever cut". Erlewine peculiarly praised Gabriel'southward fusion of art rock with African music and soul.[three] Jude Rogers of the BBC wrote "once you look past the bombast of "Sledgehammer", ... you find how easily its artful ideas slipped inside the 80s mainstream".[38] The Quietus ' Wyndham Wallace praised So 's sincerity and called information technology "a heartfelt journey through intense emotional territory, assembled and arranged with intricacy and commitment, laboured over with such care that information technology sounds effortless".[xxx]

Ryan Bray, writer for Consequence of Sound, ended So was an "all-also-rare record that manages to have it both ways, earning its richly deserved critical and commercial respect without giving so much equally an artistic inch". He added that "information technology nonetheless stands on its own two feet every bit 1 of the consensus all-time records of the 80s".[33] Mark Blake of Q described the album as "carbon-dated to 1986 thanks to those blaring saxes and Fairlight CMI digital sampling synths". He added that "Gabriel crafted an album of convenient popular that was notwithstanding reassuringly odd."[78] Terry Staunton of Classic Rock wrote "Cherry Rain was familiarly pensive and politically charged, but the radio waves completely surrendered to the tape'southward muscular dance stone and slower tempo eloquence." Staunton concluded that Gabriel had displayed "a masterful conviction, delivering a satisfyingly unified whole".[85]

In a less positive retrospective review, Mojo 's David Buckley assorted the anthology with Gabriel's earlier, more experimental work, stating "on 1986'southward And so, he switched tack to write pop, and write big. The results are mixed. 'Sledgehammer', echoing both Stevie Wonder's 'Superstition' and David Bowie's 'Fame', retains its punch. Elsewhere, Gabriel sounds airbrushed on 'Mercy Street', 'Red Rain' and 'In Your Eyes', with only 'We Practice What We're Told' a reminder of a daring past."[86] Writing in Uncut, John Lewis also directed criticism at the album. He praised its state-of-the-art production in parts, highlighting "Big Fourth dimension" and "Sledgehammer" as standout tracks, simply stated elsewhere information technology interfered, such as the Fairlight CMI synthesizer on "That Vocalization Again" and whistling ambient accompaniment on "Mercy Street".[81]

Legacy [edit]

Though the "Sledgehammer" video's ubiquity has bludgeoned the song, its parent album is a marvel ... awash in fragile percussion, tasteful keyboards, and bubbling bass, "Red Pelting" and "Mercy Street" are stunning. Of the epics, the Kate Bush duet "Don't Surrender" is heartwrenching, while "In Your Eyes" accomplished iconic status after its advent in the John Cusack movie Say Anything. Excellent albums followed, but the breathtaking So is the best introduction to a dazzling discography.[87]

1001 Albums You Must Hear Before Y'all Dice [87]

At the 29th Annual Grammy Awards, So was nominated for Album of the Year, losing to Paul Simon's Graceland (1986), while "Sledgehammer" received nominations for Record of the Yr, Song of the Year and Best Male Rock Song Performance.[88] [89] At the sixth Brit Awards, hosted by Jonathan King at the Grosvenor House Hotel, London, Gabriel won All-time British Male Artist and "Sledgehammer" won All-time British Music Video.[90] Gabriel was most successful at the 1987 MTV Video Music Awards where he was honoured with the Video Vanguard Laurels and "Sledgehammer" won an additional nine awards including Video of the Yr, a record that has non been challenged. Its video is the near played music video in the history of MTV.[91]

So is often regarded as Gabriel's best album, besides as i of the all-time albums of the 1980s. It enabled Gabriel to transform from a cult artist, acclaimed for his cerebral, experimental solo work, into a mainstream, internationally known star.[92] Rolling Stone placed So at 187 (2003 edition) and 297 (2020 edition) on its 500 Greatest Albums of All Time and at xiv on its 100 Best Albums of the 1980s, noting that "despite its mass appeal, however, And so also presented compelling challenges."[93] [94] [95] Stereogum placed it at number one on its list of Gabriel's best albums, writing, "Peter Gabriel'south fifth studio album is a mesmerizing dichotomy: simultaneously hooky and experimental; timeless, nonetheless completely crystallizing its moment in history ... Information technology's a masterpiece.[96]

So has been profiled in the Classic Albums series and featured in 1001 Albums You Must Hear Earlier You Die.[97] [87] Slant Mag listed the album at 41 on its list of the 100 Best Albums of the 1980s, describing it as "Gabriel's most accessible yet ambitious work. A chronicle of political, emotional, and artistic exploration, the album [attempts] to balance standard pop orthodoxy with his still-rumbling desire for sonic experimentation".[98] Jim Allen wrote for Ultimate Classic Rock, "What makes And then important is the way he seamlessly blended peerless pop savvy with an iconoclast'due south adventurous artistic instincts. His slightly twisted pop songs packed enough emotional bear upon, sonic surprises and catchy melodies to brand for i of the era'south most consistently rewarding records."[one] Conversely, in 2002 The Guardian 'southward lead critic Alexis Petridis stated that Gabriel had "suffered a musical mid-life crisis", lampooning information technology equally "an album packed with ultra-commercial priapic cod-funk" and calling it "a ruthless bid for mainstream success, nevertheless he emerged without a stain on his avant-garde credentials".[99]

So is Gabriel's best-selling album,[100] having been certified fivefold platinum past the Recording Industry Association of America (RIAA) and triple platinum by the British Phonographic Manufacture (BPI).[1] In 2002, So was re-issued and remastered.[101] In 2011, several of tracks from And so were featured on Gabriel'southward ninth studio release New Blood, a project of orchestral re-recordings from Gabriel's discography.[102] In 2012, for the album's xx-fifth anniversary, a limited edition box ready was released. It includes the remastered So anthology, the Live at Athens (1987) album and a And so DNA album which examines its production, also as new liner notes, photographs, vinyl collectibles and the So: Classic Albums documentary.[103] In the same year, Gabriel embarked on the Back to Front Tour where Gabriel plays every song on the So album with several of the session musicians from its recording.[23]

Michael Glabicki of the American band Rusted Root acknowledges this album as a cardinal influence on his own career exploring worldbeat music, saying, "I but kind of got locked into that audio. Peter Gabriel'southward And so kind of gave everyone the go-ahead that this could work in a popular fashion. For people like me who were exploring those sounds, the wonder of if information technology's going to work or non but went away at that point."[104] English musician Steven Wilson said, "People think the 80s were a shallow, superficial era", just he cited So every bit an anthology that was "really smart".[4]

Rail listing [edit]

So (1986) [edit]

All tracks are written by Peter Gabriel, except where noted.

Side i
No. Championship Writer(due south) Length
1. "Red Pelting" v:39
2. "Sledgehammer" five:12
3. "Don't Give Up" (featuring Kate Bush) 6:33
iv. "That Voice Again" Gabriel, David Rhodes 4:53
Side two
No. Title Length
5. "In Your Eyes" 5:27
half dozen. "Mercy Street" 6:22
7. "Large Time" 4:28
8. "Nosotros Do What We're Told (Milgram's 37)" 3:22
Bonus track on CD and cassette release
No. Title Writer(s) Length
9. "This Is the Picture (Excellent Birds)" (featuring Laurie Anderson) Laurie Anderson, Gabriel 4:25

So (2002 remastered edition) [edit]

No. Title Writer(s) Length
one. "Cerise Rain" 5:39
2. "Sledgehammer" 5:12
3. "Don't Give up" (featuring Kate Bush) 6:33
iv. "That Voice Again" Gabriel, David Rhodes 4:53
five. "Mercy Street" 6:22
6. "Big Time" 4:28
vii. "We Practice What We're Told (Milgram'due south 37)" 3:22
8. "This Is the Film (Excellent Birds)" (featuring Laurie Anderson) Laurie Anderson, Gabriel 4:25
nine. "In Your Eyes" 5:27

And so (25th Anniversary Immersion Box) (2012) [edit]

So (2012 remaster)
No. Title Author(southward) Length
one. "Red Rain" 5:twoscore
2. "Sledgehammer" 5:13
three. "Don't Give Up" (featuring Kate Bush) 6:34
4. "That Voice Again"
  • Gabriel
  • David Rhodes
 4:49
v. "Mercy Street" half dozen:17
half dozen. "Large Time" 4:28
vii. "We Do What We're Told (Milgram's 37)" 3:22
eight. "This Is the Picture (First-class Birds)" (featuring Laurie Anderson)
  • Laurie Anderson
  • Gabriel
 iv:20
9. "In Your Eyes" 5:28
So Dna
No. Title Length
i. "Red Rain" 6:15
2. "Sledgehammer" 6:thirty
iii. "Don't Surrender" 6:10
4. "That Voice Again" 6:39
5. "Mercy Street" vii:50
half-dozen. "Big Time" 6:54
7. "We Do What We're Told (Milgram's 37)" 5:00
eight. "This Is the Picture (Excellent Birds)" 3:58
9. "In Your Eyes" 10:fifteen
Live in Athens 1987 (ii×CD)
No. Championship Length
1. "This Is the Picture" 5:57
2. "San Jacinto" 7:26
3. "Stupor the Monkey" six:44
4. "Family Snapshot" 4:36
5. "Intruder" v:26
six. "Games Without Frontiers" v:29
7. "No Self Control" 6:15
8. "Mercy Street" 9:15
9. "The Family unit and the Angling Cyberspace" 7:08
x. "Don't Give up" 8:16
11. "Solsbury Hill" v:10
12. "Lay Your Hands on Me" 6:14
thirteen. "Sledgehammer" 5:06
14. "Hither Comes the Flood" 2:48
fifteen. "In Your Eyes" 10:38
16. "Biko" ix:38
Live in Athens 1987 DVD
No. Title Length
1. "This Is the Picture" 5:58
2. "San Jacinto" 7:47
three. "Shock the Monkey" 6:46
4. "Family Snapshot" four:35
five. "Intruder" 5:10
6. "Games Without Frontiers" 6:05
seven. "No Self Control" 6:18
8. "Mercy Street" nine:13
9. "The Family unit and the Line-fishing Net" seven:04
10. "Don't Give up" viii:09
11. "Solsbury Colina" five:13
12. "Lay Your Easily on Me" 8:46
13. "Sledgehammer" v:47
xiv. "Here Comes the Flood" 3:thirty
fifteen. "In Your Eyes" 13:15
16. "Biko" 12:52
So: Archetype Albums DVD
No. Title Length
1. "So – The Definitive Authorised Story of the Album"
So (2012 remaster vinyl)
No. Championship Writer(southward) Length
one. "Red Rain" v:40
2. "Sledgehammer" 5:thirteen
3. "Don't Surrender" (featuring Kate Bush) six:34
4. "That Voice Again"
  • Gabriel
  • David Rhodes
 4:49
5. "Mercy Street" 6:17
6. "Big Time" 4:28
7. "We Practise What We're Told (Milgram'south 37)" 3:22
viii. "This Is the Picture (Excellent Birds)" (featuring Laurie Anderson)
  • Laurie Anderson
  • Gabriel
 4:20
ix. "In Your Optics" v:28
12 inch AA side vinyl
No. Championship Length
1. "Sagrada"
2. "Courage"
3. "Don't Give Upward" (alternative version piano and bvox mix)

Notes

  • "This Is the Motion picture (Excellent Birds)" was non included on the original vinyl release.[105]

Personnel [edit]

Credits adapted from So 's liner notes. The rails numbers correspond to the original release.[105]

  • Peter Gabriel – lead and backing vocals, CMI (all tracks), Prophet synthesizer (all except tracks 5 & 9), piano (all except tracks 7 & nine), Linn 9000 (tracks three & 7), synthesizer (tracks 5 & 7), percussion (rails 4), Yamaha CS-80 (track 6), LinnDrum (track 9), Synclavier (track 9)
  • Tony Levin – bass guitar (tracks 1–5), drumstick bass (fretting simply) (track 7)
  • David Rhodes – guitar (all except tracks six & 9), bankroll vocals (tracks 1 & 5)
  • Jerry Marotta – drums (tracks 1 & 8), additional drums (track five), bass guitar (drumming just) (rails 7)
  • Manu KatchĂ© – drums (tracks 2–5), percussion (tracks three–5), talking drum (tracks 5 & 9)
  • Chris Hughes – electronic drums, programming (track 1)
  • Stewart Copeland – hullo-chapeau (rails i), drums (track 7)
  • Daniel Lanois – guitar (tracks 1, ii & 4), tambourine (rails two), surf guitar (rail 7), twelve-cord guitar (runway nine)
  • Wayne Jackson – trumpet (tracks 2 & 7), cornet (runway 7)
  • Mark Rivera – tenor saxophone (tracks two & seven), processed saxophone (track 6), alto saxophone, baritone saxophone (track 7)
  • Don Mikkelsen – trombone (tracks 2 & 7)
  • P. P. Arnold – backing vocals (tracks 2 & 7)
  • Coral Gordon – backing vocals (tracks 2 & 7)
  • Dee Lewis – backing vocals (tracks 2 & 7)
  • Richard Tee – pianoforte (tracks 3, v & six)
  • Simon Clark – keyboards, backing vocals (track iii), Hammond organ, programming, bass guitar (track vii)
  • Kate Bush-league – vocals (runway 3)
  • L. Shankar – violin (tracks iv & eight)
  • Larry Klein – bass guitar (tracks v & half-dozen)
  • Youssou N'Bleak – backing vocals (track 5)
  • Michael Been – backing vocals (rail 5)
  • Jim Kerr – backing vocals (track v)
  • Ronnie Brilliant – bass vocals (track 5)
  • Djalma Correa – surdo, congas, triangle (track 6)
  • Jimmy Bralower – programming kicking (track 7)
  • Bill Laswell – bass guitar (rails 9)
  • Nile Rodgers – guitar (track 9)
  • Laurie Anderson – synthesizer and vocals (track 8)
  • Greg Fulginiti – mastering

Charts [edit]

Certifications [edit]

References [edit]

Notes

  1. ^ All of these release dates pertain to their release in the U.k.,[5] except "In Your Eyes" which was released in the US in August 1986.[6]
  2. ^ Killen notes that by September 1985, all of the material was on a Mitsubishi 32-track digital audio tape.[18]
  3. ^ When Then was overdubbed at Power Station Studio, New York, the German electronic duo Kraftwerk were finishing Electric Café (1986) and "Sledgehammer" was played to them. David Buckley, a Kraftwerk biographer, wrote, "they were knocked back past how fantastic it sounded. They felt their record was puny sonically by comparing, even though it's a completely different genre of music".[39]
  4. ^ Gabriel eventually agreed to score the film and released Passion (1989) to acclaim, winning a Grammy Award for Best New Age Anthology at the 1990 ceremony.[47] Note that Passion is sometimes titled Passion: Music for The Terminal Temptation of Christ. Gabriel has said this is due to "legal barriers".[48]

Citations

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  4. ^ a b c Munro, Scott (21 July 2017). "Steven Wilson meets Bollywood in Permanating video". Team Rock. Archived from the original on 7 August 2017. Retrieved 22 July 2017.
  5. ^ Easlea 2013, p. 378.
  6. ^ Nielsen Business Media, Inc (20 September 1986). "Hot 100 Singles for week ending September 20, 1986". Billboard. 98 (38): 74. Archived from the original on 6 May 2017. Retrieved 22 Baronial 2014.
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Sources

  • Simon & Schuster (2001). The Rolling Stone Encyclopedia of Stone and Curlicue (3rd ed.). ISBN978-0-7432-0120-ix.
  • Easlea, Daryl (2013). Without Frontiers: The Life and Music of Peter Gabriel. London: Motorcoach Press. ISBN978-one-78038-315-6.
  • Classic Albums: So. Classic Albums. Britain: Hawkeye Stone Amusement and Peter Gabriel Records Ltd. 22 October 2012.
  • Dimery, Robert (2011). 1001 Albums You Must Hear Before You Die. Cassell. ISBN978-1-84403-699-8.

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Source: https://en.wikipedia.org/wiki/So_%28album%29

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