Peter Gabriel – Peter Gabriel I (1977/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 00:41:39 minutes | 898 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: realworld.co.uk | @ Charisma Records
Peter Gabriel’s self-titled debut album, affectionately known as CAR, due to the iconic Hipgnosis designed cover, will be re-issued on vinyl for the first time since 2002.
The album has been Half-Speed Remastered and cut to lacquers at 45RPM, across 2 x heavyweight LPs, to deliver maximum dynamic range in the sound. Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis and overseen by Peter’s main sound engineer Richard Chappell. These albums really have never sounded so good! They also look amazing with the gatefold sleeves utilising imagery from the original LP inner bags and all images are newly re-scanned.
The album comes with a download card with a choice of digital download (Hi-Res 24/96k or 16/44.1k), and is both Numbered and a Limited Edition – 10,000 for the World.
Having left Genesis in the summer of 1976, Peter’s first solo album arrived in February 1977. He was 26. With legendary producer Bob Ezrin taking charge, the intention was to make a more direct and tougher record: something different from what had gone before. The record also provided one of Peter’s most recognisable songs in the shape of Solsbury Hill.
Peter Gabriel tells why he left Genesis in “Solsbury Hill,” the key track on his 1977 solo debut. Majestically opening with an acoustic guitar, the song finds Gabriel’s talents gelling, as the words and music feed off each other, turning into true poetry. It stands out dramatically on this record, not because the music doesn’t work, but because it brilliantly illustrates why Gabriel had to fly on his own. Though this is undeniably the work of the same man behind The Lamb Lies Down on Broadway, he’s turned his artiness inward, making his music coiled, dense, vibrant. There is still some excess, naturally, yet it’s the sound of a musician unleashed, finally able to bend the rules as he wishes. That means there are less atmospheric instrumental sections than there were on his last few records with Genesis, as the unhinged bizarreness in the arrangements, compositions, and productions, in tracks such as the opener “Moribund the Burgermeister” vividly illustrate. He also has turned sleeker, sexier, capable of turning out a surging rocker like “Modern Love.” If there is any problem with Peter Gabriel, it’s that Gabriel is trying too hard to show the range of his talents, thereby stumbling occasionally with the doo wop-to-cabaret “Excuse Me” or the cocktail jazz of “Waiting for the Big One” (or, the lyric “you’ve got me cookin’/I’m a hard-boiled egg” on “Humdrum”). Still, much of the record teems with invigorating energy (as on “Slowburn,” or the orchestral-disco pulse of “Down the Dolce Vita”), and the closer “Here Comes the Flood” burns with an anthemic intensity that would later become his signature in the ’80s. Yes, it’s an imperfect album, but that’s a byproduct of Gabriel’s welcome risk-taking — the very thing that makes the album work, overall. -AllMusic Review by Stephen Thomas Erlewine
1 Moribund The Burgermeister 4:20
2 Solsbury Hill 4:22
3 Modern Love 3:38
4 Excuse Me 3:20
5 Humdrum 3:25
6 Slowburn 4:36
7 Waiting For The Big One 7:16
8 Down The Dolce Vita 5:06
9 Here Comes The Flood 5:39
Peter Gabriel – vocals, keyboards, flute, recorder
Allan Schwartzberg – drums
Tony Levin – bass, tuba, leader of the Barbershop Quartet
Jimmy Maelen – percussion, synthibam, bones
Steve Hunter – acoustic guitars on “Solsbury Hill”; lead guitar on “Slowburn” and “Waiting for the Big One”; electric, acoustic & rhythm guitars; pedal steel
Robert Fripp – electric & classical guitars, banjo
Jozef Chirowski – keyboards
Larry Fast – synthesizer, programming
Dick Wagner – backing vocals and guitar solo on “Here Comes the Flood”
London Symphony Orchestra on “Down the Dolce Vita” and “Here Comes the Flood”
Michael Gibbs – arrangement of orchestra