Peter Gabriel
So

The title of this work by Gabriel is almost a challenge to the profusion of words surrounding the world of music: just a monosyllable rich in questions and surprises like So to clearly indicate the deepest essence of the album.

As an eclectic and sensitive artist, as he has amply demonstrated to be, Peter Gabriel gives up some of the standards of the past. The restless masks and tormented images that dominated the covers of previous albums have been replaced by a simple and clean photograph. Peter's face reveals a new serenity and, above all, shows an image that is finally not distorted or disguised. Simplicity and immediacy, the desire to expose himself personally without masks or literary intermediaries seems to be the artist's new intention. Virgin, his new record label, can only marginally influence the choices of such a free and stubborn character and surely welcomes the revival of some of his old passions like Atlantic, Stax, or Motown sounds, soul, and rhythm and blues.

Gabriel's human and professional experiences, particularly his encounter with the immense and fascinating African musical heritage, significantly influence the compositional strategy of So, even in the choice of musicians. For the first time in years, Jerry Marotta's collaboration is missing (limited to a single contribution on the track In Your Eyes), replaced by former Police drummer Stewart Copeland, who promptly recovers the use of cymbals. Also on drums, highly significant is the presence of young Manu Katche, a rising star in Gabriel's entourage, a highly skilled Franco-African percussionist who introduces talking drums, a leading instrument in traditional African sounds. On bass, the inevitable Tony Levin is joined by Lerry Kline, while the horns, which will play an important role in the album's arrangement, are entrusted to the skillful direction of Wayne Jackson of the legendary Memphis Horns.

However, the news about the So lineup doesn’t end here. The Womad festival, in which Peter Gabriel has invested energy and efforts since its origins in 1982, allowed him to meet many European, Asian, American, and African musicians. First and foremost, the Senegalese Youssou N'Dour, whose enchanting and intense voice gives a decisive ethnic twist to the album's sound structure, and the Indian violinist Shankar. The only surprising fact, unfortunately in a negative sense, is the absence of the electronics wizard Larry Fast, who after years of brilliant collaboration is mentioned in the final credits only for work on tracks not included in the album. As for the samplers, meanwhile, Gabriel himself now masters them skillfully.

The album opens with the splendid solemn "Red Rain", inspired by a recurring dream of Peter's; a kind of nightmare made of stormy seas and black and red water that gradually turns into a devastating and liberating rain. As the author himself states, the red rain has strong symbolic value and represents the thoughts and feelings that are repressed or denied that, sooner or later, resurface with force. The piano-voice combination that animates the end of this piece is one of the most evocative moments of the album. The track here finds its definitive version after several years of recording. In contrast to the dreamlike charm of the opening song, the overwhelming "Sledgehammer" advances with peremptory strides. Much of the commercial success of So is due to this track, and it is paired with one of the most entertaining and creative videos ever made. Musically, Sledgehammer pays a strong tribute to the soul and black music Gabriel was drawn to during his adolescence; just listen to the beautiful horn section led by Wayne Jackson to be catapulted into a full Stax atmosphere.

The atmosphere becomes more ethereal and intimate with "Don't Give Up", a song originally inspired by the life dramas of the Great Depression. The author intends to create a sound that he defines as Country gospel, emphasizing the blend of melancholy and hope, despair, and a desire for redemption present in the lyrics. Initially, Gabriel seemed intent on tackling the song solo, overdubbing the second voice. Then he became convinced that the alternation of a male and female voice would make the piece more meaningful and touching, and he quickly made the necessary changes to the lyrics. The contribution of Kate Bush, with her evocative voice, proves decisive for the song's good outcome, which over the years has become a classic in the artist's live repertoire. Gabriel admits a direct influence from the Byrds in the structure of the subsequent "That Voice Again". For the first time since leaving Genesis, the artist reclaims the sound of a twelve-string guitar and uses it to power a track perhaps a bit fragile compositionally but certainly pleasant. It continues with "In Your Eyes", an intense love song capable of conveying extraordinary emotional strength. The origin of this track is explained by the author: according to African tradition, love songs must have a dual interpretation, one of love towards a woman or a man and one that celebrates love towards God. The fact that these two visions of love can coexist within the same song is of great interest to Peter, who offers his personal interpretation of this theme in the heartfelt words of "In Your Eyes". The musical structure of the song is also highly fascinating, and in this sense, the contribution of young singer Youssou N'Dour is essential to highlight the ethnic roots of the track.

The next song is "Mercy Street", where the most interesting aspect, beyond the measured and evocative piano, is undoubtedly the lyrics. Another shift comes with "Big Time", a kind of raucous and grotesque funk that could envious even the most acclaimed authors of black music. The ironic and playful cut is evident, to the extent that it becomes a kind of parody of the frantic chase for success that is a basic component of human nature.

Next, we have a track already known to the more attentive admirers of Gabriel: "(We Do What We Are Told) Milgram's 37". Often performed live, it is recorded on an official album after numerous rethinkings and tweaks. The sounds are distinctly Krimsonian, and their elaboration must have certainly been influenced by the artistic bond between Gabriel and Fripp.

The album closes with "Excellent Birds (This Is The Picture)", an excellent song co-written with Laurie Anderson.

The most beautiful, the most successful, the most commercial album, in short, the best by Peter Gabriel.