•
Rating:
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 The restless masks and tormented images that dominated the covers of previous albums have been replaced by a simple and clean photograph.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.
Tracklist Lyrics and Samples
01 Red Rain (05:38)
Red rain is coming down
Red rain
Red rain is pouring down
Pouring down all over me
I am standing up at the water's edge in my dream
I cannot make a single sound as you scream
It can't be that cold, the ground is still warm to touch
Hey - we touch
This place is so quiet, sensing that storm
Red rain is coming down
Red rain
Red rain is pouring down
Pouring down all over me
Well I've seen them, buried in a sheltered place in this town
They tell you that this rain can sting and look down
There is no blood around see no sign of pain
Hey - no pain
Seeing no red at all, see no rain
Red rain is coming down
Red rain
Red rain is pouring down
Pouring down all over me
Red rain
Putting the pressure on much harder now
To return again and again (red rain)
Just let the red rain splash you
Let the rain fall on your skin (red rain)
I come to you defences down (oh)
With the trust of a child
Red rain coming down
Red rain
Red rain is pouring down
Pouring down all over me
And I can't watch anymore
No more denial
It's so hard to lay down in all of this
Red rain coming down
Red rain is pouring down
Red rain is coming down all over me
I see it
Red rain coming down
Red rain is pouring down
Red rain is coming down all over me
I'm bathing in
Red rain coming down
Red rain is coming down
Red rain is coming down all over me
I'm begging you
Red rain coming down
Red rain coming down
Red rain coming down
Red rain coming down
Over me in the red red sea
Over me
Over me
Red rain
02 Sledgehammer (05:16)
You could have a steam train
If you'd just lay down your tracks
You could have an aeroplane flying
If you bring your blue sky back
All you do is call me
I'll be anything you need
You could have a big dipper
Going up and down, all around the bends
You could have a bumper car, bumping
This amusement never ends
I want to be your sledgehammer
Why don't you call my name
Oh, let me be your sledgehammer
This will be my testimony
Show me 'round your fruitcage
'Cause I will be your honey bee
Open up your fruitcage
Where the fruit is as sweet as can be
I want to be your sledgehammer
Why don't you call my name
You'd better call the sledgehammer
Put your mind at rest
I'm going to be the sledgehammer
This can be my testimony
I'm your sledgehammer
Let there be no doubt about it
Sledge, sledge, sledgehammer
I've kicked the habit
Shed my skin
This is the new stuff
I go dancing in
We go dancing in
Oh, won't you show for me
I will show for you
Show for me
I will show for you
yeah, yeah, yeah, yeah, yeah, yeah
I do mean you
Only you
You've been coming through
Going to build that power
Build, build up that power
I've been feeding the rhythm
I've been feeding the rhythm
Going to feel that power build in you
Come on, come on, help me do
Come on, come on, help me do
Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, you
I've been feeding the rhythm
I've been feeding the rhythm
It's what we're doing, doing
All day and night
05 In Your Eyes (05:29)
Love
I get so lost sometimes
Days pass
And this emptiness fills my heart
When I want to run away
I drive off in my car
But whichever way I go
I come back to the place you are
All my instincts
They return
The grand façade
So soon will burn
Without a noise
Without my pride
I reach out from the inside
In your eyes
The light, the heat
In your eyes
I am complete
In your eyes
I see the doorway
To a thousand churches
In your eyes
The resolution
In your eyes
Of all the fruitless searches
Oh, I see the light and the heat
In your eyes
Oh, I want to be that complete
I want to touch the light
The heat I see in your eyes
Love
I don't like to see so much pain
So much wasted
And this moment keeps slipping away
I get so tired
Working so hard for our survival
I look to the time with you
To keep me awake and alive
And all my instincts
They return
And the grand façade
So soon will burn
Without a noise
Without my pride
I reach out from the inside
In your eyes, in your eyes
In your eyes, in your eyes
In your eyes
The light the heat
In your eyes
I am complete
In your eyes
I see the doorway
To a thousand churches
In your eyes
The resolution
In your eyes
Of all the fruitless searches
Oh, I see the light and the heat
In your eyes
Oh, I want to be that complete
I want to touch the light
The heat I see in your eyes
In your eyes, in your eyes
In your eyes, in your eyes
In your eyes, in your eyes
06 Mercy Street (06:20)
looking down on empty streets, all she can see
are the dreams all made solid
are the dreams all made real
all of the buildings, all of those cars
were once just a dream
in somebody's head
she pictures the broken glass, she pictures the steam
she pictures a soul
with no leak at the seam
let's take the boat out
wait until darkness
let's take the boat out
wait until darkness comes
nowhere in the corridors of pale green and grey
nowhere in the suburbs
in the cold light of day
there in the midst of it so alive and alone
words support like bone
dreaming of mercy street
wear your inside out
dreaming of mercy
in your daddy's arms again
dreaming of mercy street
swear they moved that sign
dreaming of mercy
in your daddy's arms
pulling out the papers from the drawers that slide smooth
tugging at the darkness, word upon word
confessing all the secret things in the warm velvet box
to the priest-he's the doctor
he can handle the shocks
dreaming of the tenderness-the tremble in the hips
of kissing Mary's lips
dreaming of mercy street
wear your insides out
dreaming of mercy
in your daddy's arms again
dreaming of mercy street
swear they moved that sign
looking for mercy
in your daddy's arms
mercy, mercy, looking for mercy
mercy, mercy, looking for mercy
Anne, with her father is out in the boat
riding the water
riding the waves on the sea
07 Big Time (04:29)
I'm on my way, I'm making it
I've got to make it show, yeah
So much larger than life
I'm going to watch it growing
The place where I come from is a small town
They think so small
They use small words
-But not me
I'm smarter than that
I worked it out
I've been stretching my mouth
To let those big words come right out
I've had enough, I'm getting out
To the city, the big big city
I'll be a big noise with all the big boys
There's so much stuff I will own
And I will pray to a big god
As I kneel in the big church
Big time
I'm on my way-i'm making it
Big time big time
I've got to make it show yeah
Big time big time
So much larger than life
Big time
I'm going to watch it growing
Big time
My parties all have big names
And I greet them with the widest smile
Tell them how my life is one big adventure
And always they're amazed
When I show them 'round my house, to my bed
I had it made like a mountain range
With a snow-white pillow for my big fat head
And my heaven will be a big heaven
And I will walk through the front door
Big time
I'm on my way-i'm making it
Big time big time
I've got to make it show-yeah
Big time big time
So much larger than life
I'm going to watch it growing
Big time big time
My car is getting bigger
Big time
My house is getting bigger
Big time
My eyes are getting bigger
Big time
And my mouth
Big time
My belly is getting bigger
Big time
And my bank account
Big time
Look at my circumstance
Big time
And the bulge in my big big big big big big big
08 We Do What We're Told (Milgram's 37) (03:21)
milgram's 37
we do what we're told
we do what we're told
we do what we're told
told to do
we do what we're told
we do what we're told
we do what we're told
told to do
one doubt
one voice
one war
one truth
one dream
09 This Is the Picture (Excellent Birds) (04:18)
excellent birds
flying birds
excellent birds
watch them fly, there they go
falling snow
excellent snow
here it comes. watch it fall
long words
excellent words
I can hear them now
this is the picture, this is the picture
this is the picture, this is the picture
I'm sitting by the window
watching the snow fall
I'm looking out
and I'm moving, turning in time
catching up. moving in
jump up! I can land on my feet. look out!
this is the picture, this is the picture
this is the picture, this is the picture
looking out. watching out
when I see the future I close my eyes
I can see it now
I see pictures of people, rising up
pictures of people, falling down
I see pictures of people
they're standing on their heads, they're ready
they're looking out, look out!
they're watching out, watch out!
they're looking out, look out!
they're watching out, watch out!
I see pictures of people
I see pictures of people
Loading comments slowly
Other reviews
By Grasshopper
Sledgehammer... captivated me from the first listen. It’s a perfect 60s soul miniature built and orchestrated so well that it makes you want to forgive any trace of plagiarism.
‘Don’t Give Up’… a chilling ballad, undoubtedly one of the album’s peaks, with Kate Bush’s good fairy-like voice consoling the protagonist, reminding us what truly matters.
