Personnel includes: Peter Gabriel (vocals, keyboards); Kate Bush, Laurie Anderson, Youssou N'Dour (vocals); David Rhodes (guitar, background vocals); Daniel Lanois (guitar, tambourine); Nile Rodgers (guitar); L. Shankar (violin); Mark Rivera (alto, tenor & baritone saxophones); Wayne Jackson (trumpet); Don Mikelsen (trombone); Richard Tee (piano); Simon Clark (Hammond B3 organ, synthesizer, bass); Tony Levin (bass, Chapman stick); Larry Klein, Bill Laswell (bass); Manu Katche (drums, talking drums); Jerry Marotta, Stewart Copeland (drums); Chris Hughes (programming); Djalma Correa (surdu, congas, triangle); Jimm Kerr (background vocals).
Engineers: Kevin Killen, Daniel Lanois, David Bottrill.
Recorded at Ascombe Studios, Bath, England between Feruary and December, 1985.
All tracks have been digitally remastered.
Personnel includes: Peter Gabriel (vocals, keyboards); Kate Bush, Laurie Anderson, Youssou N'Dour (vocals); David Rhodes (guitar, background vocals); Daniel Lanois (guitar, tambourine); Nile Rodgers (guitar); L. Shankar (violin); Mark Rivera (alto, tenor & baritone saxophones); Wayne Jackson (trumpet); Don Mikelsen (trombone); Richard Tee (piano); Simon Clark (Hammond B3 organ, synthesizer, bass); Tony Levin (bass, Chapman stick); Larry Klein, Bill Laswell (bass); Manu Katche (drums, talking drums); Jerry Marotta, Stewart Copeland (drums); Chris Hughes (drum programming); Djalma Correa (surdu, congas, triangle); Jimm Kerr (background vocals).
Engineers: Kevin Killen, Daniel Lanois, David Bottrill.
All tracks have been digitally remastered.
Personnel includes: Peter Gabriel (vocals, keyboards); Kate Bush, Laurie Anderson, Youssou N'Dour (vocals); David Rhodes (guitar, background vocals); Daniel Lanois (guitar, tambourine); Nile Rodgers (guitar); L. Shankar (violin); Mark Rivera (alto, tenor & baritone saxophones); Wayne Jackson (trumpet); Don Mikelsen (trombone); Richard Tee (piano); Simon Clark (Hammond B3 organ, synthesizer, bass); Tony Levin (bass, Chapman stick); Larry Klein, Bill Laswell (bass); Manu Katche (drums, talking drums); Jerry Marotta, Stewart Copeland (drums); Chris Hughes (programming); Djalma Correa (surdu, congas, triangle); Jimm Kerr (background vocals).
Engineers: Kevin Killen, Daniel Lanois, David Bottrill.
Recorded at Ascombe Studios, Bath, England between Feruary & December 1985.
Peter Gabriel introduced his fifth studio album So with "Sledgehammer," an Otis Redding-inspired soul-pop raver that was easily his catchiest, happiest single to date. Needless to say, it was also his most accessible, and, in that sense it was a good introduction to So, the catchiest, happiest record he ever cut. "Sledgehammer" propelled the record toward blockbuster status, and Gabriel had enough songs with single potential to keep it there. There was "Big Time," another colorful dance number; "Don't Give Up," a moving duet with Kate Bush; "Red Rain," a stately anthem popular on album rock radio; and "In Your Eyes," Gabriel's greatest love song which achieved genuine classic status after being featured in Cameron Crowe's classic, Say Anything. These all illustrated the strengths of the album: Gabriel's increased melodicism and ability to blend African music, jangly pop, and soul into his moody art rock. Apart from these singles, plus the urgent "That Voice Again," the rest of the record is as quiet as the album tracks of Security. The difference is, the singles on that record were part of the overall fabric; here, the singles are the fabric, which can make the album seem top-heavy (a fault of many blockbuster albums, particularly those of the mid-'80s). Even so, those songs are so strong, finding Gabriel in a newfound confidence and accessibility, that it's hard not to be won over by them, even if So doesn't develop the unity of its two predecessors. ~ Stephen Thomas Erlewine
SO consolidated Gabriel's reputation as an original and exciting composer, capable of projecting sophisticated lyrics on accessible melodies. 'Sledgehammer' was a massive hit (number one in the USA), as was 'Don't Give Up', with Kate Bush's vocals adding extra pathos. 'This Is The Picture' clearly shows the slightly surreal influence of co-writer Laurie Anderson, and the whole is given flight by Daniel Lanois' impeccable production. The towering achievement, however, is 'Mercy Street', a sparely orchestrated and perfectly constructed tribute to the late poet Anne Sexton. minimize