Customer Reviews

Peter Gabriel 3 (Mini Lp Sleeve)

5 star:		(22)
4 star:		(4)
3 star:		(0)
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1 star:		(0)

 

 

Peter Gabriel has always been at his best when he explores his almost existential sense of dread. But it wasn't till his third solo album that he gave the paranoia free reign. While the first two albums seemed more self consciously eccentric, PG3 dropped the quirkiness in favor of characters that were scary and foreboding.

"Intruder" sets the stage for the rest of the album. Having removed all the metal percussion from the studio, the forbidding sounds of the drums and the creaking scratch of the piano string remain one of the most frightening introductions to kick off an album. It was also an environment that Gabriel held through the duration of PG3, be it from the alienation of "Family Snapshot" to the slyly political "Games Without Frontiers;" that atmosphere of impending disaster sucks you in.

This was also the album where Gabriel discovered the earthy rythms that became central to his future albums. Both "Intruder" and "Not One Of Us" take a significant amount of their edge from these arrangements, and producer Steve Lillywhite knew exactly how to make that kind of percussive sound work in favor of the artist. Perhaps it is best exemplified by "Biko," one of the finest politically tinged songs of the eighties and one that still holds up well today. "It was business as usual in police room 619" Gabriel informs us, as chants and drums give us a greater sense of place. It's a relatively simple sound with a softly delivered message ("the eyes of the world are watching now"), and brings PG3 to a satisfying and emotionally charged conclusion.

The remaster really does make a difference for this CD, and I already consider this Peter Gabriel's high water mark. But it's also the first of three five star recordings, and a great place to start.

On Peter Gabriel 3 Gabriel fully abandoned his Prog Rock past but came up with a dissonant and disturbing masterpiece which also featured world music suiting his soulfull voice. Gabriel writes all the lyrics without a single cowritter for the first time and he also plays instruments on all but one of the songs which add to the albums appeal. Gabriels songwritings incredible particularly on the scairy Intruder, No Self Control, the menacing (ballad!) Family Snapshot and the haunting Biko. This album also earns kudos for featuring Gabriels only studio album instrumental, Start.

Peter Gabriel's "melting face" album is an album that I have just discovered, and I can't stop listening to it. It seems to be one of the great post -punk new wave albums to come out in the late seventies to early eighties. The experimentation on this album is amazing, and the thought behind it convinces me that Peter Gabriel is a genius. The only songs that I think slightly degrade the album's perfection (hence the 4 star rating), are "And Through the Wire," and "Games Without Frontiers." These songs are more commercial than the rest of the album's experimental attitude. But, even though I can't stand "And Through the Wire," "Games Without Frontiers" is an ok song, it is just not up to the genius of the other songs. But, these 2 songs are just 2 out of 10 songs. Do yourself a musical favor if you like experimental music and get this album as soon as possible.

The other 5-Star reviews have said it all, really, I'm not sure what I could add. There are not many rock recordings that qualify as "art" (and art endures, it is eternal) but this is one. At less than $15.00, practically the cost of a movie ticket now, you really should get this un-named work.

What strikes me about this recording is that so many of the songs are about outsiders, social outcasts, failures, opponents of the regime, the Other and all that. Intruders, assassins, citizens without their papers, psychiatric patients, angry people in tree tops, etc., populate these songs.

"September, '77, Port Elizabeth, weather fine. It was business as usual, in police room 619".

It's a dark scary world out there, and he's right. It's only gotten scarier since 1980.

[Sidenote: this recording always makes me think of John Lennon's first solo work "Plastic Ono Band" that came out in 1970 (compare the photo on the back of Lennon's Album with the front of this one), but whereas Lennons songs are introspective, Gabriel's are more outward looking. Two great works of art however.]

Peter Gabriel's third self-titled album is often considered a rock masterpiece by his fans (just check out the reviews on this page), but although it was the first truly unified work of his solo career in both music and lyric, there remained a few kinks that would not be ironed out until the next effort "Security" (his true magnum opus). There are certainly a host of classics on this effort, which exude a truly chilling feel of isolation, terror and psychosis: with its cymbal-less drums and metallic reverb, "Intruder" basically ushered in the 80s, although its avant-garde construction is a far cry from the simplistic dance-pop that would eventually rule the decade. "No Self Control" is a similarly twisted look into the psyche, while the quiet "Lead A Normal Life" masks the eerie tale of an inmate. The closing "Biko" is still a majestic anthem after all these years, with a chanted chorus that may bring tears to the eyes; its world-music dabblings would also foreshadow the direction he would take for the rest of his career.

In spite of its many achievements, "Melt" was not entirely free of the pop/rock filler that had surfaced on his first two solo efforts. "And Through The Wire" and "Not One Of Us", while energetic, aren't particularly interesting melodically or rhythmically. "I Don't Remember" is an otherwise-great single marred by some dated synth effects (the album's pioneering 80s sound working both for and against it these days). On the other hand, the other single "Games Without Frontiers" manages to use its drum-machine groove to highlight a blackly humorous tale of
global competitiveness, inspired by a then-popular UK game show.

Compared to most other artists, Gabriel's lyrical depth, innovative arrangements and powerful vocals combined to create
a work which fused the catchy, energetic New Wave sound of its time with dark, edgy art-pop touches. Yes, it was a long way from Genesis, although the connections between, say, "Back In NYC" and "No Self Control" weren't so wide after all, and I enjoy both with equal measure. Genius is genius, no matter what genre it is couched in, and Gabriel's achievement has been to move forward into pioneering new vistas of sound and style while still retaining an identifiable character that is uniquely his.

Definately not. It takes a genius to put out something this unusually perfect. This is basically a gathering of musical greats, all on the same page. Gregory, and Weller on guitar, and Robert Fripp on the frippertronics. Jerry Marotta and Phil Collins on the skins, and Tony Levin as the anchor on Bass. Intruder creeps into your head and leaves an uneasy feeling. If you've seen the video, I Don't Remember is his way of letting go of his Genesis past, and it's a great song that stays with you. Levin's driving bass makes this a classic. Games Without Frontiers, Family Snapshot, Not one of Us, and Biko are all outstanding tracks. There really isn't a bad track on here. Peter Gabriel III, Melt, is kind of a Socio-political stand that you can identify with on many levels. It's both musically and lyrically deep, and when you've finished listening to it, you're left wondering if there is something your're missing. It's uneasy and beatiful all at the same time.

...make it this one.

This third "Peter Gabriel" disc (a.k.a. "Melt") could have been titled "Sociology". There is no "Sledgehammer" here. No "In Your Eyes". No "Steam". The closest thing to a hit here is "Games Without Frontiers", which was edited and issued as a moderate-charting single. What you get instead is an aural look at the world around us - a piece of art that will sometimes send a chill down the spine, sometimes bring a lump to the throat, always leave you thinking.

The songs on "Melt" deal with man's inhumanity to man, both on a global scale and one-on-one. Gabriel's approach is primarily first person, bringing us closer to each narrator in these tracks. Just as he used to mask himself in fox heads and what-not during his long-ago Genesis days to take on another persona, so he does in his songs - often to chilling effect.

The disc opens with "Intruder", Phil Collins' hypnotic thump setting the tone as Gabriel creepily takes on the role of house intruder - less a thief, more psychopathic.

"Family Snapshot" puts us inside the mind of an assassin, in the final seconds before he pulls the trigger. A standout track on this album (and every track on this album stands out).

Xenophobic hatred and paranoia is the subject of much of this release. "And Through The Wire", "Not One Of Us", and the UK hit "I Don't Remember" all conjure mental images of unfriendly border crossings and nationalistic distrust and hate. "Games Without Frontier" makes the simple point that if looks really could kill, someone would surely use it as a weapon. Children playing war games with real weapons.

The album closes with the Gabriel classic, "Biko", a moving homage to martyred South African activist / poet Stephen Biko. The eight-minute opus opens with an African chant, is pierced with cries of "Yihla Moja" (roughly translated "let the spirit descend") and ends with a mournful rendition of "Die Stem", the South African national anthem. A very loud, resounding drum slap like the slam of a jail cell door closes this very heavy album. (It's ashame that, when Geffen remastered / reissued the Peter Gabriel catalog, they didn't include bonus tracks. "Shosholoza", a rare track issued as the 'B'-side of the British "I Don't Remember" single, would have fit beautifully after "Biko". "Shosholoza" is a traditional South African song of hardship.)

The third "Peter Gabriel" album is an album of moments: moments of fear and moments of pain; moments of sanity and moments of madness; moments of rocking and moments of ballad. But there are no love songs here. What you get is an honest assessment of the world and how we relate to one another on a global scale.

And the assessment is pretty bleak, and tragically accurate.

It's sad that today, twenty-three years after this album first came out, every track still rings true. Perhaps even more so now than in 1980.

Not the "feel good" album of the eighties. But certainly one of the most powerful.

Musically, this third solo outing proved the artistic turning point of Peter Gabriel's post-Genesis career. While his first two solo LPs were engaging and original, Gabriel finally hit his stylistic stride with "Melt". Synthesizers abound, but not abrasively. (No dyed-haired 80's synth-pop here). Great attention is given to the details in this recording. Musically, you feel the creepiness of "Intruder", the loneliness of "Family Snapshot" and the anger of "And Through The Wire". The instrumentation perfectly compliments the lyrics on each track.

Guests include fellow Genesis member Phil Collins, Kate Bush, Robert Fripp (who's guitar atmospherics add much color to this CD), Paul Weller of The Jam and Dave Gregory of XTC.

If you want to hear "Big Time", buy the "Shaking The Tree" compilation. Or turn on your local 80's radio station. If you want a powerful, honest piece of work by an outstandingly original musical artist, buy this CD.

Reading all the positive reviews of the CD, and that fact that no one understands what this song is about, i thought I'd explain.

Its about a European TV show/ live game show called in England "its a knockout" or in France "Jeux sans frontiere", literally translated as "games without frontiers".

The show was a wacky battle between various towns in Europe.
IE, one town from England, one france, one belgium etc, about 8 countries each week. Its very had to explain, but the contestants would dress up in costumes and perform different and silly races etc".

For all I know it may still be on, but as I left England in the late 70's I am not sure.

Note that the acrimony etc with which Gabriel describes this event is because, although supposed to be friendly and fun, there was much cheating and sabotage going on, many teams brought in pro atheletes as ringers etc.

There are no bad or even mediocre songs on this album. This is Gabriel's first solo album where he seems fully in control. The mood is consistent and intense. The drums bang big and well-used dissonance lurks behind every harmony. It's very difficult to find something bad to say about it.

Gabriel explores many themes on this album, from people who enjoy breaking into homes ("Intruder") to people who need attention and go to extremes to get it ("Family Snapshot") to the relationship between sex and war ("Games Without Frontiers") to alienation ("Not One of Us") to the final political protest song against apartheid ("Biko"). Pop albums (if you can call this a pop album) rarely if ever explore such territory with such depth. The music backs up the lyrics to a degree that's almost mesmerizing.

Gabriel had come a long way from Genesis by the time this album was released. Just listen to "Trespass" (from 10 years before this album) or "Selling England By the Pound" (from half a decade or so before this album) to see how Gabriel expanded his depth for music and lyrics. It's hard to believe that the same guy singing "No Self-Control" once roamed around on stage dressed as a bat or a giant flower. In retrospect Gabriel's departure from Genesis may have been the best move of his career. It's hard to imagine Genesis going in the direction Gabriel went in, considering where they ended up (somewhere on the opposite side of the spectrum).

A host of great performers contributed instruments or vocals, which can be heard on every note. Robert Fripp returns as a guitarist (he would never again produce Gabriel), Kate Bush sings backup, David Gregory (formerly of XTC) contributes guitar, and even Phil Collins plays drums. The names go on and on (including Tony Levin and David Rhodes, who became staples). It's tempting to give Gabriel all the credit for this one, but his band had a lot to do with the solidity of this effort.

If you know nothing about Gabriel and are curious, this is a good one to start with. The songs are "the usual" length (unlike the followup "Security") and, as has been said, they're all great. If you don't like this album, you probably don't like Gabriel. This is the album on which he found his voice.

Although not his biggest commercial success, this Peter Gabriel album is his most triumphant (and sometimes uncomfortable) work...every track is a winner. Gabriel's gift as a songwriter has always been to create "moody" songs, usually with a foreboding or creepy edge. His voice, of course, is well suited to that style. In this album, we get to hear him in his best, most-varied voice, and the music behind the voice is about as varied as you're likely to hear.

INTRUDER Told in the first person (as many of his songs about "troubled" protagonists are), this song celebrates a burglar...kinda. In this case, the intruder breaks in to the home, but maybe not to steal. It is implied that he mostly likes the rush of going through drawers and jewelry, and watching his victims sleeping, or even enjoying their fear when they sense he is there. Creepy stuff, with a great, pouding percussion (provided in part by Phil Collins).

NO SELF CONTROL: Similar to his later, excellent I HAVE THE TOUCH, the observations of a person obsessed with making contact. Obviously a loner, reaching out in inappropriate ways:

"Got to pick up the phone
I will call any number
I will talk to anyone...
Street after street
Night after night
I walk on through the rain..."

I DON'T REMEMBER The album's most "rockin'" song, if that's what you're looking for. The narrator has lost his sense of identity.

FAMILY SNAPSHOT First person again, this time about an assasin, in the moments right before he takes his fatal shot at the president. Inspired by the Kennedy killing (he even mentions the governor), but the motivations have to deal more with an unhappy childhood. The psychology is a bit pat and easy, but the song itself (with lots of tempo and time signature changes) is unforgettable, and Gabriel's emoting has never been better. It's one of my favorite.

AND THROUGH THE WIRE Don't claim to know what this one is about, but it jams!!

GAMES WITH FRONTIERS An early Gabrial "single" I remember the video from YEARS ago. A great song to sing along with, about how the spitting matches and wars between our leaders really resembles a kids game. It's an upbeat song with a downbeat message...instantly hummable though.

NOT ONE OF US: Explores how one group may reject others who don't look or act like they do. Another upbeat tempo song, with a somber message.

NORMAL LIFE Mostly an instrumental, but there's a brief verse halfway through:

"Its nice here with a view of the trees
Eating with a spoon, they don't give you knives
'spect you watch those trees, blowing in the breeze
We want to see you lead a normal life."

That's it. But you've got to hear it in the context of the music. A beautiful, even touching song.

BIKO One of Gabriel's crowning moments, keeping alive in very simple lyrics the life of South African freedom activist Stephen Biko (see the movie CRY FREEDOM with Denzel). It's incredibly evocative, and the kind of song that in concert becomes a rallying cry. Has the power to raise goosebumps.

If you are looking for intelligently crafted music that isn't all lightness and fluff, check out this brilliant, haunting work!