Peter Gabriel LIMITED EDITION ORIGINAL RECORDING REISSUED Remastered by Peter Gabriel

Peter Gabriel LIMITED EDITION ORIGINAL RECORDING REISSUED Remastered

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Peter Gabriel LIMITED EDITION ORIGINAL RECORDING REISSUED Remastered

Reader Reviews
This is, as has been stated, PG's transitional record from the Bob Ezrin bombast of the first (rainy car) album to the stripped-down, cymbal-less drumkits vision of the third (melting face) one. Here we find two of the principal figures in the progressive rock of the early 1970s (Gabes and Fripp) coming to terms with the "D.I.Y." punk aesthetic in the decade's latter half. I always found it awesome and not a little ironic that Fripp first essentially invented "prog," (with King Crimson) which after a few years disappeared so far up its own ass that punk came about to return rock to its proletarian roots, yet some of his best production work happened on ostensibly "punk" records by Blondie and The Damned. But I digress. The highlight of this record for me isn't the punkier, harder-edged stuff (which is fantastic and a departure from what you might expect from these 2 guys), but the more lyrical, proggier end of the spectrum, especially "Mother of Violence" (one of PG's best songs ever) and the scorching "White Shadow," which features perhaps Fripp's single greatest 2 choruses of guitar solo ever put to tape to close out the first side of the original record (which had the Prophet 5 note at the end run endlessly to infinity in the run-out groove of the vinyl!). Earlier reviews suggesting that this album suffers from a kind of diffuse, jack-of-all-trades approach aren't entirely wrong, but you have to give credit to the creators for attempting a project which contained such a broad range of stylistic colors. And yes, it's also got one of greatest album covers ever made, for sure. 5 stars for the ambition, several of PG's most memorable songs and the thoroughly wicked, hairs-standing-up-on-the-back-of-the-neck guitar molestation at the aforementioned climax of side 1.

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