So

Peter Gabriel is a great artist. Wonderful production from Daniel Lanois and Peter Gabriel. Outstanding songs: Sledgehammer and Don’t give up on us with the amazing Kate Bush. Good songs: In your eyes, Big Time. The rest of the songs don’t really stand out. They are okay. Great album. Four stars.

Olipa hauskan Fili Kollinsin kuulosta menoa. Tykkäsin kyllä ainakin näin kesäpäivänä ajellessa kuunnella. Ehkä lisäs vibeä.

7/10 Best songs: Red Rain, Mercy Street, Big Time Soft rock is not my cup of tea. Though Peter Gabriel's often belongs to this genre, some of it is just offbeat enough to be interesting: in many ways I consider him to be the male Kate Bush - which is ironic, considering her feature in the song Don't Give Up (which, unfortunately, is not a particularly good song). Hos quirkiness manages to be just interesting enough that the dull soft rock-ness of it all doesn't bore me out of my skull: a successful album if there ever were one.

good album, absolutely enjoyed it and adding on to that peter gabriel's mellow vocals- would definitely recommend everyone to listen. Although one or two songs didnt amount to much but overall good album

nice 80er vibes

Hmmm. Its very very 80's. Too much 80's i think. The opening 3 songs (Red Rain, Sledgehammer, Don’t Give Up) are fab - Red Rain was new discovery and I really liked it. The rest of the album is a bit blander and smothered by the 80's vibes. He's a local boy so gets a bonus point - but not sure I can give it a 5 based on 3 great tracks and living down the road.

Very synth pop, art pop, and r&b centered. Favorites are Big Time, We Do What We’re Told, and This is the Picture (Excellent Birds). Nice album.

Discovering how much I enjoy Peter Gabriel has been my favorite thing about this project.

Uma grata surpresa! Não imaginava que fosse gostar tanto das canções desse álbum. As canções são ótimas, só não superam o baixo de Toni Levin e a produção, que são divinos!

8/10 Estoy muy sorprendida la verdad, no sabía que esperar pero me agradó mucho. La voz del artista, las melodías, que joyita.

When this landed my heart sank. More 80's wankery where indulgent songwriting meets production as thin and dated as Mick Jaggers pick up lines. However, i was wrong. The opening three tracks are bangers that put me back in my place. Soulful and sad, followed by pop classic followed by Kate Bush at her majesterial best. The rest of the album fails tk keep the level up, but few albums could and its certainly not bad. 3.5 rounded up to 4 again as an apology for prejedging it

A spectacular synthetic odyssey. U genuinely loved this album, it's so incredibly experimental (for it's time) and really pushed boundaries. Even through that it's stil really good. That being said, although I think that, yes I needed to listen to this before I die, the record isnt that timeless, its very much rooted in the 80s. And I love that but it makes it hard to enjoy it outside of the context in which it was made. 8/10

Yeah. Ok. Quintessential 80s pop culture album. Helped cement MTV in the early days that music videos could be creative. The film “Say Anything” is a classic

A "sellout" record that actually encapsulates within it what makes the primary artist so special. His vocal perf on "Red Rain" is stirring. The infinitely catchy "Sledgehammer" just seems to keep getting better as it goes on [plus an amazing award-winning music video to accompany!]. His beautiful collaboration with Kate Bush on "Don't Give Up" has helped me immensely many times when I've been in the throes. The Duran Duran-inspired "Big Time" is so musically complex with a fantastic bass perf from Tony Levin. The Laurie Anderson collab "This is the Picture" really balances a zany avant-garde sensibility with the new wave sound he was going for. And of course "In Your Eyes" lights up the tracklist as a wonderful closer complete with a stunning, climactic cameo turn from Youssou N' Dour. I would say this is his best record bar none. No bad tracks anywhere on it.

Decent album with a couple of hits and great album songs. It's stood the test of time too and is always a great one to

Really solid album from start to finish. Sledgehammer,cIn Your Eyes, and all the other singles are pretty great but I also enjoyed Mercy Street and We Do What We're Told.

i liked the old vibe of the album and quite enjoyed it

Some bangers on this record that I forgot about. Sledgehammer and Big Time headline it for me. Really good pop record, very interesting at times, without devolving in flat out weird. Really enjoyable listen, without some really cool sonic qualities. 4/5.

Cheesy

enjoyable and took me back to my teenage/student days

It was great listening to Peter Gabriel, i discovered him first when i listened a music of Ustad Nusrat Fateh Ali Khan, the song was Longing.

Listened previously. Expectations: High - Verdict: Great - Red Rain is a massive sounding opener. From the first lines you can tell the kind of album this will be. Sledgehammer is an absolute masterpiece. A perfect pop song. Don't Give Up is far calmer and provides a real contrast to what had come before. That Voice Again is a good track but maybe can't quite match the opening trio. I feel similarly about In Your Eyes. It is one of the huge hits from the album but to me doesn't stand out particularly. Mercy Street is fine. Big Time comes back with a very punchy groove and really gets the album back on track (not that it was ever less than good). I really like We Do What We're Told as a closer.

Great album.

It's solid. It's an album that feels like it's deeper than I can really see from just a listen or two - obviously there are the hits that are pretty straightforward, however lots of the tracks are north of six minutes. Almost a prog pop album so to speak. I enjoyed my time, though the tracks weren't generally memorable; I'm going to have it be in my rotation a bit to see if I come away with more coherent thoughts over time.

(84/100)

I am a fan of Peter Gabriel. I tend to be attracted to his earlier work. "So" is a bit more commercial and the tracks that hit for me are the less popular ones (except "In Your Eyes".) That being said, I enjoy this album. But if I want to scratch my PG itch, I will still most likely go to earlier releases in his catalog.

This does everything I want in a Peter Gabriel album, but with the "commercial" fader pushed into the red

love Peter Gabriels voice. He's done better albums namely his first solo album and his third. This didnt really stand the test of time but I still love it

this basically feels like prog pop? the overall composition and songwriting are pop-ish but heavily informed by prog rock, and instrumentation and arrangements lean more heavily on that side. unfortunately despite being a noted prog rock enjoyer and sometime pop enjoyer, the combo just doesn't suuuuper do it for me? feels like it loses too much prog to really *be* that, particularly in terms of individual part complexity.

i do not understand why they felt the need to include 2 albums by peter gabriel, let alone 3. that said, this is clearly his best album on this list.

Really enjoyed this. I’ve grown up with the singles from here but the other songs are just as great. Loved the duet with Kate Bush.

It would have been meh if Sledgehammer and In Your Eyes hadn't brought it up to a 4.

Really enjoyed this. Not surprised, but didn't realize i knew half this album

Very good

Great soft rock album, excellent album to just enjoy a relatively quiet moment

Though I prefer the two Peter Gabriel albums that preceded this one, this is probably his most cohesive album. It's like being wrapped in a warm blanket with hot chocolate.

Jättebra! Älskar nästan allting. In your eyes är dock favoriten, så bra! Sledgehammer, Don't give up - också jättebra. Det är så konstigt. Gabriel var en artist som jag inte alls gillade när jag var mycket yngre (no reason) men helt har omvärderat när jag blivit äldre. Jag förstod det antagligen inte när jag var yngre. Men det gör jag nu. Mycket bra helt enkelt!

I really dug the vibe of this one. I need to listen to more of his stuff, or maybe just wait for him to come back up on here lol. I loved red rain and I love Kate Bush

I don't think I've ever listened to Peter Gabriel. I don't even think I've ever listened to Peter Gabriel-era Genesis. gonna have to now, hot damn

I came to enjoy this album in a roundabout way -- Dave Matthews Band covered "Sledgehammer" live for a long time and reintroduced it in my teens. Around the same time, Ben Harper had a deadly cover of "In Your Eyes" that I was enamored with for about a year. It wasn't until I was a bit older that I heard 'So' in its entirety (sorry, dad). I think "In Your Eyes" is maybe one of five perfect love songs. It completely captures that feeling of looking at someone and knowing you're supposed to be with them.

I didn’t know 80’s pop could sound like this! It has all of the iconic elements of this decade: huge synths, poppy drums, big vocals — but there’s something unique about them. I think it’s the drum beats and samples, there’s something shifty and wonky about them that makes this album tick for me. And that it’s 80’s music with some African rhythms? Sledgehammer and Big Time are a blast. This Is The Picture might be a fave because of the samples and instruments.

The sound of the 80s made manifest. Quintessential MTV-era pop music. The singles are killer. The rest of the album is interesting and compelling. Peter made prog music into adult contemporary. Remarkable stuff. FOUR STARS

Very polished

A lot of experimentation here with sounds, that’s why I’ve always liked Peter Gabriel more than the other Genesis guy. Gabriel dives into different sounds knowing it may not be a hit but sets new boundaries instead, plus this album gave us Sledgehammer.

One of THE ‘80s albums, and probably my favorite solo Gabriel. Packed with huge hits (“Sledgehammer,” “In Your Eyes”) and awesome deep cuts (“Mercy Street” is quietly one of the best-produced songs of this decade, or maybe ever). Simply essential.

Holds up well over time.

I really enjoy this album. There are two or three songs that are clearly products of the '80s. Otherwise this would be a five star

Oh shit. Like, Sledgehammer alone fucks so hard and I already knew that so I was gonna start at a high 2. But then I started up and like, really thoughtful songwriting is all over the thing here. A lot of the songs have this dark brooding thing going on, but it's not edgy. I think it's somber and really really works for me. On top of that, some crazy performances. Peter Gabriel keeps up his end of what he was doing on Sledgehammer, but then Kate Bush shows up? Richard Tee is here?? Nile Rodgers even shows up for a second! The single thing holding me back is We Do What We're Told. I'm not super jazzed about that one, a little too ambient and wandering for me. That is such a bummer cuz this is so so close to being a 5. It's like a 4.8 right now. I may listen later more to see if I start to gel with that one track, cuz it's right fuckin there. PS. I LOVE YOU TONY LEVIN??

Some pretty emotional, high level Adult Contemporary music here, with whole body vocals and melodrama maxed out. Didn’t always land for me, but the ones that did, landed hard.

Some of the most iconic and coolest sounds to ever come out of this decade. Feels genre defining and a breath of fresh air compared to the pretty copy and paste sounds of the 80s.

Some legendary moments. Some tracks forgettable.

Some songs have a Phil Collins vibe kinda ?? I really felt like I was listening to Genesis at some point, this was great.

Schon stark

Entgegen meiner Erwartung fand ich das super.

Really consistent sound. Not a single song that I would skip although it does get a bit repetetive after a while. Still can appriciate his vocals and arragnements. He's got that iconic 80s full sound. Favourite tracks: Red Rain, Sledgehammer, Mercy Street, Big Time, We Do What We're Told 4/5

Mon frère a reçu le LP version pressage russe de mon oncle Daniel. Oncle Daniel est très gentil mais il porte encore en 2026 un polar fluo des années 80 sans rien dessous et dézippé jusqu'au milieu du chest pour aller souper en famille au resto. Exotique.

Je sais que ça devrait pas être un vrai débat parce que c'est deux artistes à juste titre, mais j'ai vraiment plus d'affinités émotives pour Phil Collins que pour Peter Gabriel. Mais Dimery semble vivre le contraire. BON C'EST DIT, j'ai encore sur le coeur The Lamb sans Trick of the Tail et sans Duke!! Fermons la parenthèse, belle prod, beau mood. Plaisante apparition de Kate Bush (mais quelle voix unique cette femme, je l'ai tout de suite reconnue!!). Mais c'est pas mal ça... Si j'étais Claude Rajotte, je mettrais un sledgehammer là-dedans. Ce qui me fait penser qu'il faut vraiment je détruise ma table de béton dans la cour.

Très 80s comme son avec les synthés. Bien aimé Sledgammer et In Your Eyes que je connaissais déjà. Red Rain aussi, quoique drôle choix de toune d'ouverture. par contre chaque chanson me semblait un peu trop longue. Il gagnerait à être plus concis le ti Peter.

Some good synthpop. Consistently very good but there was nothing here that fully blew me away.

hmmm good 80's sound good music good album good music 4/5

I liked this album, but I was mostly waiting around for the songs I knew. The songs I didnt know were ok, but the hits are all timers.

Surprisingly a banger!

I thought Red Rain going straight into sledgehammer was an interesting choice but by the end I’d decided it fits with the scope. It’s rooted in a new interest in soul and R&B and this creates a great contrast between upbeat songs like Sledgehammer next to more atmospheric numbers like the Kate Bush guest appearance on Don’t Give Up.

I used to have this album. It brings back memories.

A massively influential art-pop album, with driving drum grooves and exciting synth lines, all supporting a powerful and emotive vocal from Peter Gabriel.

Red rain - 4 Sledgehammer - 5 Don't give up - 3 That voice again - 3 Mercy street - 3 Big time - 4 We do what we're told (milgram's 37) - 3 This is the picture (excellent birds) - 2 In your eyes - 5

This is totally fine but also very of its time. Bonus star for Kate Bush.

This album contains one of the best thrre songs run in history in the beginning. Three different, perfect pop songs. Red Rain, a song so powerful it puts you in awe. Sledgehammer, if there's a banger in this world, it would be the one. And of course, Don't Give Up. Many, rightfully, single Kate Bush 's appearance on this song, but it might be Peter's best vocal performance ever. A song that can save lives I'll admit, I didn't listen to the entire thing well enough today, but I enjoyed it so much nonetheless. The last song was especially great to me. I'll give it a high 4. Sorry I couldn't go deeper. I might regret this score. But a high high 4 would do it.

There were some fun songs, and I lowkey vibe with some of the more calm ones.

So, this is the path that has Peter Gabriel on the WALL-E soundtrack. He's a great artist and this makes sense to be successful, but I am more into his weirder experimental stuff. That being said, this is more experimental than almost any other artist gets, he just has more skill that took him further. I'm glad he was successful and got some mainstream appeal. A guy who performs dressed as a sunflower deserves to afford a nice house sometimes. Man, I listened to this more and it has got a lot of depth. Damnit Gabriel, how are you so good at rhythm.

He is so good at song construction. This has some ingredients that I don't care for, but some of the songs are just so well crafted in a golden ratio way that it doesn't matter. I gotta rate this on personal taste. For me this is a 4, there are a couple of weaker songs at the end of the version I listened to. Tho I wouldn't argue with someone giving this a 5.

3.5+/5

This is definitely a less experimental and nutty Peter Gabriel than on his previous albums. I love the weird side of Gabriel, but what worked so well about his more out-there stuff is the fact that he always focused on melody to bring it all together. So (pardon the pun), when you strip away the experimental aspects, you get a very clear view of what a good songwriter Gabriel is under it all. Saying that, I do find it funny thinking about the amount of people who must have first discovered him through the success of “Sledgehammer”, and decided to go through his back catalogue. And then putting on “Moribund the Burgermeister”... There’s lots of world music incorporated into this album. It seemed to be a trend in the mid eighties (Graceland came out the same year). Gabriel uses wind instruments, bongos and the likes very well here, so it never comes off as gimmicky, but more as interesting textures. The most obvious use is the bamboo flute in “Sledgehammer”. It’s a great song, obviously. Catchy and upbeat, and just tilting towards the weird, while staying grounded enough to be a massive hit. The video is the most played music video in MTV’s history. There’s so much going on, you’d need to watch it a million times to catch everything. As someone whose early professional career involved creating complex stop-motion animations, it’s up there on a pedestal as one of the greats. I mean, it was created by Aardman Animations, so of course it is. I rewatched it today, and thinking back to how long each of our shots used to take, I need a moment to process it all. This is the second time that Kate Bush has made an appearance on this list, and I still haven’t gotten a single Kate Bush album. Both times were as part of Peter Gabriel albums. “Don’t Give Up” is a fantastic song. When the verse segues to the chorus, and Kate sings “Don’t give up, ‘cause you have friends, you’re not beaten yet”, it’s just glorious. I love the extended coda at the end, where the band just jams out for a while. Parts of the album suffer a little from my bias towards 80s production. I can imagine Patrick Bateman strutting along his Wall Street office building, wearing his Sony Walkman headphones, ignoring everyone around him while “Big Time” blares in his ears. In fact, I could imagine him going off on a spiel about Peter Gabriel and Genesis, while an unwitting victim sips a very expensive chardonnay. Oh god, I feel targeted. I’m not an American Psycho, but I ramble on about music just like Bateman does! The best song on the album is “We Do What We’re Told”. Sounding like a cross between Berlin-era Bowie mixed with Dark Side-era Pink Floyd, it references Milgram’s psychological experiments on obedience using electrical shocks. Gabriel’s inspiration for song-writing is always completely unique. It’s a dark, quiet, brooding song that feels well ahead of its time. The album ends really strongly, leading from that into “This Is The Picture (Excellent Birds)”, which is a minimalist, weirdo tune. I don’t even know how to describe it, but it’s Gabriel leaning a bit more into his old ways of sonic experimentation for sure. And at just the right time, the album ends with “In Your Eyes”. It’s a really, really great love song, even if it was apparently originally about the Sagrada Familia and Gaudi. It’s such a good song that it’s impossible to not find yourself standing outside in your driveway, holding your bluetooth speakers over your head as the chorus comes on.

Really good music. Great vibe in the morning

Talking Heads > Peter Gabriel > The Police > Wang Chung

Eclectic art rock with big singles and genuinely moving album tracks. Sounds phenomenal, thanks to Lanois and truly incredible players all over the record. I have to say that I think I prefer the original vinyl release track list- ‘In Your Eyes’ is too energizing for a closer, and the Laurie Anderson track, though interesting, is a bit too random.

Second Peter Gabriel album and I think I realized he just puts out solid albums. Some great songs here. 3.5/5

i liked a few of his songs. the album was cohesive and props to him for being experimental. i did not expect that.

I really liked this. It was fun and it went big. Unmistakably 80s with the massive synth sound, some great songs, Kate Bush. Some of the experimentation was a little confused but I liked this and will listen again, I think it will grow on me even more. 4/5 now with the potential to improve.

done incredible production

Kate Bush AND Laurie Anderson!?! Yeah it's a good album

Enjoyed this one. Easy mellow vibe and I hadn’t heard of him before so was nice to listen to a ‘new’ artist. 8/10

arranca con todo! dsp tiene un momento donde baja y vuelve a retomar al final. Por dios que temazo sledgehammer !!!

I was not expecting to spend today learning to love Peter Gabriel.

Didn't know so many bangers and pop hits were on this album.

good

I was surprised how much I liked this. I’d heard the singles when I was young and I never liked them. Hearing the whole album, though, it’s great avant-pop. Pretty cool it was as popular as it was.

This is where accessibility and complexity actually meet halfway. The arrangements are layered without feeling cluttered, and there’s a real sense of control in how everything builds. It’s not as exploratory as earlier work, but it’s refined in a way that still rewards attention, especially rhythmically.

A fast-rising tide of sound that lifts you up with it. As someone who knows PG only from the hits, it's immediately recognizable as him, but maintains your interest throughout. Don't Give Up with Kate Bush is a highlight (in addition to Sledgehammer which is an all timer)

I like the álbum 8/10 but my favorite ones were the live versions, good album if you want to chill in your room and you are making your homework

dont give up

Really liked it.

I think I liked it? I wasn't born when this came out but it still gives me a significant feel of nostalgia. Some songs were bangers, some were kind of forgettable. 3-4, gonna round up this time.

This is good. Peter Gabriel manages to create an entirely distinctive sound that all the same shows the Genesis legacy. There's wide variety here too with some great tracks. Who would have thought that anyone could go from Genesis to music you might want to dance to.

An enjoyable fusion of genres with a distinctly 80s style of production. Gabriel's songwriting is great, but I didn't connect with this in any meaningful way. Perhaps 3 stars is a little harsh, however. (26/04/05 edit - yes, 3 stars was too harsh)

načelno solidan, štoviše dosta dobar... iako je sve u svemu malo presladunjav i preproduciran za mene, zadnje tri stvari nekako su mi tako podigle sveukupni dojam da ću dati četvorku :)

4.5 (46:21, 9 tracks, 5th (solo) album, 1986). “Art” Rock I was amazed about how great this album was, recognized immediately 8 of the 9 tracks even though I don’t think I’ve ever listened to the album cover to cover. So many hits, so much influence on MTV and the 80’s. I definitely feel like I missed this album a bit (didn’t own it, never seen him live) growing up in the 80’s. After Gabriel left Genesis they became much more pop/radio friendly under Phil Colins and I viewed Gabriel as a bit too ‘artistic’ but this is a purely pop album that is extremely radio friendly yet many of the tracks still dive deep into lyrics and artistic imagery. 1) "Red Rain" primarily inspired by a recurring nightmare and an unfinished film project, though it has since taken on broader symbolic meanings. Gabriel has described a vivid dream where he swam in a pool filled with cold red wine. In another version of the dream, he saw glass-like, people-shaped bottles falling from a cliff and smashing, releasing a red liquid that then fell as a torrential downpour. In the late 1970s, Gabriel conceived a story for a movie called Mozo. The plot involved villagers being punished for their sins with a blood-red rainstorm. While the film was never made, the concept influenced several songs, including "Here Comes the Flood" and "Down the Dolce Vita". While the origin is a personal dream, listeners and critics often interpret the song through different lenses: Biographers have noted the song reflects 1980s obsessions like nuclear fallout and the AIDS crisis. Some listeners view the "stinging" rain as a metaphor for acid rain or environmental degradation. The lyrics "Let the red rain splash you / Let the red rain fall on your skin" suggest a sense of surrender and renewal, coming to someone with "defenses down". The opening track, to create the "rain-like" background sound, Gabriel recruited Stewart Copeland of The Police to play a distinctive, fluttering hi-hat pattern. "Red Rain". Gabriel sings – in his upper register, with a throaty, gravelly texture – of a destructive world with social problems such as torture and kidnapping 2) “Sledgehammer" – I’ve heard this song a million times and I have to admit I never realized how incredibly sexual this song is. A high-energy, soul-influenced song that uses intense sexual innuendo and physical metaphors—like "sledgehammer," "fruit cage," and "bumper cars"—to describe passionate sexual intimacy. Gabriel explained that it's about sex breaking through barriers when communication fails, with lyrics focusing on intimacy and playful, intense desire. Many listeners did not realize as children that the lyrics "I wanna be your sledgehammer" and references to fruit cages and trains were explicit sexual metaphors. The song uses imagery of amusement park rides (big dipper, bumper cars) to represent relentless, enjoyable intimacy, as discussed in. A portion of the song represents a "babe I want you back" theme, focusing on starting over, as discussed in. The song was used as a rousing anthem by the 3rd Brigade, 3rd Infantry Division (the "Sledgehammer Brigade") at Fort Moore, GA, for morale, as mentioned in. “Show me 'round your fruit cage, 'Cause I will be your honey bee, Open up your fruit cage, With that fruit that is sweet as can be. . .” etc. Opening with the shakuhachi bamboo flute, Gabriel uses a prominent horn section inspired by the music of American soul singer Otis Redding. Wayne Jackson, who toured with Redding in the 1960s, plays the horn on the track. Gabriel wanted the album to "crash open at the front". Despite disliking "metal" percussion instruments, he was persuaded by Lanois to allow the Police's Stewart Copeland to play cymbals and hi-hat on its opener, "Sledgehammer" was the final track to be conceived. Most of Gabriel's band had packed away their equipment and were ready to leave the studio, but he asked them to reassemble to quickly run through a song he had an idea for. "Sledgehammer" was partially inspired by the music of Otis Redding, and Gabriel sought out Wayne Jackson, whom Gabriel had seen on tour with Redding in the 1960s, to record horns for the track. Opened by a shakuhachi bamboo flute, its beat is dominated by brass instruments, particularly Jackson's horn, and features lyrics abundant with sexual euphemisms. Manu Katché's drums were recorded in one take as he believed any subsequent version would be inferior to his original interpretation of the music. 3) "Don't Give Up" - a duet with Kate Bush. So's most political statement, "Don't Give Up", was fueled by Gabriel's discontent with rising unemployment during Margaret Thatcher's premiership and Dorothea Lange's photograph "Migrant Mother". The track began as a Linn drum machine pattern of slow, low-pitched tom-tom drums that Gabriel made, and Lanois believed could serve as the centerpiece of a song. Tony Levin added bass to create a more harmonious sound, during the second half of the track, put a nappy behind his bass strings to dampen the sound. Gabriel ensured the song, which follows a narrative of an unemployed man and his lover, was written as a conversational piece. Bush serves as the song's respondent, she assumes a comforting role and with delicate vocals, sings lines such as "Rest your head/ you worry too much". Perseverance and the power of human connection during times of extreme economic and personal despair. It is structured as a conversation between a man who has lost everything and a supportive partner or "angelic" presence offering him hope. Gabriel was deeply moved by the book In This Proud Land, which featured Dorothea Lange's photographs of Dust Bowl-era Americans. He wanted to capture the loss of self-esteem that comes with being unable to provide. The song also reflected the contemporary high unemployment rates in the UK under Margaret Thatcher. Gabriel connected the historical struggle of the 1930s to the modern-day "Thatcherism" era. Gabriel has stated that the song was partly about his own domestic difficulties and deep depressions at the time. The title and refrain were inspired by words his then-wife, Jill, would say to him to help him through dark emotional periods. The song’s power comes from the contrast between the two voices: Peter Gabriel: Sings the verses as a man feeling isolated, lonely, and "at the end of his tether". Kate Bush: Sings the chorus, offering words of encouragement like "Rest your head" and "Somewhere there's a place where we belong". Interestingly, Gabriel originally approached Dolly Parton for the part to give it an "American roots" feel, but she turned it down. The song has famously been credited as a "lifeline" for people in crisis. Sir Elton John credits the track with helping him achieve sobriety, and it was a favorite of the late Matthew Perry, who often signed his autobiography with the phrase "Don't give up". The music video features a famous embrace. One of the most famous single-take shots in music history. Directed by the duo Godley & Creme, the video consists entirely of Peter Gabriel and Kate Bush holding each other in a continuous, slow-motion hug while a total solar eclipse occurs behind them. The entire six-minute video was filmed in one continuous shot. To ensure both artists were seen, they were placed on a rotating platform. When Gabriel sings his verses of despair, the camera focuses on his face; as the platform turns for the hopeful chorus, Kate Bush's face is revealed. The sun behind them enters a total eclipse and re-emerges by the end of the song, mirroring the journey from darkness back into light. The directors wanted to convey the song's message of comfort by showing the pair "as if each were unable to stand without the other". Kate Bush acts as a "musical safe space" or an angelic figure, physically anchoring Gabriel as his character experiences a mental and economic breakdown. Despite the intimacy, the embrace was intended to be platonic and supportive rather than romantic. Because his marriage was "dodgy" at the time, Gabriel famously called his wife, Jill, to ask for her "blessing" before filming the intimate five-minute embrace with Bush. A second version of the video was later released by Jim Blashfield. It features more literal imagery of the economic decay described in the lyrics, such as superimposed faces over a town in disrepair. 4) "That Voice Again” is an exploration of the internal critic and the destructive power of judgmental attitudes. Gabriel explores the concept of conscience, examining the "parental voice in our heads that either helps or defeats us".[Co-written with David Rhodes, who plays guitar over Katché and Levin's input, the song was written after Gabriel's initial discussions with Martin Scorsese about scoring The Last Temptation of Christ (1988). 5) "In Your Eyes" is celebrated as a song of deep reverence that blends romantic devotion with spiritual yearning. It features Wolof vocals by Youssou N'Dour and has been described as Gabriel's greatest love song. Inspired by the Sagrada Família and its architect Antoni Gaudí, Gabriel sings over a drumbeat of only feeling complete in the eyes of his lover. The track features vocal contributions from the Senegalese musician Youssou N'Dour, who sang the song in his native Wolof. Gabriel intentionally structured the lyrics to be ambiguous, a technique he drew from specific cultural influences. Gabriel has explained that the song explores two types of love simultaneously: Romantic Love: It is widely believed to be inspired by his relationship with actress Rosanna Arquette, who lived with him during the recording of the album So. While Gabriel rarely confirms specific muses, Arquette has stated the song was written for her. Alternatively Gabriel was fascinated by an African musical tradition where love songs are written to be heard as either an address to a romantic partner or a song of worship to God. Lyrics like "I see the doorway to a thousand churches" and "the resolution of all the fruitless searches" use religious metaphors to describe the sense of completeness found in the "other". The song is a landmark of world music fusion, featuring Senegalese singer Youssou N'Dour. The Coda: N'Dour sings the powerful closing lines in his native Wolof. His lyrics "Sa bet chi lamp, chi tangaay" translate roughly to "In your eyes, the light, the heat," mirroring Gabriel's English refrain. The song's melody and chord changes were recycled from an unfinished track titled "Sagrada", which Gabriel originally wrote about a cathedral in Barcelona. While a hit upon release, the song became immortalized by the 1989 film Say Anything..., where John Cusack's character holds a boombox above his head playing the track. Gabriel initially refused to let director Cameron Crowe use the song because he felt it was "too personal". After seeing a cut of the film, Gabriel realized the scene perfectly captured the song's sentiment and gave his permission, cementing it as a definitive 80s romantic anthem 6) "Mercy Street" is a tribute to the American confessional poet Anne Sexton, specifically inspired by her posthumous collection of poems titled 45 Mercy Street. The Search for Solace: The title and lyrics draw directly from Sexton's poem "45 Mercy Street," in which she dreams of searching for her childhood home on a street that doesn't exist, symbolizing an elusive quest for belonging and peace. Mental Illness and Treatment: Lyrics like "to the priest, he's the doctor / he can handle the shocks" refer to Sexton's long struggle with depression and her experiences with psychiatric treatment. Finality and Escape: The song's outro—"Anne, with her father, is out in the boat"—alludes to Sexton’s collection The Awful Rowing Toward God and her eventual suicide in 1974. Gabriel's interpretation offers a sense of eventual peace as she finally finds the "mercy" she sought. Slowed Polyrhythms: The song's unique, dreamlike feel was achieved by accident. During recording, a Brazilian percussion track by Djalma Corrêa was played back 10% slower than intended; Gabriel loved the "grainy" quality and kept it. Dual Vocals: Gabriel recorded two vocal takes—one in his natural tenor and one an octave lower. To achieve the deep, "early-morning growl" of the lower track, he reportedly had to record it immediately after waking up before his voice fully cleared. Gabriel became interested in the late American poet Anne Sexton after reading the anthology To Bedlam and Part Way Back. He dedicated So's sixth track to her, calling it "Mercy Street" after "45 Mercy Street", a poem released in another posthumous collection. "Mercy Street" is set to one of several Forró-inspired percussion compositions that Gabriel recorded in Rio de Janeiro. Morse Code: Listen closely and you can hear a high-frequency rhythmic beep that some identify as a repeating Morse code signal for the letter "R", adding to the song’s sense of isolation and calling out. The official music video for "Mercy Street" is a stark, black-and-white art piece that contrasts sharply with the high-energy, colorful videos for "Sledgehammer" and "Big Time" from the same album. Directed by Matt Mahurin, a filmmaker and photographer known for his dark, grainy, and highly textured visual style. Unique Collaboration: Gabriel famously gave Mahurin complete creative control. It is the only music video in Gabriel’s career where he had no creative input or collaborative role in the production. The video was shot on a relatively low budget in Nicaragua. The haunting visuals were captured by Bill Pope, who later became the cinematographer for major films like The Matrix and Spider-Man 2. The video avoids a literal narrative, instead using dreamlike sequences that reflect the song's themes of depression and a search for mercy: The Boat and the Sea: Reflecting the lyrics "Let's take the boat out," the video features scenes of a man rowing toward the middle of a lake. Critics have compared this to the mythological figure Charon, the ferryman who carries souls across the River Styx to the underworld. Interspersed with the rowing are shots of a woman performing Catholic rituals, such as praying or preparing for an end, which mirrors Anne Sexton's own complicated relationship with faith and her search for a "daddy" or priest figure. The choice of black-and-white, combined with grainy textures and slow-motion movements, creates an atmosphere of deep isolation and "haunting beauty". During the So tour and the later Back to Front tour, Gabriel performed while a large, menacing lighting rig descended and hovered over him like an "ominous scan".Gabriel would often lie flat on the stage, appearing alone and vulnerable, to simulate Sexton’s state of mental illness and her eventual "rowing toward God" 7) "Big Time" is a satirical take on the "get rich quick" culture and unbridled ambition characteristic of the 1980s. A dance song "Big Time" has funk influences and is built on a "percussive bass sound". Its lyrics satirize the yuppie culture of the 1980s, materialism and consumerism and are the result of Gabriel's self-examination, after he considered whether he may have desired fame after all. Unlike the sincere emotional vulnerability of other tracks on the album So, this song uses a swaggering, self-mocking persona to critique the era's obsession with fame and material success. Paired with the stop-motion video this was a huge hit for Gabriel (along with Sledgehammer). The Satirical Persona The lyrics describe a character with grand, shallow ambitions—leaving a small town for the "big, big city" and acquiring symbols of status like a large house, a fast car, and a "shining suit". Lines like "I’m on my way / I’m making it / I’ve got to make it show" lampoon the need for success to be publicly visible and ostentatious. Gabriel has noted that while the song reflects the broader "Reagan-Thatcher" political climate, it also contains a bit of self-parody. As he was experiencing massive commercial success with So, he used the song to poke fun at the ego and fame he was currently navigating. The "Drumstick" Bass To match the song's "big" and brash theme, Gabriel and his team used a unique recording technique to create its distinctive, percussive bassline: Bassist Tony Levin handled the fingerings on the fretboard while drummer Jerry Marotta hit the strings with drumsticks. "Funk Fingers": This experiment led Levin to later invent "Funk Fingers"—small drumstick ends attached to the fingertips—so he could replicate the sound alone during live performances. The song features Stewart Copeland of The Police on drums, providing a "poppier" and lighter rhythmic foundation than earlier rock-leaning versions of the track. Stop-Motion Music Video; Following the success of "Sledgehammer," the music video for "Big Time" used groundbreaking claymation and stop-motion techniques directed by Stephen R. Johnson. The video features surreal, ever-expanding versions of Gabriel, visually representing the "inflated ego" and physical "bigness" described in the lyrics. MTV Dominance: Along with "Sledgehammer," this video solidified Gabriel as a pioneer of the music video medium, helping him win several MTV Video Music Awards in 1987 8) "We Do What We're Told (Milgram's 37)" is a chilling exploration of blind obedience and the human tendency to follow orders from authority figures, even when they conflict with personal conscience. Originally recorded for Peter Gabriel (or Melt), the song relates to the experiment on obedience carried out by the American social psychologist Stanley Milgram, intended as a reference to the obedience citizens show to dictators during times of war. Marotta's drums on the song – said to resemble "a heartbeat heard from the womb" – were coupled with Shankar's violin and "two overdubbed guitar tracks by Rhodes". The song is directly inspired by the controversial social psychology studies conducted by Stanley Milgram at Yale University in the early 1960s. Milgram wanted to understand how millions of ordinary people could participate in the atrocities of the Holocaust. He tested whether participants would continue to administer what they believed were lethal electric shocks to a person in another room simply because an authority figure told them, "The experiment requires that you continue". To the shock of the psychological community, a high percentage of participants (65% in the original study) obeyed the experimenter and delivered the maximum 450-volt shock. The "37" in the title specifically refers to a variation known as Experiment 18, titled "A peer administers shocks". In this version, the participant didn't press the shock button themselves but performed a subsidiary task (like reading questions) while a confederate (actor) administered the shocks. Under these conditions, 37 out of 40 participants (92.5%)—the highest rate in any Milgram study—continued to the very end. Gabriel uses this specific number to highlight how much easier it is to be complicit in harm when there is a "buffer" between the individual and the final act of violence. The song features very few lyrics beyond the repeated, mechanical chant: "We do what we’re told / Told to do". This repetition mimics the robotic, unthinking nature of those following orders. The track is ominous and eerie, featuring a "grainy" texture and a haunting arrangement that includes violin by L. Shankar and drums by Jerry Marotta. While often seen as a warning about the dangers of authority, Gabriel has also noted that the song honors those who refused to obey, seeing the small percentage of dissenters as a "comforting development" in human nature. 9) "This Is the Picture (Excellent Birds)" is a collaboration between Peter Gabriel and avant-garde artist Laurie Anderson. While "We Do What We're Told" was the final song on initial LP versions of the album, the cassette and CD releases close with "This Is the Picture (Excellent Birds)". Composed with American musician Laurie Anderson. They recorded the song and they filmed music video over a period of three days — which was relatively quick by Gabriel's standards — for inclusion on the 1984 global satellite television broadcast Good Morning, Mr. Orwell. This was interpolated into a recording called "This Is the Picture", on which Nile Rodgers plays rhythm guitar. According to Anderson, she and Gabriel "could never agree on what a bassline was. (I think I probably don’t hear so well down there.) I wanted to learn from him, but it turned into a standoff and so we each put out our own version of the song." However, Gabriel remembered it slightly differently: both of them quite liked the song such that they agreed to release it on their own albums. Anderson's version, with Gabriel on additional vocals, appeared on her 1984 album Mister Heartbreak, which is closer to the version premiered on Good Morning, Mr. Orwell. Gabriel's own version was based on the groove, while Anderson's version was "more fragmented". Gabriel has stated that the song examines the "parental voice in our heads that either helps or defeats us". The lyrics describe an internal "conversation" that acts as a "judge and jury" in the mind, analyzing, moralizing, and evaluating every experience rather than simply accepting it. Gabriel intended for the song to show how these judgmental attitudes—both toward oneself and others—become a barrier that prevents true intimacy and clarity between people. The song suggests that truth and life are found in "uncertainty" and "being naked," whereas rigid moralizing ("hearing right and wrong so clearly") creates distance. "That Voice Again" is the final song Gabriel associated with his unfinished film project, Mozo. Within the context of the Mozo story, this specific song was meant to represent the attribute of judgment. Mozo was a "mercurial stranger" Gabriel used as a recurring figure in his early solo work (also appearing in "Here Comes the Flood" and "Red Rain"). The song's lyrics went through three different versions before Gabriel sought help from his long-time guitarist, David Rhodes. Rhodes helped "loosen" the syllables to finalize the track, earning a rare co-writing credit on the album It explores the relationship between images and reality, particularly how we perceive the world through the "frame" of technology and language. The "Good Morning, Mr. Orwell" Project The song was originally written for a 1984 global satellite television special titled Good Morning, Mr. Orwell, curated by video artist Nam June Paik. Paik wanted to create a "positive" response to George Orwell’s dystopian vision of 1984, showing that television could be used for global creative connection rather than just surveillance. Gabriel and Anderson wrote and filmed the video in just three days for the broadcast. Because they disagreed on the final bassline, they each released their own version of the song: Anderson's "Excellent Birds" on her 1984 album Mister Heartbreak and Gabriel's "This Is the Picture" on So. The Signifier vs. The Signified: The refrain "This is the picture" emphasizes the act of looking at a representation rather than the thing itself. It suggests that in the modern world, our primary interaction with reality is through screens and "pictures of people" rather than people themselves. Lyrics like "turning in time" and "jump up" reflect the 1980s' fascination with new digital possibilities, while the "falling snow" and "excellent snow" can be interpreted as references to electronic "static" or the visual noise of early broadcast technology. The phrase "excellent birds" is a characteristically "Anderson-esque" use of simple, flat adjectives to describe nature, highlighting the disconnect between the complex beauty of the natural world and the simplistic way we label or capture it in a "picture". Gabriel’s version on So is built around a heavy, rhythmic "groove" featuring Nile Rodgers on guitar. This version is more industrial and percussive compared to Anderson’s more "fragmented" and synthesizer-heavy original. Originally, the song was omitted from the vinyl version of So due to space constraints, appearing only on cassette and CD releases as the final track. In later remasters, it was moved earlier in the tracklist to allow "In Your Eyes" to serve as the album's emotional finale. The official music video features a visual grid and superimposed images of the two artists, reinforcing the theme of being "trapped" or framed by technology. After working on the soundtrack to the film Birdy (1984), producer Daniel Lanois was invited to remain at Gabriel's Somerset home during 1985 to work on his next solo project. Initial sessions for So consisted of Gabriel, Lanois and guitarist David Rhodes, although these grew to include a number of percussionists. Although Gabriel continued to use the pioneering Fairlight CMI digital sampling synthesizer, songs from these sessions were less experimental than his previous material. Nevertheless, Gabriel drew on various musical influences, fusing pop, soul, and art rock with elements of traditional world music, particularly African and Brazilian styles. It is Gabriel's first non-eponymous album, So representing an "anti-title" that resulted from label pressure to "properly" market his music. Gabriel toured So on the This Way Up tour (1986–1987), with some songs performed at human rights and charity concerts during this period. Often considered his best and most accessible album, So was an immediate commercial success and transformed Gabriel from a cult artist into a mainstream star, becoming his best-selling solo release. It has been certified fivefold platinum by the Recording Industry Association of America and triple platinum by the British Phonographic Industry. The album's lead single, "Sledgehammer", was promoted with an innovative animated music video and achieved particular success, reaching number one on the Billboard Hot 100 and subsequently winning a record of nine MTV Video Music Awards. It was followed by four further singles, "Don't Give Up" (a duet with Kate Bush), "Big Time", "In Your Eyes", and "Red Rain". The album received positive reviews from most critics, who praised its songwriting, melodies and fusion of genres, although some retrospective reviews have criticized its overt commercialism and 1980s production sounds. So was nominated for the Grammy Award for Album of the Year in 1987 but lost to Paul Simon's Graceland. In 2000 it was voted number 82 in Colin Larkin's All Time Top 1000 Albums. Songs for the album were written and prepared in 1985 at Gabriel's home Ashcombe House, an estate to the north-east of Bath\ Since 1978, Gabriel had composed his music at Ashcombe House, including his album Security (1982) and the Birdy soundtrack (1984). He had an inexpensive studio in the adjacent barn consisting of two rooms, one where Gabriel would produce his vocals and work on lyrics, and another where the music would be assembled. Preparing for So, Gabriel considered Bill Laswell and Chic's Nile Rodgers as potential producers. He eventually asked his Birdy collaborator Daniel Lanois to stay at Ashcombe and work with him further. Work on the album began in earnest in February 1985, with "We Do What We're Told (Milgram's 37)" as the first song; the first six months would be spent on writing and developing song sketches. The songs were usually recorded in the studio with Gabriel, Lanois and guitarist David Rhodes playing together to a drum machine, based on an idea or chord structure Gabriel had. Lanois recalled they had "a nice starting point [as] in that kind of scenario, it's not a good idea to have a lot of people around because you get nervous that you're wasting other people's time". Consequently, there was a relaxed atmosphere surrounding these sessions and the trio would jokingly refer to themselves as the "Three Stooges". This also involved the wearing of construction site hard hats as they had a "turning up for work humor". Once they had the songs' foundations, bass and drums were overdubbed - primarily with Tony Levin, and Manu Katché, respectively. According to Lanois, he usually liked "to capture as much of the live playing as possible in any session, but these [sessions] were really the reverse... It was like overdubbing the rhythm section on top of a demo. That was the spirit of the record." Towards the end of recording, Gabriel became "obsessed" with the track listing and created an audio cassette of all the song's beginnings and ends to hear how the sounds blended together. He wanted to have "In Your Eyes" as the final track, but its prominent bassline meant it had to be placed earlier on the vinyl edition as there is more room for the stylus to vibrate. With later CD releases, this restriction was removed and the track was placed at the end of the album. So was completed in February 1986 and cost £200,000 to make. It was overdubbed at Power Station Studios in New York (as well as all horn section parts having been recorded there), despite Gabriel considering sending it via a computer-telephone set up, reasoning, "that's a lot of information to send via phone. Isn't it amazing though? You can send a song idea around the world to musicians then beam parts back by satellite". So has been described as Gabriel's most commercially accessible and least experimental album, one that features pop songs and incorporates art pop and progressive pop throughout. Like his previous albums, its basis is in art rock, although on So, Gabriel develops an increased focus on melody and combines this with elements of soul and African music. "With a song like (the previous album's) 'The Rhythm of the Heat' or 'The Family and the Fishing Net', if I were to strum that along on a guitar or piano, the song might not work very well ... whereas more of the things on this album do work just as lyric, melody and chords in a more traditional sense." Gabriel began with around 30 compositional ideas and 20 recorded tracks, which he later winnowed down to twelve songs that were "within finishing distance". The songs are highly influenced by traditional world music, particularly African and Brazilian music, with Gabriel incorporating rhythms and drum beats from these regions. In a 2011 interview for Uncut, Gabriel said, "I'd had my fill of instrumental experimenting for a while, and I wanted to write proper pop songs, albeit on my own terms." Jon Pareles of The New York Times notes that Gabriel "doesn't just add on African drums or Indian violin to ordinary songs; they are part of the foundation." Chris Roberts of Classic Rock also notes that the album "[takes] the Fairlight synth and [adds] a palatable dash of world music to art pop." Daniel Lanois' production was noted as textured, replete with ambient details and "immaculate warmth giving each note room to breathe, its textures lavish (in the preferred style of the time) without being sterile". So is Gabriel's first non-eponymous album. Gabriel has noted his dislike for titling albums, mainly because it distracts from the sleeve design. In an interview for Rolling Stone, he explained that his American label Geffen Records refused to release Peter Gabriel IV until it was retitled Security. He elaborated that for So "decided to go for the anti-title ... It can be more a piece of graphic, if you like, as opposed to something with meaning and intention. And that's what I've done ever since". When the album was profiled in the Classic Albums documentary series, Gabriel quipped that its short title meant it could be enlarged and useful when marketing it. Before the album was eventually named So, it was meant to be entitled Good. The album's cover is a portrait of Gabriel photographed by Trevor Key, who was then most famous for capturing the bell artwork for Mike Oldfield's Tubular Bells (1973). The sleeve was designed by Peter Saville and Brett Wickens; Saville was best known for designing several sleeves for Factory Records artists and was paid £20,000 for his work on So. According to Saville, the cover was based on the one he designed for New Order's album Low-Life the previous year, utilizing a similar method of taking Polaroid photos to produce a "groovy" portrait of the artist; Saville described the results as "contemporary, young but grown up, mature." Gabriel recalled: "The only compromise I made was to go with Peter Saville's idea for a retro-style portrait. I was told my usual obscure LP sleeves alienated women." Saville, meanwhile, stated that the cover was influenced by the impassioned tone and unusually accessible nature of the music, following a nighttime drive where he witnessed a car crash, then reluctantly started playing a test cassette of the album and was moved to tears by Gabriel's performance. The cover was partly influenced by photographer David Bailey's work. In the United States, So became one of Geffen Records' most commercially successful releases, peaking at number two and remaining on the chart for ninety-three weeks. In April 1986, "Sledgehammer" was released as the album's lead single and became Gabriel's first and only number one on the Billboard Hot 100, displacing his former band Genesis' first and only US number one "Invisible Touch". The track reached number four in the United Kingdom, where it ties with "Games Without Frontiers" as his highest-charting single, and peaked at number one in Canada. The success of "Sledgehammer" can be seen, in part, due to its hugely popular and innovative stop motion music video, designed by Aardman Animations. Gabriel would go on to say in an interview for Rolling Stone that he believed the video exposed So's songs to a wider audience, bolstering the album's success. Two high-charting singles followed, "Don't Give Up", which rose to number nine on the UK Singles Chart and a less successful seventy-nine in America, while "Big Time" peaked at number thirteen in the UK and number eight in America. "In Your Eyes" saw moderate success in America, where it reached twenty-six on the Hot 100, while "Red Rain" peaked at forty-six in the United Kingdom. Bono contacted Gabriel to perform at A Conspiracy of Hope, a series of Live Aid-inspired concerts that intended to spread awareness of human rights issues in light of Amnesty International's twenty-fifth anniversary. Gabriel accepted and in June 1986, he performed alongside Sting, the Police, Lou Reed, and Joan Baez, with a set that opened with "Red Rain" and featured "Sledgehammer". Gabriel described it as "the best tour [he'd] ever been on". Gabriel eventually embarked on the ninety-three date This Way Up tour to support So, beginning in Rochester, New York on 7 November 1986. One of the dates was a special two-night residency (20–21 December) at Tokyo's Meiji Jingu Stadium to fund a global computer system for the University for Peace, a United Nations project. The tour suspended in early 1987 until June when it reached Europe, before going on to America and finishing at the Lycabettus Amphitheatre in Athens in October. Jon Pareles of The New York Times wrote "only a handful of Western rock musicians have managed to use exotic rhythms and instruments with so much ingenuity and conviction". Pareles also praised his vocals, describing them as "grainy but not bluesy, ageless and joyless, the voice of some ancient mariner recounting disasters". Tim Holmes of Rolling Stone described the album as "a record of considerable emotional complexity and musical sophistication" and felt that the mainstream pop music scene would be encouraged to innovate by the album. Terry Atkinson of Los Angeles Times viewed the album as offering "an amazing variety of tones, moods and topics, and a consistently powerful level of expression". Although disliking "Big Time", Atkinson concluded So was "a great album, possibly Gabriel's best". Steve Hochman, also of Los Angeles Times, praised Gabriel's reinvention too, describing it as "real progress" compared to the contemporaneous work of other progressive rock acts such as Genesis, GTR and Marillion. Chicago Tribune's Lynn Van Matre praised the album's "wave of funky rhythms" and called for more appreciation of Gabriel's talent, but noted a lack of "quirkiness" and said there were no tracks as impactful as his 1980 single "Biko". Stephen Thomas Erlewine of AllMusic commended So as the "catchiest, happiest record he ever cut". Erlewine particularly praised Gabriel's fusion of art rock with African music and soul. Jude Rogers of the BBC wrote, "once you look past the bombast of 'Sledgehammer', ... you notice how easily its artful ideas slipped inside the 80s mainstream". The Quietus' Wyndham Wallace praised So's sincerity and called it "a heartfelt journey through intense emotional territory, assembled and arranged with intricacy and commitment, labored over with such care that it sounds effortless". Ryan Bray, writer for Consequence of Sound, concluded So was an "all-too-rare record that manages to have it both ways, earning its richly deserved critical and commercial respect without giving so much as an artistic inch". He added that "it still stands on its own two feet as one of the consensus best records of the 80s". Mark Blake of Q described the album as "carbon-dated to 1986 thanks to those blaring saxes and Fairlight CMI digital sampling synths". He added that "Gabriel crafted an album of user-friendly pop that was still reassuringly odd." Terry Staunton of Classic Rock wrote "Red Rain was familiarly pensive and politically charged, but the radio waves completely surrendered to the record's muscular dance rock and slower tempo eloquence." Staunton concluded that Gabriel had displayed "a masterful confidence, delivering a satisfyingly unified whole". Though the "Sledgehammer" video's ubiquity has bludgeoned the song, its parent album is a marvel ... awash in delicate percussion, tasteful keyboards, and bubbling bass, "Red Rain" and "Mercy Street" are stunning. Of the epics, the Kate Bush duet "Don't Give Up" is heart wrenching, while "In Your Eyes" achieved iconic status after its appearance in the John Cusack movie Say Anything. Excellent albums followed, but the breathtaking So is the best introduction to a dazzling discography. At the 29th Annual Grammy Awards, So was nominated for Album of the Year, losing to Paul Simon's Graceland (1986), while "Sledgehammer" received nominations for Record of the Year, Song of the Year and Best Male Rock Vocal Performance. So is often regarded as Gabriel's best album, as well as one of the best albums of the 1980s. It enabled Gabriel to transform from a cult artist, acclaimed for his cerebral, experimental solo work, into a mainstream, internationally known star. Rolling Stone placed So at 187 (2003 edition) and 297 (2020 edition) on its 500 Greatest Albums of All Time and at 14 on its 100 Best Albums of the 1980s, noting that "despite its mass appeal, however, So also presented compelling challenges." Slant Magazine listed the album at 41 on its list of the 100 Best Albums of the 1980s, describing it as "Gabriel's most accessible yet ambitious work. A chronicle of political, emotional, and artistic exploration, the album [attempts] to balance standard pop orthodoxy with his still-rumbling desire for sonic experimentation". Jim Allen wrote for Ultimate Classic Rock, "What makes So important is the way he seamlessly blended peerless pop savvy with an iconoclast’s adventurous artistic instincts. His slightly twisted pop songs packed enough emotional impact, sonic surprises and catchy melodies to make for one of the era’s most consistently rewarding records." Michael Glabicki of the American band Rusted Root acknowledges this album as a key influence on his own career exploring worldbeat music, saying, "I just kind of got locked into that sound. Peter Gabriel's So kind of gave everyone the go-ahead that this could work in a popular fashion. For people like me who were exploring those sounds, the wonder of if it's going to work or not just went away at that point." English musician Steven Wilson said, "People think the 80s were a shallow, superficial era", but he cited So as an album that was "really smart". All songs written by Peter Gabriel, except "That Voice Again" written with David Rhodes and "This Is the Picture (Excellent Birds)" written with Laurie Anderson. Side one 1. "Red Rain" 5:39 2. "Sledgehammer" 5:12 3. "Don't Give Up" 6:33 4. "That Voice Again" 4:53 5. "In Your Eyes" 5:27 6. "Mercy Street" 6:22 7. "Big Time" 4:28 8. "We Do What We're Told (Milgram's 37)" 3:22 9. "This Is the Picture (Excellent Birds)" 4:25 Peter Gabriel – lead and backing vocals, CMI (all tracks), Prophet synthesizer (all except tracks 5 & 9), piano (all except tracks 7 & 9), Linn 9000 (tracks 3 & 7), synthesizer (tracks 5 & 7), percussion (track 4), Yamaha CS-80 (track 6), LinnDrum (track 9), Synclavier (track 9) Tony Levin – bass guitar (tracks 1–5), drumstick bass (fretting only) (track 7) David Rhodes – guitar (all except tracks 6 & 9), backing vocals (tracks 1 & 5) Jerry Marotta – drums (tracks 1 & 8), additional drums (track 5), bass guitar (drumming only) (track 7) Manu Katché – drums (tracks 2–5), percussion (tracks 3–5), talking drum (tracks 5 & 9) Chris Hughes – electronic drums, programming (track 1) Stewart Copeland – hi-hat (track 1), drums (track 7) Daniel Lanois – guitar (tracks 1, 2 & 4), tambourine (track 2), surf guitar (track 7), twelve-string guitar (track 9) Wayne Jackson – trumpet (tracks 2 & 7), cornet (track 7) Mark Rivera – tenor saxophone (tracks 2 & 7), processed saxophone (track 6), alto saxophone, baritone saxophone (track 7) Don Mikkelsen – trombone (tracks 2 & 7) P. P. Arnold – backing vocals (tracks 2 & 7) Coral Gordon – backing vocals (tracks 2 & 7) Dee Lewis – backing vocals (tracks 2 & 7) Richard Tee – piano (tracks 3, 5 & 6) Simon Clark – keyboards, backing vocals (track 3), Hammond organ, programming, bass guitar (track 7) Kate Bush – vocals (track 3) L. Shankar – violin (tracks 4 & 8) Larry Klein – bass guitar (tracks 5 & 6) Youssou N'Dour – backing vocals (track 5) Michael Been – backing vocals (track 5) Jim Kerr – backing vocals (track 5) Ronnie Bright – bass vocals (track 5) Djalma Corrêa – surdo, congas, triangle (track 6) Jimmy Bralower – programming kick (track 7) Bill Laswell – bass guitar (track 9) Nile Rodgers – guitar (track 9) Laurie Anderson – synthesizer and vocals (track 9) Greg Fulginiti – mastering

This is #day600 of my #1001albumsyoumusthearbeforeyoudie challenge, and… here's to my final Peter Gabriel record. I'm actually revisiting this after watching a Rick Beato episode on YouTube about the best-sounding records. Having played it again, this time on my Technics SU-7300, I can confirm: this record sounds big. A Songs from the Big Chair kind of big, if you will, yet more experimental. "Red Rain," "Sledgehammer," "Mercy Street," and I guess "Big Time" are my favorites here. The duet with Kate Bush was a nice surprise, too. This is a 4 out of 5. I might bump it up to a 5 eventually. Looking forward to #day601.

I have heard of Peter Gabriel I had not listened to So I had heaed all singles. This was a pretty massive album. Surprised my folks didn't have it. It's pretty solid. Pop, but experimental and has some really interesting collaborations and features. I think it belongs.

This album does admittedly let its foot off the gas a bit after the one-two opening punch of Red Rain and Sledgehammer, two of Peter's best, but the whole album is some solid 80s art-pop from the former Genesis frontman.

New artist unlocked. will be giving peter more listens

it was alright

This was disappointing. “Red Rain,” “Sledgehammer,” and “In Your Eyes” are such strong songs. Bordering on brilliant. But everything else is painfully 80s. “Don’t Give Up” has moments but is overall way too saccharine and earnest, and maybe that worked in the 80s, but now it sounds cheesy and bad. There are good parts in other songs, but the main singles have endured for a reason. This is a 3.5, but I’m rounding up because of the strength of the first three songs I mentioned. They are spectacular, but the rest is very average.

I put this on while I was driving with my kids, they didn't complain surprisingly. I think this album is honestly pretty good. It has very 80's production but it isn't in a way that works against the songs. I had heard all of the singles on here many times but they haven't quite worn out their welcome somehow. I don't shy away from earnest sappy things but obviously it can be hard to admit it to one's 'music friends'

Funnily enough I've had this album in my library for a while now but haven't gotten to it, Now's the perfect time. I've heard a couple songs before (In your eyes, don't give up) and I loved them. Now I love the album too.

So 80s

20/04/26 não tem cara de nada e não lembra ninguém a sonoridade é tão neutra quanto a afirmação anterior, tem suas qualidades mas é meio sla a repetição em red rain é meio paia sledgehammer é um pouco mais legal, crescimento legal que a música tem a sonoridade do álbum é bem sólida, o clima muda mas isso continua - ponto positivo kate bush mandando bem no refrão melódico de don't give up o crescimento que as faixas têm dentro da sua própria construção é sempre algo bem feito mas a duração das faixas eu senti ser um pouco desnecessário ser tão grande eclético e faz isso da melhor forma possível, definindo a própria sonoridade e explorando ela sem muitas barreiras por conta da duração se estender demais em tudo, em contraste com uma sonoridade bem explorada, 8/10 / 4/5

Clean and shimmery as 80s pop albums tend to be. But well written and played. It made PG a superstar for good reason. Big Time is the highlight for me. 3.5/5 rounded to 4.

Very 80’s but I could tell when I listened it was a great album for its time—but to make it stand out it still had some bangers that hold the test of time!

Muy ochentero

An album I would not have otherwise at down to... Pleasant

A 45 minute hit parade fully deserving of its status. It's very much of its time stylistically, but the production is so lush and gorgeous regardless of that. I still need to listen to all of his self-titled albums, but So is very much a green flag for the rest of his albums on the list. Favourite track: Red Rain

8/10

Loved it more than I thought I would wow

Pretty great album. I was very excited to see Sledgehammer, which slaps, on this, but I think it is pretty clearly the best song.

Conocía solo un tema pero no este álbum

Peter Griffin be like: Hey Lois *cool Chinese flute intro*

I do kind of have a soft spot for this album i think most of it is average but the stand outs are so good; Sledgehammer, Don't Give Up and In Your Eyes. Peter Gabriel knows his way around a pop song, i still think you can feel his influence in modern pop here and there

An absolute classic! Incredible musicianship & brilliant lyrics. The Peter Gabriel way!

Red Rain is an absolutely fantastic opener. It's emotional, it's larger than life, it's absolutely fantastic. Don't Give Up is another highlight. The rest of the songs are not as great, but I still very much appreciate that 80s production. Will definitely revisit this album.

Kan inte sätta fingret på specifikt vad, men det låter bra!

Riktigt bra, men innehåller inte mina riktiga Gabriel-favoriter.

so so 80s but very hard to dislike

Приятный и достаточно хитовый альбом. Хотя мне никогда особо не вкатывал Sledgehammer, но многие треки здесь звучат как будто и они могли быть ведущими синглами. Судя по их представленности в топ-10 Гэбриела, так оно и есть. Звучание абсолютно под стать 80-м в хорошем смысле, аранжировки и настроение песен грамотно расфасованы, и вкупе с отсутствием затянутости впечатления вполне положительные даже для фаната Фила Коллинза.

Симпатично, но итоговое впечатление, что слишком замысловато, чтобы найти какой-то персональный отклик в этом альбоме. Но это в целом я такой вайб ловлю почти от всего софисти и арт попа того времени.

Лучшая песня: Red Rain Худшая: This is tge picture Нормально

First time listening to a Peter Gabriel album We do what we're told - Pink Floyd'esque Lotta classic singles

Love it.

Good to have these back to back. Not quite as good as I remembered.

I hadn’t listened to this since release, but wish I had listened more. Yes, some of the later tracks are a little uneven, but it wouldn’t be Peter Gabriel without that, and the rest of it, and his voice, are just great.

Sure ain’t as good as the first album.

I did not know who this guy was yet I swear I've heard nearly all of these songs before?!? I seriously enjoyed this- its like the epitome of 80s pop rock. This would've been a 5 if not for the fact that I found his voice slightly lacking at times. But apart from that this is so solid.

Torn between a 3 and 4 because there were parts I loved and parts that fell kind of flat - you can't repeat the same 5 words for 6 minutes and call that a decent song. Other than that, I can see why this album was so popular at the time.

Pop music back when it was cool. Really liked this - upbeat and funky but not in an overbearing way

Really strong openers but sort of meanders in the back half,

Great album. Brings me back to being a kid and singing along in the car.

Geweldig gezongen, vaak goede muziek, origineel. Kreeg flashforwards naar Elbow.

When to listen: in someone’s basement, hanging out, teenage years (even if I was a teenager in the 00s.) I knew I loved the song In Your Eyes, but the rest of album is new to me and underwhelming? Or just not my style? 4 stars for the one finale song tho…

De Gabriel Peter isch immer e solidi wahl wenn mer lust uf 1980er strong-men-voice-sound het. Gibi gern 4 mal Peter Pan

Lots of awesome upbeat tracks in here, but the tonal contrast with the far slower songs was too jarring for this to land a full score for me

This plays like a greatest hits. Lots of popular jams in here like “sledgehammer” (the video always fascinated me as a kid), “don’t give up” (with Kate Bush), “big time” and “in your eyes”. The Kate Bush duet is probably my fave but this album is solid all the way through.

God I love the 80s.

Overall Rating - 3.94/5 (7.89/10). This has most of the Peter Gabriel tunes I recognize on it. I like this album a good bit. It's my brand of weird and fun.

It’s So good

i loveeeee eee the song with Youssou N'Dour... just saw him in Xala i almost yelled at the screen!

I feel like the 80s are a bit of a hole in my listening habits, but maybe I should revisit. Really great album. There is a reason he is in hall of fame.

Very 80s. Whether you like his voice or not, you’ve got to admit he can sing. I thought this was pretty good, even though it’s not something I’ll come back to often. 7/10 Quite Likeable

Good album, it reminds me of my youth.

In your eyes and of course Sledge hammer also enjoyed We do what we are told which is very chilled out.

buen álbum carajo, me lo escuché por primera vez por allá en el 2022 y no lo comprendí muy bien, pero joder, lo volví a escuchar ahora en el 2026 y me mamóóó, mis favoritas son in your eyes y red rain. Cómo amo a Peter Gabriel y a Phill Collins como solistas

Very catchy album with good melodies/beats, kept me tapping my feet with pretty much every song. Favorites are Sledgehammer, Mercy Street, and Big Time.

Very Phil Collins-esque in the good sense. I liked it!

19# this is full of bangers

The more I relistened the more I enjoyed it, it really is a time capsule of the sound at the time. Feels like the soundtrack to an 80s drama.

Me re gustó el álbum. Tiene una vibe nostálgica y un poco romántica que me fascina. Amo.

Oh man this record was on CONSTANT rotation in my household when it first came out. A great collection of songs, with contributions from people like Kate Bush, Laurie Anderson, and Youssou N'Dour. At this point I'm a little tired of "Sledgehammer," and I always thought "Big Time" was a little dumb. So 4 stars for this one

This is a fun album. The instrumentation is so big and engaging, really pulls you in. The songwriting is cool, and the performance is very good. I'm impressed by a lot of the technical achievement of this record. I'm getting a big Phil Collins vibe. Some of the songs are a bit too much for me to have much of a desire to revisit them, but none of them are bringing the score down very much. Definitely a product of its time. Still a very solid record. 4.2/5

Slowly started to grow on me? I think I get it.

gran disco, lo escuche caminando, me sentia un poco volando

I went into this listen, thinking I'd end up with a 3 star bongo. Instead, I enjoyed this a bit more than that. 4 bongo stars.

80’s Synth Rock ⭐️Sledgehammer

Sure

giving bryan adams + fun eighties soundtrack

It was good, I was familiar with his work but this was a lot more introspective (?) than I'd anticipated. Reminded me of Wolf's Rain ost

Sound like a classic song that my dad would play while he washing the car.

Extra star for Don't Give Up

Great background music

So 80s

such a good album

sounds very nice, just not too much my vibe

Immaculate pop music

Great album taking me back to fun days, just enough Gabriel weirdness to make it so that I enjoyed it versus just being pop radio songs.

the soundtrack of every film and tv show set in the '80s. Love the varied energy across the album - the slow tracks are beautiful (especially the always relevant We Do What We're Told), the more classic 80s pop hits are bops too. Very well composed. It's a bit TOO 80s which I am a bit disconnected from, but one of the best albums I've heard from that decade. The drumming in "That Voice Again" is amazing, I'm pretty sure it's not programmed in that one. 7.5 / 10 Best track/s: Sledgehammer, We Do What We're Told, In Your Eyes

Great album. Brings back 80’s memories

Kitsch mais groovy

4/5 https://rateyourmusic.com/release/album/peter-gabriel/so/ Good 80s pop. Hoping to also see the experimental Peter Gabriel stuff show up in this list.

definitely do not like red rain, really like sledgehammer

I really don't know how to rate it because I can't listen to it with fresh ears. It's wrapped up in a bunch of childhood memories. I think it is a good album, though.

I avoided this album back in the day because I quickly tired of Sledgehammer and I hated Big Time. But it turns out, the rest of the album is quite good! In Your Eyes remains gorgeous 40 years later, and the other six tracks have similar reflective and atmospheric feels, unlike the two up-tempo singles. The album very much carries the synth-heavy sound of the mid-80s, but Peter Gabriel is artist enough to do interesting things with those synths. I still hate Big Time, but it's more interesting having learned that the bass was played with drumsticks.

211/1001 Peter Gabriel - So Heard before? ✅ Revisit? ✅ This is clearly of its time, however I do really enjoy this, more so for the moodier tracks. However Sledgehammer is a bit of a tune. Also Don't Give Up 🖤

3.5

Me gustó mucho este disco. Siempre fui más fan de phil Collins y nunca me había puesto a escuchar a Gabriel. Es un músico muy versátil y diverso. Creo que debo escucharlo devuelta para apreciarlo bien.

Quintessential eighties. Starts and ends well, but a bit flat in the middle.

This fucking slaps. Right then it got weird. Is there a name for this type of music? Like fancy pop? I don't know, but I enjoyed a lot of this album but then it got really really odd

Best Track - "Sledgehammer"

When I was young, I thought a midlife crisis came when you started listening with pleasure to the solo projects of Genesis members. Well, here it is, apparently. This is the first time I've listened to this album and Peter Gabriel's music in general properly; coincidentally, it's his most successful record. He'd been out of Genesis for ten years when it came out, so it's no surprise that almost nothing of the old, abstruse prog remains here. Instead, there's a wealth of varied percussion (primarily from southern countries), some funk motifs, a few ballads, and even a touch of ambient. In the end, it sounds as if the less pretentious U2 were combined with the more upbeat Tears for Fears, topped off with the soundtrack to The Lion King. A very good album, and it was a pleasure to begin my acquaintance with this artist's work.

I really enjoyed this!

Sound is lovely,

My 3rd and final Peter Gabriel album. And it's the first one I've actually enjoyed! For once it wasn't a jumble of random songs and noises. Really liked the vibe of this album 4 ⭐️

I'd give 4.5 if I could. Just a really good collection of songs that keeps revealing more layers as it goes, and stays interesting all the way through.

Wow, I've been missing out on this one all these years. There are some dated 80s sounds, sure, but overall this is chock full of bangers. In Your Eyes is an all-timer, romantic AF.

Revising my review a few months later after listening to it again. I enjoyed this quite a bit more the second time around and appreciated it as more than just a fairly generic pop record. Sledgehammer slaps and Don't Give Up is pretty touching.

This is pure 80s comfort food for me, but every time I hear it I also wonder if it is anything more than comfort food. I love every track as well as the production… critiques of commercialism be damned, everyone needs a “Let’s Dance.” But unlike that album or other Gabriel tracks, there isn’t a moment that turns me inside out and make me wonder what life is all about. Some days that’s okay though. It’s a particularly good time for “Don’t Give Up” with our good friend Kate.

A few perfect songs and a few good to great songs. Overall a really good listen

Every once in a while, I find myself scratching my head as to why Peter Gabriel is such a celebrated artist. From now on, when this happens, I'll make sure to put this album on to remind myself why. While other pop stars shower themselves in excess and create the biggest, flashiest songs imaginable, Peter will often let the emotions bubble up slowly through understated lyrics and lush, sometimes ambient soundscapes. One might expect every track to be like "Sledgehammer" in terms of upbeat grooves and catchy hooks, which can definitely sour their opinion on this record, but I've come to appreciate the smaller moments on the record just as much as the bombastic moments. A lot of songs do wear out their welcome (only one song has a runtime below 4 minutes), but I would still recommend you give this album a shot to see just what ol' Peter Gabriel can do. Standout Tracks: Sledgehammer, Don't Give Up (featuring KATE BUSH!!!), In Your Eyes, We Do What We're Told (Milgram's 37) Score: B+

Interesting listen. Production is pretty dated, although that didn't worry me too much. I liked it, but it felt like it needed 1-2 more great songs to elevate it beyond just very good

Great record

I would usually say that I don't like Peter Gabriel, but this album is great.

His most commercial album but still plenty of variety and artiness in these songs, and some real emotional pull to some of them

4.2

Such a smooth, consistent album, damn his style is amazing

Really nice

If there was like 25% less 80s cheese, it would be a 5

Sledgehammer is a great song Big Time is awesome Not convinced on Don't Give Up. Yeah it's a pretty good album, not entirely my cup of tea.

Good album, with some excellent tracks (Sledgehammer, Don't Give Up, Big Time, We Do What We Are Told). The album gives me a post-war feel (one truth, one voice, one dream). Second album in a row produced by Daniel Lanois. The previous was U2, which sounded over produced, like all the interesting rough edges & idiosynchonies had been removed. Here the production is much more in the service of the music. Has the most 80s possible bass sound.

peter “phil collins” gabriel

As with the last Peter Gabriel album I was assigned, it was much better than expected. Enjoyed this one.

Cool

very funky and 80s, i like it

Kate Bush whispering positive affirmations in your ear while you shovel the driveway is a fantastic way to begin a day

This is just joyous fun, classic 80s brilliance. Sledgehammer is a pop masterpiece and the rest of the album is cracking too.

It won’t let me rate for some reason but I give this a 4 it’s very good

This was so fun and dancey, amazing drums and peter gabriel's voice is really smooth... loved kate bush on this

Took a while to get used to Peter's voice on "Red Rain", but I really enjoyed the energy coming from the loops on this. Also, Kate Bush! Highlights include "That Voice Again" and "In Your Eyes". Least favourite was probably "Big Time", but still a very enjoyable song.

Rating: 4.8/5 Short Review: This album is emotional architecture. Every song feels carefully built but still human, warm, and searching. It is pop with depth and patience. Favorite Track: In Your Eyes. Earnest, massive, and quietly overwhelming.

Really lovely album. I hadn't heard it, but really there wasn't a song on there I wanted to skip. I liked a lot of the instrumentation choices as well. 3.75/5

Red rain vind ik tot nu toe prima maar niet heel bijzonder. wow best een lekker baslijntje in ene. Sledgehammer is gewoon een banger. Don't give up: wel raar dat op spotify kate bush niet wordt gecredit. Aan het einde wel weer een lekker baslijntje. Verder vrij saai. That voice again: is wel leuk Mercy street: niets van onthouden Big time: is echt een banger We do what we're told: best cool, bijna een soort interlude. Ook een soort pink floyd vibes. This is the picture: het voelt alsof je ergens naar toe bouwt maar uiteindelijk komt dat niet. In your eyes: klinkt echt als een classic peter gabriel nummertje. goede fade out 3.5 sterren

Great album!! I didn't know Peter Gabriel so this album has been such a big surprise to me. His music reminds me of Phil Collins'.

This album is a classic, perhaps, Peter Gabriel's most well known album. Peter Gabriel is a master craftsman working with top-notch musicians to create a masterpiece. The only thing keeping this from being a 5 are two songs I'd skip toward the end: "We Do What We're Told" and "This is the Picture." Every other song is still a delightful surprise. Just listening to the bass lines alone, gives insight into song structure.

Lowkey lush.

I'd heard half of this album on the radio over the years, but this whole album is fantastic!

This is a classic for me, has been part of my library since it was released so there's nothing new for me. Really great album.

7/10 cool album i would’ve been obsessed with if i was a teen in the 80s

Didn’t realize he sang In Your Eyes!

Ótimo Álbum. Gostei muito de ''Mercy Street''. Destaco também ''This Is the Picture'' e ''Red Rain''. 4/5

Not many songs but 80% are good

super vibey and 80s, which i’m such a sucker for. got a good kick out of “that voice again”. also “in your eyes” HITS EVERY TIME. really such a more innovative and out-there album than i expected or knew about.

Pretty dang good. Is the optimal listening experience for this album walking through a mall in the late ‘80s? Not quite my thing to intentionally reach for, but I will admit this is at or near peak for its era of whatnot.

Brilliant album. Red Rain was a great opener. Some of the production is a little dated, on Big Time for example. Overall a great listen, somewhere between a 4 and a 5.

bikaç tane şarkıyı sevdim şarkıların uzun olmaları da hoşuma gitti. don’t give up’ı sevmedim ama süper bi başlangıç oldu benim için bu albüm

Good

An album whose singles were inescapable in my youth, it was interesting revisiting this after all this time. One the one hand, it is an incredible amalgam of pop, art rock, and world music influences - a striking yet accessible artistic achievement. It's also quite life-affirming in message, exuding warmth and positivity. And the bangers, with the benefit of distance, are superb - "Red Rain", "Sledgehammer", "Big Time", "That Voice Again", and others. But it falls just below a 5* for me because the 80s production and influences do give it a bit of a dated, "frozen in time" feel, and the record lacks a bit of overall coherence, feeling more like a string of singles amidst some more ambient and reflective passages. That said, I enjoyed revisiting this much more than I expected.

very enjoyable, wish more 16 notes and energy was thrown in though, amazing singing and songwriting

The moment the album started to lose me, I got hit with In Your Eyes. Are you kidding me man? This shit is a classic! Let me grab the boombox to hold over my head!!

An album with lots of range: a fun smash ("Sledgehammer") and a sorrowful ballad ("Don't Give Up"). This album is certainly "Big Time" and packed with really fine stuff. Top tracks: "Sledgehammer," "Big Time," "In Your Eyes," "Don't Give Up"

--Red Rain...good opener --Sledgehammer...classic --Don't Give Up...Kate Bush. So hot right now. a little schmaltzy --That Voice Again...fits the vibe but is missing something --Mercy Street...somewhat sinister --Big Time...heavy synth groove --We Do What We're Told (Milgram's 37)...did you get abducted by aliens again, Pete? --This is the Picture (Excellent Birds)...kind of an improv feel. not a fan --In Your Eyes...*raises boombox*

So good!

Listened to whilst taking Christmas decorations down 😞 Favourite song: Sledgehammer

Enjoyed more than I thought I would!

Quintessential 80’s rock sound. Love the incorporation of all these different instruments and sounds. Feels like a diary, 100% Peter Gabriel. 8/10

Near perfect album

Sledgehammer, very 80s techno, magical tone piano, powerful dry vocals. So far my favorite song. His voice is very strong yet it’s almost dry, kind of addicting. Beautiful, deep lyrics and there’s a lot of passion in his voice while he delivers them. That voice again has a great and musical background and there’s lyrics are sweet but about longing, you can feel it from it his voice too. His song intros are so soothing and build up an amazing jungle vibe, kind of reminds me of the lion king. Very nostalgic.

7/10

Great album. Sledgehammer obviously a classic. And having listened to the Strong Songs breakdown of In Your Eyes a while back I really appreciated that one. Overall a solid album.

Overall rating by me: 7/10 Songs added to the playlist: ,,Red Rain", ,,Sledgehammer" Notes: A mix of fast and slow-paced songs. Personally, I learn toward the ones that give me an energy rush - it's the ones I have added to the playlist.

owned this cassette when I was 12 years old. I had just gotten into music and was buying my own music. I went through all the stages as a young music fan. First, I just listened indiscriminately to whatever was on the radio. I still have no idea how I was introduced to music because, as far as I know, my mother hated any kind of music that wasn’t classical. But I clearly remember hearing pop music and country music growing up, either in the car or in the house. The second stage was to call and harass the local radio station to play John Anderson’s Swingin’ and Shelly West’s Jose Cuervo or whatever song I was nuts about. I also remember calling to request Shelly’s brother-in-law, David Frizzell, and his song, I’m Gonna Hire a Wino. The third stage was recording songs off the radio onto blank cassette tapes and listening to them until you wore them out. The fourth stage was buying your own music on cassette. I bought So by Peter Gabriel because of Sledgehammer. Not only because it’s a great song, but because the music video was the greatest thing I’d ever seen in my life at that time. There was animation, clay, stop-motion, just all kinds of craziness. I thought all his songs must be this great and I bought the album or got it for Christmas, I can’t remember. Well, as a 12-year-old, I wasn’t ready for Peter Gabriel, as, even though So was his most commercial recording ever, he was a serious musician, and I would later find out, a weirdo. The album started off with Red Rain, which, of course, is about pollution. I didn’t pick up on that then, even though I remember in first grade, teachers were talking about the environment. They’d tell you to turn off the lights when no one was in the room and not run the water while you brush your teeth, not because it helps the environment, but because it saves you money. Digression coming, I think where the environmentalists really screwed up with “going green” was that they needed to couch it in saving money. No one cares about the health of the environment, we’re all a bunch of selfish idiots, but if I can save $5 a month on my electric and water bills by shutting off the lights and water when not in use, I’m not even going to brush my teeth anymore and I'll just sit in the dark. But, I digress. As I listen to So as an adult, I’m really into it. Sledgehammer is still great and then I hear Don’t Give Up, which I vaguely remember as a kid. It’s got everyone’s favorite 80s singer at the moment, Kate Bush, singing on it as well. Such a great song. It’s a song that can get you choked up, but also make you fighting mad. It’s also got a gospel music flow in the middle. Brilliant. Big Time was another single in the Sledgehammer vein, but not quite as good. It’s a banger and will get you groovin.’ The last single is probably Gabriel’s most well-known song ever, In Your Eyes, and I have no memory of it from my childhood. But now, everyone knows it. The other songs are great, but whoever picked the singles picked the right ones. They are the highlight of the album. I’m not sure Gabriel ever made another commercial album and went back to just being a weird, experimental Shock the Monkey type rocker. In my opinion, you should listen to the album because it’s peak Gabriel and has at least three songs I think should be in everyone’s playlist, Sledgehammer, Don’t Give Up, and In Your Eyes.

love it. another banger or two could bump up the score easy. In Your Eyes is evergreen but That Voice Again i really really enjoyed. like a 4.49/5

Rating: 8/10 Incredibly top notch 80’s production plus some great pop rock songwriting makes this a really fun listen. It’s just got a great atmosphere. Starts and ends really well with Red Rain/Sledgehammer and In Your Eyes but the rest maintains a pretty high quality

Great album, a little whispy sometimes which isn't my favorite but otherwise super solid 7.8/10

Got some jimmy jams on here. 7 wizards out of 10 kizzards

So many incredible songs but overall the album doesn’t wow me enough.

What a solid album from Peter Gabriel. We have our usual aspects from Gabriel in So: descriptive lyrics, gentle voice, extended instrumentals, and world music. Including African music into his music isn't new to Gabriel, but I find that So is more subtle than previous albums. I'm guessing with Paul Simon's Graceland's release the year prior to So, Gabriel's approach became more nuanced, but I think the result is more powerful than otherwise. "In Your Eyes" is, of course, Gabriel's magnum opus and a great example of how African music and voices enhance an already good song. (There is a beautiful live rendition of this song by Peter Gabriel and Sevara Nazarkhan.)

"So" is the result of Peter Gabriel's established art rock roots merged with a world music soundscape. The world music is rather subtle here, but it truly does dance across the entire album, elevating it at every turn. Thus came about somewhat of a rebirth for Peter Gabriel, as well as his most commercially successful album. Each song stands on its own two feet, and yet the songs all come together so cohesively to form a delightful album. Also, I can't review this album without calling out the album's closing song, "In Your Eyes". This is easily Peter Gabriel's best song, and is one of the most beautiful songs, period -- the lyrics, the percussion, the background vocals, the pacing, all of it. This is a beautiful album full of beautiful songs, and I'm so glad it has a place on this project.

My second Peewee Gabey (Peter Gabriel) album on this odyssey (journey), and the first (first) to feature songs by him that I know (bro). When I was a lad I didn't like that Sledgehammer song, or the video. All that jerky, smiley stop motion stuff gave me anxiety. Anxiety that a Gabriel was going to leap out at me from behind the sofa, juddering, grinning, and possibly nude. Plus I preferred the song Sledgehammer from the show, Sledgehammer. But I've always loved Don't Give Up, the song and the video. I recorded the song onto cassette from somewhere and used to sing both parts, hoping that Kate Bush would leap out at me from behind the sofa, dancing, doe-eyed, and possibly nude. The rest of the album I don't believe I was familiar with. It features the best and worst of the 80s, along with a dose of weirdness. In total it feels like a three star album to me, but I like it more than the other Peetay Gabe-ree (PG) album I heard, so I suppose that makes it a four (4).

This was a fun listen, very snappy pop. I like the singer's voice, but the whole thing does feel a bit old fashioned. This is the kind of album that if my parents had played it a bunch when I was growing up then I'd probably really love it now, but since I wasn't indoctrinated into it it seems kind of dated to me now

its my first time listening to it (obviously i've heard individual songs somewhere before). its fantastic. the production feels super 80s but weirdly it sounds really fresh. the bass in particular sounds rich and the jangly guitars make it feel very crispy. perfect combination of dance poppy tunes with introspective ballads (great lyrics too). great stuff, im going to give it a lot of relistens.

Great album! It has 9 tracks, each of which was amazing with no skips. I personally would not add this to any playlist, but it's nice to listen to if I wanted something more old school. Early on the album, I would have thought that Sledgehammer would have been my favorite, but Mercy Street is actually my favorite with its calming instrumental. Don't Give Up is my second favorite, with Sledgehammer coming after that in third place.

I really enjoyed listening to this album

I didn't love it back in the day - too poppy. Its aged well in my eyes (see what I did there)

Such a great album! "In Your Eyes" is in my top 10 of 80s "love" songs.

Hmmm. Its very very 80's. Too much 80's i think. The opening 3 songs (Red Rain, Sledgehammer, Don’t Give Up) are fab - Red Rain was new discovery and I really liked it. The rest of the album is a bit blander and smothered by the 80's vibes. He's a local boy so gets a bonus point - but not sure I can give it a 5 based on 3 great tracks and living down the road.

Had not actually listened to the album before. Though it was obviously made in the 80s, I didn't think it was overly dated. A stripped down, more modern approach to the album would be good, though. Some of his big songs make for a decent album.

It sounds like a Phil Collins album but different at the same time

Very dated, very 80's, but if it sounds this good, I'm not complaining. Faves: Red Rain, Sledgehammer, Don't Give Up, That Voice Again, In Your Eyes

In Your Eyes could be one of my fave love songs of all time. Opening 3 songs on the album are great too. 4/5.

Sledghammer

Am holding off on a five as I like his earlier albums more. But this is a fantastic album

'So' incredibly close to perfect. Peter Gabriel's defining album, complete with commercial friendly earworms as well as off-beat experiments. The front half is full of bangers, but the back half is a little uneven. Very high highs and very middling lows. So is part of my semi-regular rotation, so I was very excited when it came up, but it does force me to admit that it is not a perfect album.

top 3: - don’t give up (ft. kate bush) - mercy street - in your eyes an album that is very hard to pick a top 3 for, the only songs i didn’t vibe with as heavily were ‘we do what we’re told’ and ‘this is the picture’ not that they’re bad songs but the other songs on the album overshadowed them.

Estaba piola, me gustaron la mayoría de canciones sledgehammer va a estar en mi rotación diaria, red rain y in your eyes tambien estaban muy buenas, don't give up me agrado pero lo siento como algo mas motivacional que como una canción para escuchar casualmente, buen album me hace querer escuchar más de peter gabriel.

Great album. Had not listened to it in years, forgot how much I like it.

The songs that are great are really great, and there are several. The ones that aren’t great are still really pretty good. Sledgehammer and Big Time are particular favorites.

i rly liked this album, i love in your eyes and ive been meaning to listen to this album for a long time, id never heard the song mercy street but it was maybe my fav on the album behind in your eyes. great album

VIBES!!!

Fantastic

Álbum muito agradável com ótimas músicas. Roseselsa Quietsea II.

Hadn't realized there were so many hits consolidated onto this one album. Peter Gabriel has an awesomely distinctive voice, even if he seems to be a weird off putting dude. Red Rain, That Voice Again, and Mercy Street are cool tracks I haven't heard before. We Do What We're Told and This is the Picture are kinda dumb and bring down what could've been a dark horse 5 star album.

питер хорош, люблю и в дженезис и соло

Excellent 80s pop that gets a little too Sting-esque at times.

This was kind of great actually - I haven't listened to a lot of Peter Gabriel, but I enjoyed the journey this album took me on. Where it gets let down a little for me is pop drum/synth vibes, which I guess is just 'of its time', but I'd be super interested to know how these songs would translate as acoustic versions. Fave track: Mercy Street

It's so fun! Easy listening.

Favorite Track: Sledgehammer

Niiiiice 80's vibes. Surely if I was a youngster in the 80s id listen do this every night out. It has some very interesting tunes, but also some different experimental ones. Nice to hear those basslines. Highlight: In your eyes

Definitely recognized his voice! Some solid songs on this album.

I enjoyed this much more than I thought I would. There is a real sheen to the whole album. Danielle Lenois is a genius.

Sledgehammer forever. Was super happy to find that every song is equally well produced and written (although Robert sledgehammer prob still reigns supreme). Awesome album.

Forgot how good most of the tracks were...

i had high expectations of this album from when i saw it was matty healy's favourite album, and to be fair it did live up to those expectations. LOVED the surprise kate bush feature. didn't love all of it but i thought it was mostly brilliant and super well produced.

If you don’t like Sledgehammer you are lying to yourself and others. The rest of the album is fine to good, with a low point at This Is the Picture. Overall strong but buoyed up by the one indelible banger

Really nice pop album. Outside the hits, its still fun, catchy, and well written.

Good to hear this straight through

Sledge hammer er jo en banger. Godt produsert album, men det er litt for bright. Åttitallet som hjemsøker. 80 tallet er ikke helt mitt tiår, men hvis bare alle 80 tallsalbum hadde vært som dette, da hadde det vært et litt annet tiår.

# Playlist Track - Sledgehammer # Notes - Pretty good album! I love the opening, but "Sledgehammer" is *definitely* the shining star here. - Bonus: If you haven't seen the music video for it, you're in for a treat! - I've been *fascinated* with this music video since school. It's amazing what they've done with the technology of the time (my time, lol). - Still, solid track.

I immediately liked the first song. Such an epic way to open an album, this rarely happens to me but for an ‘80s song this managed to impress me a lot. It has tight production, a good amount of groove, and enough atmospheric layers for me to enjoy. To me this feels ahead of its time. The level of production is almost surreal for 1986. There’s a warmth to it even when Gabriel is diving into heavier emotional areas. In some ways it almost reminds me of an older version of Radiohead, especially in how the electronics are used to build that atmospheric, layered ambience. It also reminds me of Pink Floyd, Phil Collins, and Genesis, only for me to then find out that Phil Collins and Peter Gabriel were actually bandmates in Genesis. “Don’t Give Up” features Kate Bush, which is so cool too :) Most songs in the album are my favourites! Red Rain, Sledgehammer, Don't Give Up, That Voice Again, Mercy Street, Big Time, We Do What We're Told (Milgram's 37), This is the Picture (Excellent Birds), In Your Eyes

Red Rain Sledgehammer Don't Give Up Mercy Street Big Time In Your Eyes

Great album! Good vibes and the last song is such an ear worm for me.

Äh, det här var nirr! Tycker inte alls det är så jävla daterad produktion. 4 dansande grillade kyllingar

A contender for best album of the 80s, even if there are a couple of duds toward the end of this.

Efter att ha kontemplerat till PG har min känslighet fördubblats. Jag har alltid fnyst åt hans soloprojekt tidigare pga att genesis var så bra. Huge mistake. Tony Levin på fretless bass 🤤

Another lost 80's record