So

Lame

Very 80s. The hits are bangers, the rest are fine. Doesn't really feel like a real album as a random collection of songs and synths

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

Album #67, Peter Gabriel, So, ⭐⭐⭐ I’ve never really listened to Peter Gabriel before, partly because he was in Genesis, and they just don't seem like my kind of band. So this was all pretty new to me. It’s good! Not bad. It starts off really strong with Red Rain and Sledgehammer, both class songs. It’s a pretty interesting album, very unusual. The production is super 80s, but I do like that Daniel Lanois sound. It reminds me a bit of the style he brought to Dylan’s Oh Mercy and Time Out of Mind, that kind of reverb-heavy atmosphere. My issues are more with the lyrics and the overall tone. Peter Gabriel clearly has a great voice, loads of range, very expressive, subtle and technically brilliant. But it’s one of those voices that can drift into pretentiousness quite easily, and I struggle with that. There are two tracks in particular, Don’t Give Up and In Your Eyes, that lost me. I just find that whole “trying to save the world” schtick hard to take, especially today. I’m probably just too cynical for it. Don’t Give Up is helped a lot by Kate Bush, who’s great on it, but the lyrics on both songs just don’t do it for me. The rest of the album didn’t grab me either. There are definitely beautiful moments, the chord progressions are nice, and the rhythms and percussion are really interesting. But overall, it’s not something I see myself coming back to. Not a bad album at all, just not really for me.

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

what a pleasant surprise this was

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

its okay.

good

It was alright

Ok

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.

Mid

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)

Not a big fan, or a fan at all really.

The singles remain solid and the other songs seem like fillers compared to them. I didn't like this when it came out; I dislike it a bit less than then.

A couple middling bangers interspersed with some limp filler. No, I’m not talking about an old-school English brunch.

Everyone has a genre they just cannot stand, and this (80s soft rock?) is mine. I know people love it, but I cannot understand why. It’s like being passionately obsessed with aluminium or a Mazda CX5. Although Sledgehammer kinda rules so it scores as high as possible given the genre.

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

Enough interest and fun in the songwriting to keep me listening, and I'd always take it over Phil Collins or Sting, say, but it's not really my thing.

Es un álbum muy soft… para cuando estás en un mood relax, re rain fue mi canción favorita

Nice try peter. I know a dud when i see one. That one from 1976 was so solid. But this was bloated and aimless. The Kate Bush feature and In Your Eyes are great pulls from this, but the rest of this was cheese.

dont give up

Really liked it.

For the genre of music it’s meant to be I’m sure it’s very good but it just didn’t click for me.

Nah, it's not for me

My mom played this on repeat. Peter Gabriel slaps.

Sledgehammer feels so out of place on this album. It’s the one bright spot on this very dark sounding album.

This really is kind of big time

Some really iconic songs on here that permeated the radio of my youth. Sledgehammer for example I know well. I appreciate the off kilter tracks as well and I was pleasantly surprised by Kate Bush’s contribution.

i can get behind this not my thing but i like it 7.3/10

Much more commercial than his first four self-titled albums, nevertheless So remains a classic. Gabriel's typical blend of musical influences from around the globe and the production of Daniel Lanois combine to create an artistic yet accessible album with a wide appeal. Some huge singles on this album, but I think my favourite track is probably Mercy Street

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.

red rain not even that bad just way too long applies to the whole album tbh i actually can’t stand old music

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 :)

la produccion es el punto alto de esto, new wave con piano una onda sophistipop suena muy bien, se nota que el estudio jugo su parte. mas alla de eso no me termina de convencer, principalmente los temas mas "solemnes"

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

Banger all the way through

It was well made, not really my style.

2 bangers and 80s generic rock on the rest

Excellent! Il suffit de venir chez moi pour constater que je suis fan!

Thoroughly enjoyed this. Peter Gabriel is an artist I always intend to listen to more of, but I just never get round to it. This was epic in its scale and ambition and wasn’t afraid to try new ideas even if they didn’t land 100%, it can be appreciated for being an ambitious record for sure.

no me gustó

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.

Overall pleasant listening experience. Would listen again if it came on, but wouldn't seek it out probably. Lots of BIG IDEAS that maybe didn't translate, especially 40 years later.

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.

Not for me.

two shock the monkey's better

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.

Some decent songs sadly held back by 80s production. Why must so many 80s albums sound like this?

Weird case where the music is mostly good and well-produced, but absolutely nothing about what Peter Gabriel is doing speaks to me. It's default music. A 2 feels harsh and a 3 feels generous, that's how middle of the road it is. Standouts: Sledgehammer • Mercy Street

I can never make this album as exciting as it felt the first time I listened to it, but it's still very solid. I just don't think that whatever he was going for in the middle portion worked very well.

Nice album, given that it's not normally my thing, possibly due to memories of school and school mates who were into his stuff. 5 familiar songe from this album too so there's that

A little cheesy. Not for me, but I see how it is of its time.

New artist unlocked. will be giving peter more listens

Wasn’t bad by any means but I don’t see myself coming back to it.

it was alright

I liked it, but it‘s def not what I usually go for.

It's not my favorite sound, but I can understand why it's incredibly important and can hear the influence on modern pop. It reminds me a bit of Phil Collins or George Michael in sound? I do really enjoy his tone of voice and vocal range. It's also a really long album and I struggle to differentiate the tracks but the live versions were pretty incredible. It's a "not to my personal taste but can recognize the artistry" album for me.

This guy's voice--I know him! I'm positive I do! But from where? I swear to god I haven't heard any of his most famous songs. But I swear to god I know him. Aggressively eighties, love a good synth keyboard. Not quite Tina Turner level but who is?

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 like Red Rain as an opening track, though it might be a little long • Sledgehammer is a really cool sounding song. The guitar reminds me of Superstition and I love the bass work throughout the song • I know I heard Don't Give Up a ton when I was younger, but I can't place where from. When the chorus first hit I was taken back immediately. I also never knew that chorus was sung by Kate Bush • The synth bass sound in Big Time is so Mega Drive-y, and then the bass guitar comes in and hits you in the face • We Do What We're Told and This is the Picture are very different songs than the rest of the album, they're a cool break from the rest of the album's sound before the closer • In Your Eyes is also a very nice sounding song You can really tell that Peter Gabriel was in Genesis when you listen to this album. The whole thing is dripping in that 80's sound, with big production, layered instrumentals and so many synth sounds. There are a few really nice songs on this album, but I only knew Don't Give Up before today. This was a fun listen. Favourite song: Sledgehammer

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'

Genuinely really fucking excellent. What feels like my first five for this project in a while.

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

Peter Gabriel - So On previous studio albums, Peter so eloquently used the Piffleblaster 3000 to great effect. However after a chance meeting with Dietmar Zorg, Peter purchased the one of a kind Zorgmeister A1 mk3. The diamond encrusted variable note digital accordion. At £500000, the worth of it comes through on So, so magically. The chords are obviously 0.005% clearer. Majestic. That's what I hear. Bloat. Nice songs ruined by money. Only millionaires can afford to make this type of album. I for one say, no thanks

So beautiful

I find this album to sound a bit dated. Many tracks are also too long for no good reason. Red Rain & Sledgehammer are great songs, but the rest is not quite up to par. 6/10

Liked 1 or 2 songs but not the others

Decent, lots of synth and 80s pop/ funk

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

Three good songs. The rest are so bad they drag the album into the high 2s

So much synth. So many bangers. So much crappy overwrought filler. So much cringe in the lyrics.

I enjoyed my time with this. Feels like something I could possibly get back to eventually.

80’s classic that I’d never heard before…

Wanted to like this more. Not that interesting honestly and I'm not the biggest fan of Peter Gabriel's voice. The production here though is definitely very memorable.

So. So?

this album was kinda disappointing. I homes did not like one song on this album; not that they were bad, just so…eh? I guess 80’s pop just isn’t my thing.

I preferred his earlier albums on the list, but this was pretty good and Sledgehammer is a jam. 3.5/5

Not the good 80s, but I’m sure women wearing pant suits back then loved him

I can’t do this album straight through. That’s too much Peter Gabriel for one sitting. I know the hits (and they’re fine) so I skipped over them. I’m sure I’ve heard this album collectively over time through various doctors offices, grocery stores, or my moms car.

I don't usually like this type of music or 80s music in general but I was actually enjoying this somewhat

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.

So much fun, the one with kate bush is gorgeous

Very 80s. Very mid.

In Your Eyes is a classic. Peter Gabriel has a great voice and it's just a great song. Not sure I can appreciate the rest of the 80s style as much.

Felt pretty samey all the way through. Kate Bush duet dragged on too long.

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!

Kind of boring, the radio hits are good but I had to skip a few songs.

Nice, I am huge fan of Genesis with Peter Gabriel and his solo stuff is really good. This is superbly produced, arranged and realised. However, from what I heard I might be reserving most stars to the album with the melting face. From what I heard that might be my favourite of his, I might give this one 3.5 on RYM, but 3 stars here.

In your eyes is his only song that matters

Muy ochentero

Very of its time. Certainly hasn't aged as well as something like Graceland or Purple Rain.if ever there is an 80s film festival in a high-rise this album is playing in every elevator. This was a warning way back when that a great video does not a good song make.

Knows how to make a good Phil Collins album

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

A three for sledgehammer, disregarding the pretention of the remainder.

Yea 3 for Sledgehammer alone.

Yeah it's alright

Loved it more than I thought I would wow

I didnt listen to the whole thing unfort so this review aint the best to look at so dont take it from me but the first 3 songs were pretty vibey love it

Pas fan

Sooooooo many great tracks. A sound that is instantly recongnizable as 'that's ole Petey making gold again!'

Decent overall. The hits are exceptional but fillers weren’t filling enough

Enjoyable album of songs that I had heard. Second best Sledgehammer out there

Growing up in the 90s, this sounds like my stereotype of 80s music

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

What a shame that Sledgehammer, one of the greatest tracks of the 80s, had to be stuck in amongst this woeful dreck. Woof this album stinks. 'Adult Contemporary' and the adults are all fucking prats.

Conocía solo un tema pero no este álbum

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

grateful that there are only 9 songs because jesus this was awful. the absolute worse kind of 80's music. i'm honestly shocked there are people out there that enjoy this. nostalgia is the only explanation. but anyway other than "in your eyes" (nostalgia, like i said) "big time" was my favorite, it was pretty catchy.

At first I was unenthusiastic about this album, then Sledgehammer came on and I was fully roped in. Give me more synths and glorp bass I want it all. Not my usual listening but it’s fun and extremely of its time in a good way. 3.5/5.0 Best Song: Sledgehammer

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

I expected to hate this album because I despise "Sledgehammer" and "Big Time" so much. The rest of the tracklist was actually mostly decent stuff.

Well it was a lot better than I thought it would be it had some gems I remember from the radio so I mean I’ll give it a three out of five.

Conocía varios trabajos de Peter Gabriel y principalmente de su etapa con Genesis. Me ha gustado bastante y es un disco en el que no sobra ninguna canción, se puede escuchar todo de seguido y eso es decir bastante. Red Rain es la que más me ha gustado

Some amazing classic songs!

This hits you, with a sledgehammer, then keeps going! The sound is so singular, and Gabriel’s voice such a unique one. So good

UGH YES YYYESSSSSSSS YES YES YES 💦

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.

intaoo... FAVS (top 3): sledgehammer, mercy street, in your eyes mençoes hornosas: dont give up, big time i mean, its alright nota final: 3.5/5

So, if an alien invasion does occur here on Earth, they will want to know what our music sounds like. Obviously, music is versatile, but I would tell them to listen to any Peter Gabriel album. He's the most generic musician that has ever existed(even his name, and album covers are boring). Favorite Track: "Don't Give Up".

Decent tbf

So fine

An all-timer.

Fattar inte grejen här :( Men plus för Kate Bush

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

Helt fenomenalt! Inte en enda svag låt och sjukt välproducerat.

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

so so 80s but very hard to dislike

Instrumentals are cool, but Peter G's voice just does not fit well I feel like.

2,5 Bijna met tante P naar een concert gegaan van hem. Mooi ontlopen

3,5

Started off feeling better than I had expected, then kind of runs out of steam for me. The Kate Bush song was good though.

pan piter niby popowy, ale jednak z poczuciem eksperymenta

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.

У меня адская аллергия на genesis, Коллинза и как оказалось... на Питера Габриэля тоже. Если бы у меня был такой голос - я бы не пела. Эти колокольчики и флейты утомляют. Скучно, обычно и никак. Это, наверное, первый пик, который дослушала через силу. Я лучше еще три раза включу альбом Стинга. Но все они для меня из одной оперы.

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

Спасибо за песню с кейт буш, остальное не так интересно

4.5, сразу много понравилось всего тут, почти без проходных песен

Вновь распишусь в своем невежестве, но я не слушала ни Genesis, ни Питера Гэбриэла до этого, а единственную песню Фила Коллинза услышала впервые в Алкобуфете Шашлычная. Поэтому для меня загадка не для слабых духом - отличить вокал Питера от вокала Стинга. В целом нормальный альбом для тех лет, наверное, классное было время, видать, когда в музыку и выступления включали столько политоты, связанной с колониальной виной

Как-то скучновато.

Peter Gabriel

Was alright

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

Cutting-edge? MTV seemed to think so. Most accessible and mainstream of his work? Absolutely. Best Peter Gabriel? Probably not.

top 3 - We Do What We’re Told (Milgram’s 37), Don’t Give Up, Sledgehammer. I don’t know, just went ‘meh’ on all the tracks. I was underwhelmed but it’s not horrible enough to rate it a 1.

Love it.

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

Peter Gabriel at his best, enhanced by numerous collaborations. A wonderful album.

So, Peter on consecutive days. This was much better. Red Rain sets the tone and what follows keeps up the quality

I've not listened to this for years and started it up expecting I'd have moved on. And I'm delighted that I was wrong. Just glorious. Raucous pop songs (Sledgehammer, Big Time) somehow sit easily alongside hymm-like outings (Mercy Street, Don't Give Up). The range of emotions it generates is majestic. A fantastic 5*

Ein Klassiker aber ansonsten nur okay.

not the type of 80s music for me

Growing up in the time, I always remember thinking music like this, or Prince 80’s, or the Pretty Woman soundtrack sounded overproduced, self serious, and corny. It took me years for my music taste to appreciate this music, Now I unironically love the sound. This album is sensational. When someone asks you what the 80’s sounded like.

The white boys aren’t doing it like this anymore. PASSION.

3.5

I take back everything I said about this album. Might not be my favourite of his but this swings, love you Peter 🙌🌟 4.25/5

surprised myself how much i liked this one. the dude was a hit maker. most songs do have something kind of annoying about them whether it’s too long, too 80s, or unfortunately in the case of “Mercy Street” that annoying triangle sound the whole song. pretty badass to make a pop album and have nearly every song over 4 minutes AND to have Kate Bush as a feature just to sing the chorus

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.

This album makes my stomach hurt. I can feel the butterflies looking at the hottie across the room at the start of the slow song "Don't Give Up". For good and bad, few album epitomize the pop-rock of the 80s more than So. My high school girlfriend lived this album, so I listened to it often, although I haven't listened to it in many years. Listening to it again was a fun walk down memory lane. I enjoyed listening to the album again. Although, I'm not sure it aged well, perhaps because its sound is so strongly reminiscent of 80s music.

Sure ain’t as good as the first album.

This was good fun to listen to and it helped to get me through the unintended 1 hour walk that i got myself into. very very very 80s

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

3 + 1 for Sledgehammer 🔨

In total, it’s an 80s time capsule with montages of brief case phones and shoulder pads. Future vibes from the past. Echos a simpler time perhaps, but perhaps I’m over thinking it. What a vibe! 3.5/5.0

Easy five stars!

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.

Red rain - 4/5 Sledgehammer - 2/5 Dont give up - 3/5 That voice again - 4/5 Mercy street - 4/5 Big time - 3/5 We do what we're told - 2/5 This is the picture - 2/5 In your eyes - 3/5

There's a reason pretty much everybody had a copy of this on CD in the late 1980s: there's no weak track on it.

Very 80s rock / pop album that sounds a bit dated due to the heavy reliance on synth, keyboard and reverb. It's a bit too slow and dramatic for me and none of the tracks really grabbed me. But it wasn't bad.

This album is okay. It does have a sound that is nice, but nothing really stood out to me. Sledgehammer was pretty good though.

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

A couple of keepers and a few I didn't really like. Sledgehammer is an all-timer, though.

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…

6/10 Classic 80s album. Reminds me of being about 8years old and being intensely bored by this kind of grown up album. There was the one great song (Sledgehammer), the track I didn't get at the time, but appreciate Noe (Don't Give Up) and the 35mins of amorphous, forgettable music.

uuh nose yo

Un buon album, ma stiamo tenendo l'asticella alta

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

So so la la Oder so guet ? Wür sege so fest es 3

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

Helt egen sound. One hit wonder?

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.

enkele catchy popsongs... enkele minder catchy...

It’s cheating for one album to have Sledgehammer, Big Time, and In Your Eyes.

I'm am idiot for snoozing on this my whole life!

3/5 - No the most interesting thing to listen to, stand out track for me was Big time, to sum this one up, genereic 80s pop music

Some of the deep tracks pale in comparison to the hits but they are some STRONG hits and I even added a couple others to my shuffle! Also Glass Animals.. Peter Gabriel did it better

Gillar peter gabriel men kanske lite senare.

Equal parts fierce and calm, this is an unequivocal win. From the first notes of Red Rain, this record remains undeniable.

Maybe we can all collectively agree that, even if Phil Collins was worse, that Genesis and their members were always shit?

So, I thought this was a pleasant album, but not very exciting or necessarily interesting? It sounds very 80's, though there are some songs that breaks the mold. It's kinda funny getting this after an Elvis Costello album, which sounded very different.

God I love the 80s.

Lovely mix, boring to listen to

You know how they say an album is timeless? Yea, this wasn’t that. Album wasn’t bad, but the music is just not something that transcended the 80s imo. Not horrible, but not for me

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!

Alright

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

"That Voice Again" is a pretty great song. "Big Time" is decent too. Otherwise mostly pretty nondescript 80s pop with a bit of a proggy sound. "This is the Picture" is really annoying.

No es malo, pero es aburridísimo e insulso. Si sos un NPC brainwasheado te puede parecer bueno.

buenos sonidos

Fav

I feel that Peter Gabriel made music for the kind of loser dude that feigned vulnerability to get back into his girlfriend's good graces, only for her to be left disappointed again later when he still can't stop cheating on her. Sledgehammer should have never been made. This album sucked but not enough for me to give it a one. Congrats.

Im so glad I wasn't alive in the 80s

Alright, Peter. I wasn’t too sure about you when I started the album, and my intuition was right. Red Rain was a little bland for my taste. But Sledgehammer is a bop, sonically, but those lyrics were soooo bad. The first time I listened to it, I didn’t look or listen to the lyrics, which is maybe how this album was intended to be listened to. Then he lost me again at Big Time, which the lyrics were so incredibly cringe. This is the Picture made me laugh out loud, specifically the “excellent birds” line. I’m sorry, this album is so unserious. I’m giving it a 2 simply because you can’t say it wasn’t cohesive and it wasn’t the worst album we have listened to. It was just comical.

- Impressed but wow so 80s - Red Rain rocks and the drums sound massive - Kate Bush jump scare - Birds mentioned lfg - I love the cover of his 1980 album - Not for me and probs will not return but glad I know more about Peter Gabriel

Sledgehammer.

Ochentoso, buena producción, suena muy bien, temas muy conocidos.

Kicking myself for not recognizing Kate Bush on "Don't Give Up." Overall I didn't enjoy this one as much as Gabriel's quirkier 1977 debut album, although "Sledgehammer" and "In Your Eyes" both probably outshine anything on the debut. Most of the slower songs on this album didn't really speak to me. The version I listened to followed the post-2002 sequencing that puts the slower "Don't Give Up," "That Voice Again," and "Mercy Street" together - a weak run in my view. Worth checking out the "Sledgehammer" music video if you haven't seen it; it's weird and inventive and includes a Peter Gabriel made out of fruit.

I listened to So by Peter Gabriel, and it turned out to be a genuinely interesting experience. First of all, it’s a very easy album to listen to. It’s concise, well-paced, and doesn’t overstay its welcome, which I appreciated a lot. Lately, the length of some of the albums I’ve been exploring has been affecting my listening experience. So encountering a record that feels tight and intentional was refreshing. One detail that really caught my attention was discovering that this album competed for Album of the Year at the 1987 Grammys against No Jacket Required by Phil Collins, which ultimately won. Knowing that made me even more curious, because it set a certain expectation. I thought, well, if it was in that conversation, it must be strong. And it is. I ended up giving it three stars, which I think is a perfectly respectable rating. It’s a solid album. At times, I did feel that some tracks stretched a bit longer than necessary, but not in a way that significantly hurt the experience. There are three clear standouts for me. Don’t Give Up, featuring Kate Bush, is emotionally powerful and beautifully performed. That Voice Again has a compelling intensity, and Big Time is energetic and sharply produced. I’d also include Sledgehammer as a highlight, even if, for me, it doesn’t quite reach the same level as the other three. Overall, it was an engaging listen. I don’t see myself returning to the full album, but I will definitely revisit those standout tracks. Now, I’m excited to move on to the next record on my list: Beyoncé by Beyoncé. That’s an album I already love, so I’m looking forward to diving back into it. It’s going to be a good one.

Very 80's sounding record. Decent but unremarkable.

This is an interesting album. It's a 5/5, no doubt. Sung perfectly and incorporating music from so many different cultures and sounding beauiful. The songs themselves are great with lyrics ranging from cryptic to straightforward, as Gabriel (who I know only from his Genesis days) likes to be weird. One of the best sounding albums too, the production is timeless.

Mid

Good album, it reminds me of my youth.

I was gonna to turn this off until I got to Mercy Street, low key that song and the next two are decent. But the beginning and ending of this album are a rough listen.

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

Great album

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!

Cinco estrelas por conta do triângulo nordestino. Ponto.

Okay but I find his voice to be a bit harsh

19# this is full of bangers

Where Peter Gabriel ditched the self-titled solo album titles and abstract album art, pooled everything he'd learned together, added some hooks and created one of the finest records of the 1980s. Right from the epic opener 'Red Rain', 'So' sees Gabriel bear absolutely everything; heart, soul, worldly consciousness and supreme creativity; to craft a record that truly lives up to all the hype it received in the 1980s and then some. 'Sledgehammer' is not only a fantastic single, but the music video completely changed the game for the artform with its revolutionary use of stop-motion animation mixed with Gabriel's own profile. Then there's the excellent 'Don't Give Up' where Gabriel teams with fellow unconventional star Kate Bush for a sombre yet poignant duet about persevering through tough times. The emotion on this song is heartfelt and cutting, and it serves as a warm hug to tell you everything's going to be okay. Even though 'So' is clearly more pop-oriented than Gabriel's first four records, there's still so much going on here musically that his inventiveness is never stifled. His confessional and emotive lyrics pair perfectly with the art rock, pop and worldbeat undertones, and just like Paul Simon accomplished with 'Graceland', Gabriel proves pop can be just as accessible when the ideas and vision seem broad to the point it makes marketing a nightmare. Epic, confident and not containing a single weak song, 'So' is one of the best albums of the 1980s, and transitioned Gabriel from cult hero to megastar, not unlike what 'Let's Dance' did for David Bowie or 'No Jacket Required' did for Phil Collins. Best songs: The entire record

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.

good sound!!

It was a mediocre album for me. The only song that I really remember after listening to this album was "Sledgehammer" and I'm not sure if that is because I heard it on the radio so many times that it stuck in my memory or not.

I did end up listening to all of this album. The production is great. The sound is clean. He knows how to mix a song. I just don't love the songs he wrote. I can see the influence from this album without needing to enjoy it

Wha I like about Peter Gabriel is that his makes very unique music and sounds. What I don’t like about Peter Gabriel is that his music is boring.

Best Song: In Your Eyes. The layered chorus worked quite well. Worst Song: This Is The Picture (Excellent Birds). This is far too arthouse for me. Repeating your lyrics in a stage whisper doesn't somehow make them more meaningful. Overall: Something about this album just completely evades conscious attention. I can tell that I'm listening to it, and while I'm listening to it I find it okay, but absolutely none of it touches me. I can tell that it's trying. He sings with obvious heart and yearning, and it approximates what you might call soulful music, but for me it feels somehow soulless.

odiei todas praticamente. pessimo. mt chato dont give u eh a menos ruim

Have been obsessed with Wuthering Heights since last weekend when I went and watched it last weekend and it’s very fitting that the third song on this album is featuring Kate Bush. The only song I’d heard before listening to this album is Sledgehammer.

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

Just generic 80s pop, there's nothing special about this. Nobody is rocking this music because the 80s were pretty forgettable as far as pop music goes. Michael Jackson and Madonna are pretty much the only ones to endure the years; the rest of the music is extremely dated and doesn't sound good now. 2/5

Not too shabby Liked some of the songs Very 80's

Vocal focus with soft background music. Not my fav.

only good song was sledgehammer tbf

He's just such an artist. Some of his solo work is a bit strange, but this hits all the right notes of catchy, interesting, fun, and meaningful. My heaven will be a big heaven, and I will walk through the front door!

own

Not for me but had some good songs.

The best way to describe this is "boring". Peter Gabriel clearly has passion in the songs - it's not like he's just phoning it in but it all comes across as being beige. If there's a reason that adult contemporary has a bad reputation is this album

I slept on this album. I should have known that an album with Sledgehammer, Red Rain, Don't Give Up, and In Your Eyes would be decent. This one is going into the rotation.

Odd how much Peter Gabriel and Phil Collins sound like the same person

Love the vibes, poppy and classy but I'm not sure I'll remember this

This is the definitive Peter Gabriel solo album. However, it remains significantly below any album of his time at Genesis. 8/10 [KEEP]

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

Vocal is passable but too boring like sound the same. They try to do good music but it is'nt a good moment in the music era, that album is doenst competetive.

Truly awful 80s crap. I was wishing each song was the last one and disappointed for 9 songs.

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.

ne

Good album, I enjoyed it! 6.7/10

괜찮은데 내 취향은 아님3

Only know Peter Gabriel from his hits so know a few songs here but never listened to an entire album of his. Such an 80s sound. 80s pop music, mixing between some ballads and more pop heavy songs. Don’t Give Up is a great duet ballad. Nice song. Really don’t like some of that 80s production synth/drum beat sound, but that’s not specific to this album. It’s prominent throughout a lot of this though. The pop hits are fun. Sledgehammer is a funky 80s jam. Overall, not a lot of my favorite sound here. Gabriel had a nice distinctive voice though that helps a bit. And the songs are lyrically deeper on the ballads, making them usually more interesting than the funky pop songs. Unfortunately there’s such a dated sound to a lot of this. But I guess that’s part of its charm 40 years later. Some catchy pop songs, some nice ballads but overall not my favorite sound. 2/5

5/10

It’s been years since I listened to this. Lovely memories. It’s a bit hit and miss with no real stand out tracks. But good overall

Nostalgia bomb. I've gravitated to Security in recent past but So was my introduction. This held up well, great range and never a dull moment. Plus interspecies internet FTW!

This was quite boring

80’s Synth Rock ⭐️Sledgehammer

A lot of it blends together but there are some stand out tracks, especially the opener and the closer.

Wholesome only got to listen to it for a seond though

Pac okej sam zadnje case se mi mal ne da tega poslusat

Sure

Down to personal preference – I'm not massive on this 80s sound. That's just me. I enjoy listening to Gabriel's voice and his poetic, sometimes fantastical and humorous writing style, and I love the detailed production. Mercy Street was my favourite track. The atmosphere and the story telling is haunting and draws you in closer and closer. All in all, it's just a little too polished for me. Not enough groove and sauce for my taste. Good album!

Some great songs but didn’t move me bad

giving bryan adams + fun eighties soundtrack

Incredible album. Great vibes. Great lyrics. Great grooveability.

This is so 80s, I love it. I would never use a gated Verb nowadays, but here, it just works.

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

Classic

The apex of art rock. Completely infectious but complex, emotional and smart. A document of its time but also transcendent of those constraints.

Pleasant enough.

Sadly, the only song I really knew off the bat was Sledgehammer. Throughout the day, I gave it two spins. I read about it, and after doing so, I don’t know that I have anything particularly good or bad to say about the album. I definitely wasn’t eager for the listen to be over or anything like that. I feel like I knew Gabriel was the lead singer of Genesis back in the day, but when I read about the album I was reminded of it. Not a bad first entry on this journey.

Great background music

Fui con expectativas bajas y no me sonó nada mal. Muy ochentero, algo aburrido en ciertos tramos, pero en general no me ha resultado desagradable. Es un OK.

buen intento, pero no se puede ser hortera sin ser consciente de ello

So 80s

Se seguisen co lore bíblico, despois de Genesis tería que haber habido un éxodo. Pois ben, Peter Gabriel teríanos feito un favor se en vez de gravar isto tivese ido andar corenta anos polo deserto (#13 dos 1.001 discos que escoitar antes de morrer: 1/5)

doctrina Parrot

Todo lo peor de los 80 concentrado en un disco. Arreglos vomitivos, canciones sin alma, pop de garrafa... Imaginaba lo que me iba a encontrar, pero es aún peor. Reconozco que solo he escuchado la mitad, pero he tenido suficiente.

such a good album

sounds very nice, just not too much my vibe

guzel bir album ama bi tik night voyage vibe i var hd 560s ile dinledim ama ses kalitesi olarak belki dinledigim yerden kaynakli olarak cok guzel bir kalitesi yok.