Peter Gabriel

Peter Gabriel 1977 debut album

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Peter GabrielAfter departing from Genesis, the group he founded and fronted for nearly a decade, Peter Gabriel slowly worked his way into launching a solo career. His 1977 debut album (the first of four self-titled releases) features nine tracks of diverse music which reflects back on his extensive work with the band and looks forward to Gabriel’s new musical approach as a distinct solo artist. Commercially, the album reached the Top Ten in Gabriel’s native U.K. and the Top 40 in the U.S.A.

Gabriel decided to leave Genesis after the band completed their 1974 double album, The Lamb Lies Down on Broadway. The group kept this revelation secret as Gabriel joined them on a massive world tour to promote the album and Gabriel finally revealed his departure in a 1975 published letter to fans entitled “Out, Angels Out”.

When Gabriel was ready to start recording solo material in 1976 he enlisted producer Bob Ezrin, who had previously worked mainly with hard rock acts such as Aerosmith, Kiss and the Alice Cooper Band. Production wise, Ezrin worked on some of the dynamic passages of the songs, using not just rock elements but also string and brass orchestration and lofty, layered synths. Meanwhile, Gabriel focused on the more “quiet” parts of the album. The two enlisted a strong assembly of backing musicians, including Robert Fripp and bassist Tony Levin of King Crimson.

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Peter Gabriel by Peter Gabriel
Released: February 25, 1977 (Atco)
Produced by: Bob Ezrin
Recorded: The Soundstage, Toronto, Morgan Studios and Olympic Studios, London, July 1976–January 1977
Side One Side Two
Moribund the Burgermeister
Solsbury Hill
Modern Love
Excuse Me
Humdrum
Slowburn
Waiting for the Big One
Down the Dolce Vita
Here Comes the Flood
Primary Musicians
Peter Gabriel – Lead Vocals, Keyboards, Flute
Robert Fripp – Guitars, Banjo
Steve Hunter – Guitars
Jozef Chirowski – Keyboards
Tony Levin – Bass, Tuba
Allan Schwartzberg– Drums

The album begins with wild, synth-like rhythms during the intro and verse of “Moribund the Burgermeister”, which soon explodes into a full-fledged rock orchestra for the chorus section, as Gabriel uses character voices which seem to be left over from some of his character interpretations on The Lamb Lies Down on Broadway. “Solsbury Hill” follows as the most indelible track on the album. This bright acoustic track features exquisite vocals delivering poetic lyrics which depict a seemingly religious-like experience that led to his decision to cut ties with Genesis. Released as the lead single from the album, the song failed to chart initially but has long grown in stature as an absolute classic by Gabriel.

“Modern Love” is a pure rocker where Levin provides great bass throughout and Ezrin applies an Alice-Cooper-like theatrical approach while maintaining a hard rock edge. Cowritten by Martin Hall, “Excuse Me” is, by far, the weirdest track as it utilizes classical British dance hall pop harmonies and carnival-like rhythms, complete with a tuba to accompany the lyrical emotional creed of a loner. In contrast, “Humdrum” is a very low-fi recording of piano and vocals with minimal arrangement added later on in the song.

The album’s original second side begins “Slowburn”, another instrumentation rich rock theatrical piece, although this one seems to be more disjointed than earlier ones on the album. “Waiting for the Big One” is a fine soulful, jazz piano track where Gabriel employs a vocal style different than anything else. The song has a bit of false ending before reviving to include an instrumental section with an excellent blues/rock guitar lead by Steve Hunter and inventive drum fills by Allan Schwartzberg. “Down the Dolce Vita” starts with pure orchestration before breaking into a disco-like beat and rhythm, led by a distinct clavichord throughout, while the closing ballad “Here Comes the Flood” features plenty more sonic decor and orchestration with vivid, poetic lyrics and guest Dick Wagner providing a great guitar lead to complete the album on a high note.

Peter Gabriel

Being that Gabriel did not title his first four solo albums, they soon gained aliases based on their cover art, with this 1977 debut being nicknamed “Car”. Following this album’s release, Gabriel enlisted many of the studio musicians for a touring band which performed through much of 1977 before Gabriel returned to the studio for his 1978 follow-up album.

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1977 Images

Part of Classic Rock Review’s celebration of 1977 albums.

Secret Samadhi by Live

Secret Samadhi by Live

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Secret Samadhi by LiveThe third overall album by the rock quartet Live, the 1997 release Secret Samadhi debuted on the top of the American charts immediately after its release. The album is named after a state of Hindu meditation and features a mix of mainstream rock and alternative Avant Garde. Although the album did not receive the most positive critical reviews, it is an original work which makes a unique statement and draws influence from diverse musical influences from both contemporary and historical rock artists.

Live reached mainstream success in 1994 with the release of their second album, Throwing Copper, along with the band’s inclusion in the Woodstock ’94 festival and other prominent tours. Throwing Copper had a long rise to the top of the album charts in 1995 and sold over eight million copies in the US alone.

The group returned to the studio in 1996 with producer Jay Healy, who had worked with the band years earlier on an EP entitled Divided Mind, Divided Planet. The goal of this album’s production was to achieve a less polished, more hard-edged sound. The result is a slightly darker and more introspective aesthetic than that which they had produced previously.


Secret Samadhi by Live
Released: February 18, 1997 (Radioactive)
Produced by: Jay Healy & Live
Recorded: Hit Factory, New York City, South Beach Studios, Miami & The Record Plant, Los Angeles, 1996
Track Listing Group Musicians
Rattlesnake
Lakini’s Juice
Graze
Century
Ghost
Unsheathed
Insomnia and the Hole in the Universe
Turn My Head
Heropsychodreamer
Freaks
Merica
Gas Hed Goes West
Ed Kowalczyk – Lead Vocals, Guitar
Chad Taylor – Guitars, Vocals
Patrick Dahlheimer – Bass
Chad Gracey – Drums

 
Secret Samadhi by Live

The opening track “Rattlesnake” features many differing textures culminating in an almost a dark Western overall feel. The initial verses are calm and refrained and, although this track never reaches full frenzy, there is a wild, unhinged guitar lead by Chad Taylor. On the unique masterpiece “Lakini’s Juice”, the atmospherics of the opener give way to a drilling main guitar riff, oddly paired with orchestral string interludes, provided by arranger Doug Katsaros. Although this song was not released as a single, it received enough airplay to top the Billboard Modern Rock Tracks chart.

The next several tracks, while not horrible, collectively form the album’s low point. The slow and methodical “Graze” is apparently a song about aliens who spookily state their intentions, while “Century” is an upbeat acoustic track with some unfortunately amateurish and adolescent lyrics by front man Ed Kowalczyk. “Ghost” starts with a methodical drum beat by Chad Gracey to complement a very refined guitar and bass and whispered vocals throughout, while the uneven “Unsheathed” features a strong presence by bassist Patrick Dahlheimer.

Live

The second half of the album features some of its strongest tracks. The ballad “Turn My Head” is the closest to a traditional pop song, complete with strings by Katsaros which are elegant and signature to the song. A strong REM influence is most striking here, especially with Kowalczyk’s crooning lead vocals. In striking contrast, “Heropsychodreamer” has a definitive punk/new wave feel. “Freaks” features great rhythms by Gracey and an excellent melody by Kowalczyk complete with ad-lib like extensions at the end of each verse. Meanwhile, Taylor’s atmospheric guitar notes are layered intensely to highlight the song. “Merica” features another cool, odd beat and riff with an overall feel of authentic classic rock, leading to the soulful rock closer “Gas Hed Goes West”, which is slightly repetitive but ends the album strongly.

Secret Samadhi album was certified double platinum and was a hit worldwide. Live continued to record and release albums into the 21st century, but would not again reach this top level of success.

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1997 Images

Part of Classic Rock Review’s celebration of 1997 albums.

Ixnay On the Hombre by The Offspring

Ixnay On the Hombre by The Offspring

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Ixnay On the Hombre by The OffspringIn their prime, The Offspring‘s music found the sweet spot somewhere between hard rock and hardcore. Their 1997 fourth overall release and major label debut, Ixnay on the Hombre, features a diverse collection of songs which range from thrashing punk to moody and philosophical rock to the occasional bit of light comical fare. The resulting album found both critical acclaim and worldwide commercial success, as it sold over three million copies across the globe.

After the massive commercial success of their previous album, Smash in 1994, the band was the biggest act on the small Epitaph label. They eventually decided to leave the label and signed a recording contract with Columbia Records, but not before they bought out the rights to their 1989 debut album and re-released it.

The Offspring entered the studio in mid 1996 with producer Dave Jerden and recorded close to twenty songs from the sessions. This was eventually pared back to a dozen album tracks along with a couple of spoken word novelty tracks.


Ixnay On the Hombre by The Offspring
Released: February 4, 1997 (Columbia)
Produced by: Dave Jerden
Recorded: Eldorado Recording Studios, Hollywood, California
Track Listing Group Musicians
Disclaimer
The Meaning of Life
Mota
Me and My Old Lady
Cool to Hate
Leave It Behind
Gone Away
I Choose
Intermission
All I Want
Way Down the Line
Don’t Pick It Up
Amazed
Change the World
Dexter Holland – Lead Vocals, Guitars
Kevin Wasserman – Guitars, Vocals
Greg Kriesel – Bass, Vocals
Ron Welty – Drums, Vocals

 

Ixnay On the Hombre by The Offspring

The album begins with one of the spoken word tracks, “Disclaimer”, a sarcastic dissertation on warning labels recited by Jello Biafra. The music starts with “The Meaning of Life”, a rapid punk/pop track which sets the pace for much of the material on the album. After a unique percussive intro by Ron Welty, “Mota” breaks out with a hard-edged ska feel throughout with definite punk overtones and good, edgy rudiments.

Most of the material on the album was written by lead vocalist Dexter Holland, who belts his signature story-telling lyrical rants and unique wails later on the track “Me and My Old Lady”, which also features a really cool groove and is the best song of the early part of album. Unfortunately, this is followed by two of the more forgettable tracks, “Cool to Hate”, which tries to be high-school anthemic, and “Leave It Behind” a standard and forgettable song.

The Offspring

The heart of Ixnay On the Hombre starts with “Gone Away”, an interesting, grunge-inspired track with differing vibes and textures. Greg Kriesel‘s bass fueled verses tradeoff with the piercing guitar riff interludes of Kevin Wasserman on this top Mainstream Rock Track. “I Choose” was another hit from the album built on the fantastic funky riffing and rhythms with Kriesal and Welty’s bass and drums complementing the charged electric riffs by Wasserman, who later provides a traditional hard rock guitar lead.

“Intermission” provides a true point of levity to usher in the latter part of the album, which includes the fastest punk track “All I Want”, the eclectic track “Way Down the Line”, and “Don’t Pick It Up”, an entertaining mixture of ska and surf rock. “Amazed” is another quality track, almost as good as the earlier hits, while the closer “Change the World” comes just a little short of greatness due to the tense punk beat which detracts from the otherwise fine melody and bass line.

Ixnay on the Hombre reached the Top Ten of the US album charts and The Offspring toured relentlessly throughout the world to promote the record.

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1997 Images

Part of Classic Rock Review’s celebration of 1997 albums.