Peter Gabriel – 1 (4LP, 4 sides, 45RPM, Box set, 200g, Clear vinyl)
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Peter Gabriel – lead vocals, keyboard, flute, recorder [click here to see more vinyl featuring Peter Gabriel]
Acoustic Guitar [Rhythm], Electric Guitar [Rhythm], Pedal Steel Guitar [Pedal Steel] – Steve Hunter
Bass, Tuba – Tony Levin
Drums – Alan Schwartzberg
Electric Guitar, Classical Guitar, Banjo – Robert Fripp
Keyboards – Jozef Chirowski
Percussion – Jimmy Maelen
Synthesizer - Larry Fast
Guitar, Backing Vocals – Dick Wagner (C1, D2)
The London Symphony Orchestra - strings on "Down the Dolce Vita" and "Here Comes the Flood"
Arrangement of orchestra - Michael Gibbs
Written by Peter Gabriel (all except B2), Martin Hall (B2)
4 single-sided LP, box set, gatefold jacket, lyric insert
Limited edition
Original analog Master tape : YES
Heavy Press : 200g SuperVinyl
Record color : clear vinyl
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : unspecified
Label : Classic Records (now part of Analogue Productions)
Original Label : Charisma
Recorded autumn 1976 at The Soundstage studio, Toronto Canada, the Morgan Studios, London and The Olympic Studios, London
Recorded by Brian Christian with Dave Harris, Jim Frank, Keith Grant, Robert Hrycyna, Robert Stasiak, Rod O'Brien
Produced by Bob Ezrin
Mastered by George Graves
Originally released in 1977
Reissued in 2009
Tracks:
Side A:
- Moribund The Burgermeister
- Solsbury Hill
Side B:
- Modern Love
- Excuse Me
- Humdrum
Side C:
- Slowburn
- Waiting For The Big One
Side D:
- Down The Dolce Vita 5:05
- Here Comes The Flood
Reviews:
“Peter Gabriel tells why he left Genesis in "Solsbury Hill," the key track on his 1977 solo debut. Majestically opening with an acoustic guitar, the song finds Gabriel's talents gelling, as the words and music feed off each other, turning into true poetry. It stands out dramatically on this record, not because the music doesn't work, but because it brilliantly illustrates why Gabriel had to fly on his own. Though this is undeniably the work of the same man behind The Lamb Lies Down on Broadway, he's turned his artiness inward, making his music coiled, dense, vibrant. There is still some excess, naturally, yet it's the sound of a musician unleashed, finally able to bend the rules as he wishes. That means there are less atmospheric instrumental sections than there were on his last few records with Genesis, as the unhinged bizarreness in the arrangements, compositions, and productions, in tracks such as the opener "Moribund the Burgermeister" vividly illustrate. He also has turned sleeker, sexier, capable of turning out a surging rocker like "Modern Love." If there is any problem with Peter Gabriel, it's that Gabriel is trying too hard to show the range of his talents, thereby stumbling occasionally with the doo wop-to-cabaret "Excuse Me" or the cocktail jazz of "Waiting for the Big One" (or, the lyric "you've got me cookin'/I'm a hard-boiled egg" on "Humdrum"). Still, much of the record teems with invigorating energy (as on "Slowburn," or the orchestral-disco pulse of "Down the Dolce Vita"), and the closer "Here Comes the Flood" burns with an anthemic intensity that would later become his signature in the '80s. Yes, it's an imperfect album, but that's a byproduct of Gabriel's welcome risk-taking -- the very thing that makes the album work, overall.” AllMusic Review by Stephen Thomas Erlewine
Ratings :
AllMusic : 4.5 / 5 ; Discogs : 4.18 / 5