PETER GABRIEL 1 [AKA: CAR]

A few years after his departure with Genesis, whilst he was experimenting with film amongst other projects, Peter Gabriel amassed material for his breakaway debut album. The music is surprisingly consistent and fully-formed, and despite the occasional musical or production flaw, one feels particularly protective of "Car" in any of its rough edges, and totally embraces the liberating moments. It's incredible how fully-formed an art rocker Gabriel was when the album was released, and was undeterred to do things entirely his way (keep in mind this was 1977 England - the time and place of an overwhelming punk revolution). This record seems to have become a hidden gem, as apart from the hits "Solsbury Hill" and "Here Comes The Flood", the rest of the songs on here are unfairly rarely mentioned in Gabriel's extensive repertoire. However, the record is truly astounding in several places and deserves to be heralded as one of Peter's most defining works.

"Moribund The Burgermeister" opens the record with some excellent sonics, with some equally good key transitions. The chromatic modulation (from Eb to E) in the chorus is a technique he repeatedly utilises on "Car" that gives the music such a devastating climatic lift. Thankfully, he carries this grandeur through with some majestic brass before reaching that devilish "I will find out" section. There's always something new being introduced on the repeats, so you really can't stand still (in a good way), and along with the songwriting talents, makes something much more significant than a "call to arms". Withholding the bar, the instantly recognisable "Solsbury Hill" features some innovative lyricism in a notably proggy 7/4 metre, with a very polished production. However, it's right on the brink of being clinical, and the impressive melodies are kind of weakened by the slightly feeble outro (with the fairly dull distorted guitar's single notes). Nonetheless, a more than commendable track that on the whole emanates such an organic emotion from the get-go.

"Modern Love", like the first track, has seriously grown on me recently, and is a contender for the album's best song. Musically, it's incredibly adventurous for such a high-octane art rock song, with some of Peter's typical awkwardly sexy lyrics. The delivery of the man himself is so empowering, and when then organ kicks in on the first verse, it's just perfect. The ever-changing atmosphere and modulations keep the blood pumping through the song, it's all laid out in a surprisingly rational format, and its unfamiliarly with many of Peter's fans baffles me. "Excuse Me" enters as a soothing barbershop quartet comprised of 4 Peters serenade you. Unfortunately, I don't think the full potential of this intro was really explored. He has all the right ingredients for these very intriguing chords, but doesn't seem to extend any further than sevenths (which are still rarely found). Anyhow, it picks up with a gorgeously lackadaisical delivery, teamed with those strangely comforting yet haunting lyrics. The kooky instrumentation adds a little something extra too, plus the regular usage of diminished/augmented chords that give it more personality.

"Humdrum" is quite a sudden transition from the previous little itty, so I couldn't fully appreciate it upon first listen, given the frame of mind I was in. A little sequencing flaw for me - many of the tracks could have been re-ordered to make it more fluent in my opinion, but this is really nitpicking. However, it stands out as a particularly emotive and heartfelt song, with plenty of room for a personal interpretation. The climaxes are still present, as are those lovely lilting bridges, but the lyrics evoke some other sentiment that I can't quite put my finger on. Once again, I think it's partially due to Peter's tentative vocal style that almost subtly erupts at its sonic peak. A fitting ode to close Side 1.

"Slowburn" then kickstarts the second, maintaining the record's consistency. The songwriting seemed to focus more on pairing a strong fervency with a certain experimentation (heard after "shooting down out skies"). It doesn't really pay off on close inspection, and can seem like a compromise of the two, creating a poor man's Queen song, but I can't deny the impassioned feel when you let it just roll over you. "Waiting For The Big One" began as my least favourite song, and I'm afraid continues to hold that wooden spoon little (despite my growing fondness). It can't quite compete with the rest of the album, and offers little variation throughout its testing 7 minutes (in which it transforms into a plodding, empty symphonic guitar line). Again, it sounds like a compromise between Peter's style and a jazzy blues, which isn't exactly his forte. The piano on the intro is quite forcedly bluesy, with overly blatant b5 octaves being regularly pounded. The chords aren't entirely flowing or consistent in quality, but there are some fantastic parts which are possibly the best part of "Car" to improvise to on any instrument. The intentionally feeble and spent vocals really save the song though, and withhold the bar somewhat.

"Down The Dolce Vita" thankfully gets you back into the real deal. Peter exudes just enough ostentatiousness for me, thanks to the at-times cacophonous brass-fronted orchestra (well amplified by the production), and the almost-unnecessarily-pompous percussive middle section. I seriously admire and just adore the ambition and courageousness of the songwriting and arrangements on here, as some even more startling key changes and vehement vocal expressions are introduced. Possibly in my top three tracks, and I'd seriously urge any symphonic prog lover to listen to this with a fresh mindset. Finally, "Here Comes The Flood" concludes the LP with an overpowering simplicity, as the waves crash in on that first unsuspected chorus. I slightly agree with the "over-production" argument on this track, as I've seen some truly inspired live performances of Peter singing alone with his piano. The final song has so much to offer, and is abundant with thought-provoking lyrics depicting an oddly picturesque flood. The lyrics bear such a despairing tone, and use quite a basic metaphor, and all of this somehow formulates into a fittingly submissive and modest exit.

A(-): One of many culminations in Peter Gabriel's career; his untitled debut is undoubtedly a noteworthy triumph of the 70s.

Moribund The Burgermeister: ***** Solsbury Hill: ***** Modern Love: ***** Excuse Me: **** Humdrum: ***** Slowburn: **** Waiting For The Big One: **** Down The Dolce Vita: ***** Here Comes The Flood: *****