PETER GABRIEL 1 [AKA: CAR]

1. Moribund the Burgermeister, or how can we talk about it today? For the narrated vocal break on the tribal pad perhaps, for the synth and the shrill voice, for the solemn air made of choirs; choose, but quickly we already arrive at the fade-out and 2. Solsbury Hill for the acoustic guitar and the anticipation of this air engraved so strongly that it can no longer be translated into words; for the insignificant, non-obvious rise that reinforces the Archangel's voice in another expressive mode; for the final guitars over jungle noise, Robert Fripp or Steve Hunter, choose; In short, a track that's inscribed in the musical pantheon without really knowing why. 3. Modern Love for the madness of this invigorating, compulsive track, Peter who struggles and brings us to different climates, for Jozef and Larry's organ so warm that recalls the heyday of the Genesis era. 4. Excuse Me 03:20 for this Louisiana tune, this gospel choir, then this catchy Charleston tune; for the madness of the burlesque title with the banjo bringing us to the saloon doors; for all that, Peter creates almost world music, and frees himself from the word prog without problem. Well, I got stuck in the doorway, and it's actually bleeding a bit prog. 5. Humdrum for the reverberated keyboards that accompany Peter's narrated vocals, for the Banks-like, soaring and syrupy variation with Peter's deep voice that can break free from Rael's; in short, an innovative sound that needed to be tamed at a time when punk was making its debut.

6. Slowburn for Dick's solo, a third guitarist who still makes my skin crawl?yes, it's good, I can still hear myself thinking it?to cling to the programmed death of the Dinos, for the grandiloquent tune flirting with rock opera, the soundtrack to Phantom of the Paradise, for the Queen-esque piano, for that fade-out piano that makes you write progressive. 7. Waiting for the Big One for this bluesy-jazzy cabaret bar tune at the end of a dead-end alley; for my stunned expression on hearing this piece so far from the codes I had thought, well, a recording problem on my cassette. 2'30'' and this note that shakes your ears, but where is our Peter going? Good stylistic exercise, desire or snub since the time you know, but don't forget the guitar solo and the progressive moment with the false ending with these languorous choirs and the melancholic guitar, ah memory 8. Down the Dolce Vita for deliverance with the linked title, phew, prog rises from its ashes and The London Symphony Orchestra which contributes to sealing the moment; well after that it's still singular the air which passes between the modes, between the conventions; a concentrated musical comedy with voice, military drums, experimental research, well, whiffs of 'The Lamb' suddenly for the sound which no longer resembles anything at all; ah yes Shaft or Rocky which had just come out; The finale with the Japanese flute is introduced in 9. Here Comes the Flood for the delicate moment, Peter using his voice as a weapon to melt; softness and delicacy, words that flow in a cascade, organ in the background, Peter in the background too, and then, and then, the stadium chorus; the easy title, which imprints itself in our heads, finally what was done 50 years ago or almost already; Dick's solo just solemn also with still the organ; prog but without the blood just with the infusion. (3.5)

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