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 Rearranged SO still more than humdrum experience June 1, 2002
Wayne Klein (My Little Blue Window, USA)
46 out of 56 found this review helpful
For a long time Peter Gabriel and the idea of a commerical breakthrough seemed polar opposites. With So Gabriel suddenly demonstrated that there was a market (again) for intelligent and well crafted songwriting. Although not necessarily PG's best, SO functions as a snapshot of the artist in top form.This edition of SO differs a bit from the original US release. The songs differ both from the original album, cassette and CD releases with In Your Eyes as the final track. On vinyl the last song was We Do What We're Told which made sense both artistically and musically. The CD release duplicated the line up of the cassette release featuring Gabriel's collaboration with Laurie Anderson This Is The Picture (Excellent Birds)as the final track. Reportedly, the track order here was the way the original album was intended to be released. Due to the limitations of vinyl sonics, Gabriel rearranged the line up to the traditional previously released version. The album's original smooth continuity suffers on the remastered edition. The final track (In Your Eyes) is a classic to be sure but putting the chilling We Do What We're Told in its new position robs that powerful track of much of its power. I certainly appreciate the fact that SO is now as its maker intended but there was really nothing wrong with it to begin with.The sound quality is stunning with considerably more depth, clarity and definition. This is particularly noticable on the album opener Red Rain and the two outstanding ballads of the album Don't Give Up and Mercy Street. The latter which is probably one of PG's greatest ballads has more warmth in the sound than ever heard before. SO stands (along with Melting Face aka Peter Gabriel 3) as PG's most compelling and powerful collection of songs. While slicker than Melting Face, it also has a humanity and warmth missing from that dark masterpiece. The two form curious bookends to Gabriel's style and, listened back to back, they each illuminate the other album in unique and powerful ways.The limited edition US digipak is inferior to the traditional vinyl like sleeves issued in Japan. It's something of a bastard child; half vinly artwork/half CD. Really, it doesn't make anyone happy. If the spindle that holds the CD breaks (which, by the way, was the case with half the reissues I purchased), there's no way to replace it. Sadly there are no bonus tracks. Demos, outtakes and b sides would have been welcome. One can understand why Gabriel would want to stick with the original album and not tack on extras; most of the b sides (save the minor classic Don't Break This Rhythm) really would sound of place here. Still, one could argue for the inclusion of the various alternate mixes for Sledgehammer, Big Time and Don't Give Up. I suppose they're saving it for a boxed set so they can fleece the public one more time.The booklet now comes with a number of rare and new pictures. Unfortunately, there's no essay about the making of the album and the credits are standard issue as well. The original song lyrics are included as well but, again, some thoughts on the making of the album would have been interesting.A great album mishandled in its reissue, SO still deserves a place in any CD collection. Gabriel's sweeping stylistic jumps and arrangements finally sound as great (if not, dare I say it, better than) as they did on vinyl. A pity they couldn't have gotten the packaging right.
So Perfect July 27, 2002
Alan Caylow (USA)
42 out of 47 found this review helpful
1986's "So" was Peter Gabriel's big commercial breakthrough, and it's not difficult to see (or hear) why: "So" has all of the power & passion of Gabriel's previous efforts, but it also has a great warmth to it's songs, as Gabriel's past albums may have sounded a little too dark and serious for the masses of record buyers. "So," however, with it's lighter mood, was welcomed by the public with open arms, and finally catapulted Gabriel out of cult status & into superstardom.Quite simply, every single song on "So" is a masterpiece. Gabriel's singing has never been better, his songwriting here is phenomenal, as is the production, and the marvelous playing of Gabriel and his supreme team of session players, including the reliable Tony Levin on bass and David Rhodes on guitar. Many of these songs are FM radio staples, and have been widely covered by other artists: the thunderous "Red Rain," the smash hit "Sledgehammer" (with Gabriel cutting loose with a big, brassy R&B throwdown), the gorgeous duet "Don't Give Up" (w/ Kate Bush), and the outstanding "In Your Eyes" & "Mercy Street." There's also the great pop-rockers "Big Time" (another big hit), and "That Voice Again," with Gabriel hitting a long high note that is guaranteed to send shivers down your spine. "This Is The Picture" is a terrific, light-groove collaboration with Laurie Anderson, combining singing with spoken word, and the funky guitar of Nile Rodgers. And finally, there's "We Do What Were Told," the song that sounds most like Gabriel's earlier, darker material. It's brief, lyrically simple, but very, very haunting.This new remastered version of "So" sounds sensational, bringing out new sonic textures to the album that I had never heard before, beautiful notes that were previously undetected. However, I am a bit puzzled by the decision to re-shuffle the song "In Your Eyes," so it's now the last song on the album, instead of "We Do What We're Told" (the old vinyl version) or "This Is The Picture" (the old CD & cassette versions). Personally, I think "We Do What We're Told" works better as an album closer, but no matter. "In Your Eyes" is an all-time favorite Gabriel tune, and I'm sure in time I'll get used to it as the new finale for "So."Peter Gabriel's "So" was rightfully nominated for the Grammy for Album Of The Year," but it lost to Paul Simon's "Graceland"---a very good album, granted, but it's not musically stronger than "So," nor has it's impact been as longlasting as "So." The Grammy commitee also goofed big time (excuse the pun) when they passed over Gabriel for Robert Palmer in the Best Male Pop Vocal category. Go figure. But these shocking Grammy injustices take nothing away from Gabriel's monumental achievement with this album. "So" is a classic, sparkling album from the first note to the last, and an important testament to the power of gifted, intelligent songwriting & performing, and as only Peter Gabriel can do it. "So" is so perfect. :-)
Excellent introduction to Peter Gabriel April 21, 2000
M. McM (Los Angeles, CA)
21 out of 32 found this review helpful
While it may not be Gabriel's best album (which I believe to be his third, self-titled album), it is definitely a better introduction to his music. It may be more pop-oriented than his other albums, but it's still one of the best albums of the 80's. "Red Rain," "Sledgehammer," "Mercy Street," "Don't Give Up," "Big Time," and "In Your Eyes" are all stand-outs, particularly "In Your Eyes," which is probably his best known song thanks to the film, "Say Anything." Gabriel combines elements of minimalism, world music, and for the first time, Memphis soul, to create some very compelling, very entertaining music. At times, like "Mercy Street," it floats, sounding very low-key and textured without descending into boring mood music, and other times, like "Big Time," it's a thumping, muscular sound that you can dance to.
Now, you can divide Gabriel's fans into two categories: those who love "Sledgehammer" and those who hate it. It may not be typical of his music, but the Memphis Horns play some nice charts, and the double-entendres are a rare display of humor. Regardless of whether you like it or not, there's something for everyone on this album, so even if you think "Sledgehammer" comes on too strong, you may enjoy something like "Don't Give Up," which is another great single, every bit as uplifting as "Solsbury Hill."
What Else Would You Expect? April 2, 2001
Kristin J Currier (Ukiah, CA United States)
10 out of 10 found this review helpful
There is a fan website called "The Church of Peter Gabriel", a rather tongue-in-cheek venture claiming Gabriel as a diety. His prodigious career, spanning over 20 years from its start with Genesis (forgive the unseeming pun...), to his innovative solo work and various side projects concerning human rights, visual art and performances, to his devoted following and, well, the sheer magnitude of his work...maybe that website isn't too far off with its claims.This album was created in 1986, and as is typical with Gabriel, was a hallmark of the times as well as a surpassant. It is rostered with some of the finest musicians such as bassist extraoridinare Tony Levin, Stewart Copeland of Police fame, etheral songstress Kate Bush and funky art singer Laurie Anderson, superb percussionist Manu Katche, and guitarist David Rhodes. L. Shankar, a premier violinist with unmatched expressive style, also makes his appearance. The album was a stepping point for many of his newer fans, and also a forward stage of evolution for his theatrical style. The album is famous for it's breakthrough hits, Red Rain and Big Time. The video for Big Time set a precedent when it first appeared, garnering award after award for its mind-blowing animation. Sledgehammer, another hit, was a take-off on British motown style. That Voice Again, an absolute gem, is about the sometimes off again-on again nature of relationships, a familiar theme of Gabriel's. The song itself showcases Tony Levin's impeccable and understated bass playing, and Manu Katche's flawless percussion. In Your Eyes, another song to become a hit, is one of the most joyful love songs created, as many who have played it at their wedding can attest. Senegaly vocalist Youssou N'dour, an artist in his own right, lends his distinctive vocals to this popular song. Gabriel is known for his wonderful and image provoking lyrics. Mercy Street, a haunting and dreamlike ballad contains the following: "Looking down on empty streets, all she can see are the dreams all made solid are the dreams made real. All of the buildings, all of those cars were once just a dream in somebody's head. She pictures the broken glass, she pictures the steam, she pictures a soul with no leak at the seam...". This song remains one of my favorites not only for the poetic lyrics, but because they ring a strong personal note for me. Other songs include We Do What We're Told, an eerie song about the obedience experiments conducted by Stanley Milgram in the 60's. The last song, a quirky duet with Laurie Anderson, is vintage Gabriel in all of his experimental glory, and recalls the music of his earlier years. Fans of Gabriels' music already have this album firmly ensconced within their collections. If you appreciate popular music that defies labels or genres, I advise you to give this one a try. Gabriel is an artist of vast scope and vision coupled with formidable talent who dares to take risks artistically and musically. He's an artist in the truest sense of the word, and also a man who deserves respect not only for his musical productions, but his other accomplishments as well. His is a music rare...in depth of expression and virtuosity. As he gets older one can only expect him to get still better. Also try Shaking the Tree: 16 Golden Greats, and US. For the more adventurous, delve into Gabriel's earlier work such as Peter Gabriel I, II and III, and Security. Don't miss his live taped performance Secret World Live...a stupendous production featuring Paula Cole and other guest artists.
Doesn't Hurt To Be Commercial After All July 11, 2001
10 out of 11 found this review helpful
All I remember about this album's original release was that 1) I had received an advance promotional copy and predicted that Sledgehammer would be a number one song and 2) all my friends who were die-hard Gabriel/Genesis fans hated it. I mean, really despised it because Peter Gabriel had decided to "sell out". My answer to that is the same then as it is now...so what? In listening to this album, it doesn't really come across that he's trying to write hits for the radio. What does come across is perhaps the most atmospheric album ever recorded. Every song seems to blend and support the others, even if you hit random play on your CD deck. That can't be unintentional. This is a mood piece, a record to listen to time and time again when you need to reach a part of your soul that you haven't heard from in a while. Okay, so Sledgehammer is a funky hit single. What about Red Rain, In Your Eyes, Mercy Street, and especially Don't Give Up? I had a tremendous amount of hope for the future of popular music when this album received the accolades it did. Sadly we've devolved back into the no-thinking-required garbage of teeny bopper boy bands. It's time to tap back in to true creativity and musical power.
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