Peter Gabriel - So (1986)

Dan:

In the early 1980s, producer Daniel Lanois came to prominence through his work with Martha and The Muffins, The Shakers, and The Parachute Club. He then began a long association with Brian Eno, which led to Eno's Music for Films and Thursday Afternoon albums, and The Pearl by Harold Budd and Eno. All were ambient music exercises. In 1984, the same year as The Pearl's release, Lanois produced U2's huge hit album The Unforgettable Fire. It should therefore be no surprise to find him producing for Peter Gabriel, first on the soundtrack Birdy and then on So, which he co-produced with Gabriel.

I begin by mentioning Lanois because so much of what happens on So reflects the decisions made by the producers. Specifically, I've noticed in Lanois' productions an emphasis on quiet passages that lead off songs, for example the opening section of "Don't Give Up" on So. It seems like a minor touch, but it helps to set the mood. Critics have also raved about the sonic excellence of So, which of course is due more to the production than anything else. As fans of Genesis know, great albums are not produced in a day like some jazz albums might be. Much of prog rock is subjected to intense scrutiny before, during and after the recording sessions. A producer can create a coherent masterpiece or a shambolic failure, regardless of the skill of the musicians. Lanois and Eno, among others, seem to possess a magic touch whether creating ambient soundscapes, art rock extravaganzas, or both in the same album.

So is something of a phenomenon, considering that the highly principled and critical artist, Peter Gabriel, went off his own tramlines to create a hugely accessible and pop-oriented album. One need only look at "Sledgehammer," the best-known song on the album, for evidence that So was revolutionary. Buoyed by a charming comic book-styled video that played constantly on MTV, "Sledgehammer" was heard everywhere. The song entered daily conversations because it was full of sexual innuendos, such that parents blushed while their kids danced and sang to the music. That was controversial in 1986, but Gabriel claimed he was only singing about things that were frequent topics in soul music in the 1950s and earlier (Billy Eckstine's "Jelly Jelly" dates back to 1941, and Ray Charles' "What'd I Say" with its moans and groans dates to 1959. Not to mention Elvis, of course).

But racy innuendo is no reason to dispute the abundant riches of So. Almost every song has something special to offer. "Red Rain" is the vocal version of a Gabriel nightmare; "Don't Give Up," sung with Kate Bush, is an anthem to the support loved ones can extend to someone "whose dreams have all deserted;" "Mercy Street" is about, uh, mercy; and "In Your Eyes" is one of the greatest love songs ever written. A couple of songs reminiscent of Gabriel's earlier solo work ("We Do What We're Told" and "This Is the Picture") are included for the sake of variety. "Big Time" overcooks the rush of power and success, seemingly to give "Sledgehammer" a boisterous sibling to balance out the album. 

The album cover above is for the UK version on Virgin. The US version on Geffen added the title and performer's name. Apparently, Geffen did not expect US buyers to recognize Gabriel on sight.

Steve:

Much respect to Peter Gabriel and Daniel Lanois for giving the pop audience exactly what it wanted from a Gabriel album in 1986, while still delivering a nuanced recording that holds up after all these years. Security had sold a lot of copies, but mainly on the strength of a single song's (some might say fluke) success. So, on the other hand, was adored as a whole by the public, with several songs becoming deeply entrenched in the public consciousness.

I remember our whole family dancing around the family room to "Sledgehammer" - a great slice of funk pop on its own even without the groundbreaking video. Besides the easy thrills of the singalong chorus, the extended coda (the "show for me / I will show for you" improvisation workout) takes the song to another level, giving the feeling that the awesome party will never end. It's rightfully a classic 80s pop tune, still beloved by many today. I haven't run into anyone who outright hates the song.  

My wife and I chose "In Your Eyes" as our first-dance song at our wedding. I believe this decision originated when that song was performed at a Peter Gabriel concert that we attended (Gabriel was touring in support of the Up album). It's hard to explain the mind-meld that occurred to both of us simultaneously (it also had something to do with the John Cusack film, Say Anything, in which the song was featured), but from that moment on the song became symbolic to us.