Experiencing Peter Gabriel: A Listener’s Companion PDF
Preview Experiencing Peter Gabriel: A Listener’s Companion
EXPERIENCING PETER GABRIEL The Listener’s Companion Gregg Akkerman, Series Editor TitlesinTheListener’sCompanionprovidereaderswithadeeperunderstandingof keymusicalgenresandtheworkofmajorartistsandcomposers.Aimedatnonspecial- ists,eachvolumeexplainsinclearandaccessiblelanguagehowtolistentoworksfrom particular artists, composers, and genres. Looking at both the context in which the musicfirstappearedandhassincebeenheard,authorsexplorewithreaderstheenvi- ronmentsinwhichkeymusicalworkswerewrittenandperformed. ExperiencingDavidBowie:AListener’sCompanion,byIanChapman ExperiencingJazz:AListener’sCompanion,byMichaelStephans ExperiencingLedZeppelin:AListener’sCompanion,byGreggAkkerman ExperiencingLeonardBernstein:AListener’sCompanion,byKennethLaFave ExperiencingMozart:AListener’sCompanion,byDavidSchroeder ExperiencingPeterGabriel:AListener’sCompanion,byDurrellBowman ExperiencingtheRollingStones:AListener’sCompanion,byDavidMalvinni ExperiencingRush:AListener’sCompanion,byDurrellBowman ExperiencingSchumann:AListener’sCompanion,byDonaldSanders ExperiencingStravinsky:AListener’sCompanion,byRobinMaconie ExperiencingTchaikovsky:AListener’sCompanion,byDavidSchroeder ExperiencingVerdi:AListener’sCompanion,byDonaldSanders ExperiencingtheViolinConcerto:AListener’sCompanion,byFrancoSciannameo EXPERIENCING PETER GABRIEL A Listener’s Companion Durrell Bowman ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London PublishedbyRowman&Littlefield AwhollyownedsubsidiaryofTheRowman&LittlefieldPublishingGroup, Inc. 4501ForbesBoulevard,Suite200,Lanham,Maryland20706 www.rowman.com UnitA,WhitacreMews,26-34StannaryStreet,LondonSE114AB Copyright©2016byDurrellBowman Allrightsreserved.Nopartofthisbookmaybereproducedinanyformorby anyelectronicormechanicalmeans,includinginformationstorageandretriev- alsystems,withoutwrittenpermissionfromthepublisher,exceptbyareviewer whomayquotepassagesinareview. BritishLibraryCataloguinginPublicationInformationAvailable LibraryofCongressCataloging-in-PublicationData Names:Bowman,Durrell,author. Title:ExperiencingPeterGabriel:alistener’scompanion/DurrellBowman. Description:Lanham,Maryland:Rowman&Littlefield,2016.|Series:Thelistener'scompanion| Includesbibliographicalreferencesandindex. Identifiers:LCCN2016004981(print)|LCCN2016006436(ebook)|ISBN9781442251991(hard- back:alk.paper)|ISBN9781442252004(electronic) Subjects:LCSH:Gabriel,Peter,1950–—Criticismandinterpretation.|Rockmusic—England— Historyandcriticism. Classification:LCCML420.G107B692016(print)|LCCML420.G107(ebook)|DDC 782.42166092—dc23 LCrecordavailableathttp://lccn.loc.gov/2016004981 TMThepaperusedinthispublicationmeetstheminimumrequirementsof AmericanNationalStandardforInformationSciencesPermanenceofPaper forPrintedLibraryMaterials,ANSI/NISOZ39.48-1992. PrintedintheUnitedStatesofAmerica To Vicky Lucas, for encouraging me to pursue this book topic and for enjoying many types of music with me in our life together CONTENTS SeriesEditor’sForeword ix Timeline xi Introduction xix 1 “TellMeMyLifeIsabouttoBegin”:1950–1971andEarly Genesis 1 2 “TheChamberWasinConfusion”:1972–1975andthe ExodusfromGenesis 23 3 “They’veCometoTakeMeHome”:1976–1978andPeter GabrielI(“Car”)andII(“Scratch”) 49 4 “IfLooksCouldKill”:1979–1980andPeterGabrielIII (“Melt”) 73 5 “CoverMe,WhenIRun”:1981–1984andIV(Security) 97 6 “ThisIstheNewStuff”:1985–1989andSo 123 7 “IReachOutthroughtheBorderFence”:1990–1999andUs 151 8 “InTransitionOnceAgain”:2000–2015andUp,ScratchMy Back,andtheRockHall 177 Conclusion 205 SelectedListening 209 Bibliography 213 Index 215 AbouttheAuthor 223 vii SERIES EDITOR’S FOREWORD T hegoaloftheListener’sCompanionseriesistogivereadersadeeper understanding of pivotal musical genres and the creative work of their iconic composers and performers. This is accomplished in an inclusive manner that does not necessitate extensive music training or elitist shoulder rubbing. Authors of the series place the reader in specific listening experiences in which the music is examined in its historical context with regard to both compositional and societal parameters. By positioning the reader in the real or supposed environment of the mu- sic’screation,theauthorprovidesforadeeperenjoymentandapprecia- tion of the art form. Series authors, often drawing on their own exper- tise as both performers and scholars, deliver to readers a broad under- standingofmajormusicalgenresandtheachievementsofartistswithin thosegenresaslivedlisteningexperiences. When Durrell Bowman pitched the idea of writing an entry for the Listener’sCompanionseriesonPeterGabriel,Iwasthrilled.Thisisthe kind of book I wanted to see written, and yet I’m relieved it wasn’t me whotriedtowriteit.The musicofGabriel breakssomanyconventions andcategorizationsthattheactofdescribingitinnonjargonlanguage(a majorgoaloftheseries)isdauntingtosaytheleast.Asateenmusician, I was first introduced to the music of Gabriel as a member of Genesis because of my interest in groups like Yes, Pink Floyd, and Emerson, Lake & Palmer. Next, Gabriel stole into the living rooms of American youth with a disturbing video for “Shock the Monkey.” Soon after, he crushed all competition for video airplay with “Sledgehammer” and ix
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