Liverpool Sound and Vision Rating * * * * *
The irony will not be lost on the majority of Peter Gabriel’s fans that it is closer to the 26th anniversary of the release of his fifth studio album So than the 25th and they will also with no hesitation in their voices tell anyone that asks any type of awkward or disparaging question, that in the end it doesn’t matter. This is how Peter Gabriel does things and why he remains one of the most charismatic and unique figures in British music.
This latest addition to the Peter Gabriel catalogue focuses on one of the highlights of his distinguished career and one of the great albums of the 1980’s, the first album by the virtuoso magician of music that actually had a title, So. Aside from the extras that invariably come along with major works celebrating a particular anniversary the re-released album only serves to prove that So was nothing short of a phenomenal piece of recording history.
The ex-Genesis lead singer and magnet for interviewers from the early days of the group’s inception had already proved himself to be more than capable as a solo recording star and with songs such as the excellent Solsbury Hill, Games Without Frontiers, Family Snapshot and I Have the Touch already some of the most iconic songs created by the former Progressive Rock hero it was only a natural progression for So to become the finest and most commercially viable of all his albums.
So kicks off with the beautiful and image ridden Red Rain and from there the album becomes song after song one of the greats. Each song has radio potential, with the possible exception of We Do What We’re Told (Milgram’s 37), each track really does stand out as finely crafted and enjoyable piece of work. From the upbeat Sledgehammer to the still very poignant duet with Kate Bush of Don’t Give Up and onto the lengthy but utterly absorbing track of Mercy Street which looks at the life of confessional American poet Anne Sexton, this is an album that no matter how years has passed between original release and this 251/2 anniversary sounds as positive, as interesting and as cool as Steve McQueen riding on a stolen bike.
The re-release special also has the very illuminating live gig from 1987 in Athens within its packaging and whilst as a whole the extras are enjoyable it detracts from two thoughts. One that So is the creative high for Peter Gabriel as a solo artist but also sadly that does he really need to re-release what is already a classic in favour of any new material.
Ian D. Hall