Peter Gabriel – Plays Live (Remastered, 2CD) (lossless, 1983/2021)

AUTHOR: Peter Gabriel
АLBUM NAME: Plays Live (Remastered, 2CD)
RELEASE DATE: 1983/2021
COUNTRY: Chobham, Surrey, England
GENRE: Progressive Rock | Art Rock
LABEL: Real World | Caroline International - PGDLCD1
DURATION: 01:29:34
FORMAT: FLAC, (tracks + .cue)
QUALITY: Lossless
UPLOADED BY: 08.04.2021 | StasOn11
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DISC ONE (00:43:17)

01. The Rhythm of the Heat 06:27
02. I Have the Touch 04:51
03. Not One of Us 05:43
04. Family Snapshot 04:48
05. D.I.Y. 04:06
06. The Family and the Fishing Net 07:34
07. Intruder 04:48
08. I Go Swimming 05:01
All songs written by Peter Gabriel

DISC TWO (00:46:17)

01. San Jacinto 08:30
02. Solsbury Hill 04:41
03. No Self Control 05:03
04. I Don’t Remember 04:13
05. Shock the Monkey 07:10
06. Humdrum 04:23
07. On the Air 05:23
08. Biko 06:55
All songs written by Peter Gabriel

Peter Gabriel

As the leader of Genesis in the early ’70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed cult artist, and with 1982’s Security, he began to move into the mainstream; “Shock the Monkey” became his first Top 40 hit, paving the way for his breakthrough So in 1986. Accompanied by a series of groundbreaking videos and the number one single “Sledgehammer,” So became a multi-platinum hit, and Gabriel emerged as an international pop star. Instead of capitalizing on his sudden success, Gabriel founded the Real World label, which proved an invaluable channel for international artists of every stripe to ply their trade. All this and his shepherding of political causes such as Amnesty International gained him a reputation as a true nobleman of the pop world.
Following his departure from Genesis in 1976, Peter Gabriel began work on the first of three consecutive eponymously titled albums; each record was named Peter Gabriel, he said, as if they were editions of the same magazine. In 1977, his first solo album appeared and became a moderate success due to the single “Solsbury Hill.” Another self-titled record followed in 1978 yet received comparatively weaker reviews. Gabriel’s third eponymous album proved to be his artistic breakthrough, however. Produced by Steve Lillywhite and released in 1980, the record established Gabriel as one of rock’s most ambitious, innovative musicians, as well as one of its most political—“Biko,” a song about a murdered anti-apartheid activist, became one of the biggest protest anthems of the ’80s. “Games Without Frontiers,” with its eerie chorus, nearly reached the Top 40.
In 1982, Gabriel released Security, which was an even bigger success, earning positive reviews and going gold on the strength of the startling video for “Shock the Monkey.” Just as his solo career was taking off, Gabriel participated in a one-shot Genesis reunion in order to finance his WOMAD—World of Music, Arts and Dance—Festival. WOMAD was designed to bring various world musics and customs to a Western audience, and it soon turned into an annual event, and a live double album was released that year to commemorate the event. As Gabriel worked on his fifth album, he contributed the soundtrack to Alan Parker’s 1984 film Birdy. His score was highly praised, and it won the Grand Jury Prize at Cannes that year. After founding Real World, Inc.—a corporation devoted to developing bridges between technology and multi-ethnic arts—in 1985, he completed his fifth album, So.
Released in 1986, So became Gabriel’s commercial breakthrough, largely because his Stax homage “Sledgehammer” was blessed with an innovative video that combined stop-action animation with live action. So climbed to number two as “Sledgehammer” hit number one, with “Big Time”—featuring a video very similar to “Sledgehammer”—reaching the Top Ten, and “In Your Eyes” hitting the Top 30. As So was riding high on the American and British charts, Gabriel co-headlined the first benefit tour for Amnesty International in 1986 with Sting and U2. Another Amnesty International Tour followed in 1988, and the following year, Gabriel released Passion: Music for The Last Temptation of Christ, a collection of instrumentals used in Martin Scorsese’s film. Passion was the furthest Gabriel delved into worldbeat, and the album was widely acclaimed, winning the Grammy Award in 1989 for Best New Age Performance. In 1990, he released the hits compilation Shaking the Tree.
Gabriel labored long on the pop music follow-up to So, finally releasing Us in the spring of 1992. During the recording of Us, Gabriel went through a number of personal upheavals, including a painful divorce, and those tensions manifested themselves on Us, a much darker record than So. For various reasons, not the least of which was the fact that it was released six years after its predecessor, Us wasn’t as commercially successful as So, despite positive reviews. Only one single, the “Sledgehammer” knockoff “Steam,” reached the Top 40, and the album stalled at platinum sales. In 1993, Gabriel embarked on the most ambitious WOMAD tour to date, touring the United States with a roster including Crowded House, James, and Sinéad O’Connor, with whom he had an on-off romantic relationship. The following year, he released the double-disc Secret World Live, which went gold. Later in 1994, he released the CD-ROM Xplora, one of many projects he developed with Real World. For the rest of the decade, Gabriel concentrated on developing more multimedia projects for the company and working on a new studio album.
Up was released in 2002, a full decade after Gabriel’s last studio effort. Dense, cerebral, and often difficult, the record peaked at number nine but failed to sell well in America. It fared slightly better in Canada, where it went gold. He then turned his attention to a host of different projects, although the release of Big Blue Ball—a compilation of collaborative performances recorded at Real World Studios during the ’90s—helped placate fans while Gabriel focused his energies elsewhere. He eventually returned to the studio for another album, 2010’s Scratch My Back, which featured orchestral covers of songs originally performed by Radiohead, Arcade Fire, Paul Simon, David Bowie, and others. Gabriel uncharacteristically delivered the sequel to Scratch My Back quickly, releasing New Blood—a collection of orchestral reinterpretations of his own songs—in the fall of 2011. The following year, Gabriel held a lavish celebration of the 25th anniversary of So, releasing several deluxe editions of the record—the largest being a four-CD, two-DVD, two-vinyl box—and launching the Back to Front tour, where he played So in its entirety.
In 2014, Gabriel was inducted into the Rock & Roll Hall of Fame as a solo act, joining Genesis, which had been inducted four years earlier. He also released the concert album Back to Front: Live in London that year. Gabriel rounded up a bunch of his stray songs in 2019 via the compilations Rated PG and Flotsam and Jetsam; the former contained songs he gave to films, the latter focused on B-sides and non-LP tracks. (Stephen Thomas Erlewine, AllMusic)

Album Notes

Although he had thrived on live performance as a member of Genesis, Peter Gabriel waited until he was four albums and six years deep into his solo career—with the hit album Security and the Top 40 “Shock the Monkey” chalked up to his credit—before he took the plunge into concert recording with this album. Released as a double LP and two-CD set (but also later in a single CD “highlights” edition, missing four songs), this is a fine summing up of the artist’s early solo years. Most of his biggest hits and key album tracks are represented in tight, inspired performances—the notes concede that some of what is here was sweetened after the fact in the studio, but the immediacy of the stage performances wasn’t lost in the process, and that emotional edge and intimacy give songs such as “Solsbury Hill,” “I Don’t Remember,” and “Shock the Monkey” a sharper, deeper resonance than their studio renditions, fine as those are. It’s that side of the performance that makes this release well worth owning, for anyone enamored of Gabriel’s voice or songs, even if nothing here wholly supplants the studio originals. And the band—Tony Levin (bass, stick, backing vocals), Jerry Marotta (drums, vocals), David Rhodes (guitar, vocals), and Larry Fast (keyboards)—is in excellent form as well. What is lacking is the cohesiveness that one might have gotten from a live album assembled from a single concert; derived from a multitude of shows, the individual songs are excellent unto themselves, but there’s little sense (or even the illusion) from song to song of any forward momentum across the album, and that might be the one major flaw here. But this is a suitable capstone to the first phase of Gabriel’s solo career, and also a peculiar one in certain respects—given the effort that obviously went into assembling the album, the packaging is almost minimalist by the standards of live albums and double albums of the era (the LP version even put both platters into a single sleeve). (Bruce Eder, AllMusic)


Peter Gabriel: vocals, synthesizer, and piano
Tony Levin: bass, stick, backing vocals
Jerry Marotta: drums, percussion, backing vocals
David Rhodes: guitar, vocals
Larry Fast: synthesizer and piano
Produced by Peter Gabriel and Peter Walsh
Remastered by Tony Cousins at Metropolis

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