The 500 - #187 - So - Peter Gabriel

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #187
Album Title: So
Artist: Peter Gabriel

Genre: Art Rock, Progressive Pop, World Beat
Recorded: Ashcombe House, Swainswick, Somerset, U.K.; Power Station Studios, New York, U.S.A.

Released: May, 1986
My age at release: 20
How familiar was I with it before this week: Very

Is it on the 2020 list? Yes, at #297, dropping 110 places.
Song I am putting on my Spotify Playlist: Mercy Street

In the summer of 1980, shortly after moving to London, Ontario, I visited the local library on a quest to borrow records. I returned home with two under my arm, both from English solo artists -- David Bowie and Peter Gabriel. The first was Heroes, Bowie's twelfth studio release, and the other was the third, and most recent, record from Gabriel. Like Gabriel’s two previous albums, it was untitled. However, fans dubbed it Melt because of the picture on the jacket -- which depicts Gabriel with half his face distorted as if made of candle wax.

Melt album cover - the effect achieved by smearing
portrait pictures of Gabriel taken with a Polaroid SX-70 
instant camera as they developed.

The album contained the song Games Without Frontiers, released six months earlier and a Top Ten hit in the spring of 1980. However, it was the opening track, Intruder, that immediately captured my attention. The combination of a dark narrative about a home invasion coupled with this powerful, punch-to-the-chest drumbeat was captivating. I would later learn it was played by Gabriel's former Genesis bandmate, Phil Collins. It also marked origin of the gated-reverb sound -- an audio processing technique that would dominate the 80s (and is making a comeback in the 2020s).

The final track, Biko, was an anti-apartheid protest song about South African activist Steven Biko, who died while in police custody. Infused with Soweto-inspired rhythms and traditional mbube singing style, Biko introduced me to a wider world of music, as well as amplifying the impact protest songs can have on social change.

News article following the death of Steven Biko in police custody.

This was the beginning of a Peter Gabriel fandom that continues for me to this day. He is, without a doubt, my favourite solo artist and among my top five groups of all time. His first band, Genesis, had also massive commercial success after his 1975 departure.

The classic line-up of Genesis (1975), (l-r) Tony Banks, Phil Collins,
Mike Rutherford, Steve Hackett and Peter Gabriel.

Deciding what to write about for this blog post was a challenge because of the many choices between what to include and what to leave out. Much like determining what to watch on television in the age of multiple streaming channels, I am somewhat paralyzed by the tyranny of choice. When promoting this record on social media earlier this week, I joked that I could write five different posts about Gabriel.  He was a  rare artist who not only entertained but  made me a more thoughtful, socially informed and kinder person. His body of work and socially conscious, humanist philosophy and fearless creative spirit influenced me toward better, kinder and braver choices in my teens and early-twenties.

Gabriel (right) on The Human Rights Now
Tour in 1988 with (l-r) Sting, Tracy Chapman
Bruce Springsteen and Youssou N'Dour.

I have seen Peter Gabriel perform six times in four cities and each concert was memorable.

In 1987, on my 22nd birthday, I saw him at the Canadian National Exhibit Stadium (CNE) in Toronto. Over a pre-show beer I chatted with an "old" guy (he was probably 35) wearing a vintage Genesis concert shirt who had seen Gabriel with Genesis at Massey Hall, also in Toronto, in 1973. In a time before the internet, the “geezer” provided a first-hand account of the group’s storied performances.

Peter Gabriel on the 1986-87 This Way Up Tour, supporting So.

In December, 2002, after a lengthy hiatus, Gabriel released the album Up and brought his tour to Toronto's Air Canada Centre for a spectacular show on a round stage in the middle of the arena. The event included a performance of the song Sky Blue with The Blind Boys of Alabama -- a gospel group with changing members who have been active since 1939.

Sky Blue performance. The Blind Boys of Alabama at the centre
or a round stage, surrounded by Gabriel and his band.

In July, 2003, he brought a stripped down version of the Growing Up Tour to my hometown of London, Ontario. I convinced 10 friends to join my wife and me, and we had a terrific night that began and ended (in the wee hours of the morning) at our downtown apartment.

A polaroid snapshot taken of my wife and me taken by our  friend Reeny
on the night of the London Gabriel concert - July 5, 2003.

In 2010, Gabriel released Scratch My Back. Accompanied by the New Blood Orchestra, Gabriel recorded versions of 12 of his favourite songs, including the aforementioned Heroes by David Bowie, which was a bit of a "full-circle moment" for me.

Scratch My Back album cover.

A few years later, many of the same artists whose songs Gabriel had covered contributed to an accompanying record, called And I'll Scratch Yours. It featured their interpretations of songs from Gabriel's catalogue. It was a wonderful collaboration with contributions from amazing groups and artists, including Manchester's Elbow, Montreal's Arcade Fire, and New York's The Magnetic Fields.

And I'll Scratch Yours album cover.

The project culminated with a three-year, 44-city world tour by Gabriel and a 54-piece New Blood orchestra.  As a surprise for my wife, we travelled to New York City to see it at the legendary Radio City Music Hall in May, 2010.

A photo I snapped outside Radio City Music Hall prior to 
the New Blood Orchestra concert with Peter Gabriel.

I purchased the tickets through StubHub, an online ticket resale broker. They cost a pretty penny (about double the $130 U.S. face value) but secured us seats in the front row of the lowest balcony for a perfect view of the stage.

My concert ticket from the Radio City Music Hall performance
by Peter Gabriel and the New Blood Orchestra.

In September, 2023, Gabriel embarked on the North American leg of his most recent tour to promote his upcoming record I/O (initials for Input/Output). The Toronto show was on a weeknight, but we caught his Saturday night show in Ottawa which gave us the opportunity of making a weekend of it with my dad who lives in nearby Manotick.

Gabriel worked, for the second time, with Canadian stage director Robert LePage and each song was built around projected set pieces that celebrated visual artists. It was stunning and, as my wife commented on the drive home, "it had a level of sophisticated maturity that few artists would dare to attempt".

Indeed it had. Gabriel, now in his early 70s, was inviting us to connect with the fragile beauty and, sometimes, terrifying perils of life that have been an artistic preoccupation of his for more than 50 years.

A shot from the Ottawa performance of Gabriel's September 9th show from our
seats at the back of the Canadian Tire Centre.

It was on that drive home that it struck me. Peter Gabriel and his music have been part of my life for more than 40 years. He “melted” into my attitudes, memories, emotions and experiences throughout my teens, 20s, 30s, 40s and 50s. I have seen him perform in five consecutive decades. He was 37 at that CNE concert in 1987 and 73 when we last shared a common space in Ottawa.

When I hear his music, I still feel the same excitement I had when listening to the Melt record in my bedroom at 14 years of age. He continues to make me think, reflect and want to be a better person.

You may have noticed that I said I saw Gabriel six times and I've only shared memories of five shows. There is one more concert I have not mentioned. In 1993, I saw The Secret World Tour at Toronto's Skydome (now Rogers Centre). I’ve decided to make that a separate post for publication later this week. It's one of my favourite concert stories of all time. Thanks for that indulgence.

The 500 - #239 - Like A Prayer - Madonna

I was inspired by a podcast called The 500 hosted by Los Angeles-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time. 

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Album: #239
Album Title: Like A Prayer
Artist: Madonna
Genre: Pop
Recorded: Three California studios and Prince's Paisley Park studio in Minnesota

Released: March, 1989
My age at release: 23
How familiar was I with it before this week: I knew the hits

Is it on the 2020 list? Yes, at #331, dropping 92 places from 239, since 2012
Song I am putting on my Spotify Playlist: Like A Prayer

Like A Prayer was the fourth studio record from the multi-faceted cultural icon, Madonna. It became the second of three records from the singer/songwriter to appear on The 500 list, with her Immaculate Collection coming up at #184. In June, 2021, I wrote a post about album # 367, Ray Of Light, providing some background and the story of seeing her perform during her 2015/16 Rebel Heart tour.

The Rebel Heart concert was a stunning visual spectacle. Performed on a massive set-piece that included a long, cross-shaped catwalk which led from the main stage to a smaller, heart-shaped second stage. The show featured set-changes, including a spiral staircase that descended from the arena ceiling.

Rebel Heart stage set.

The main stage also featured a hydraulic-powered, video-screen floor that was raised and lowered throughout the show. Consequently, the seven- piece backing band was set up stage left and right, while "Madge" and her 20-person dance troupe strutted their stuff on the many available surfaces and even aerially.

Rebel Heart main stage with the hydraulic video floor raised.

I thoroughly enjoyed the performance, but the night also marked the point where my opinion on Toronto shows (especially on a school night) began to sour. Notoriously tardy, Madonna did not grace the stage until after 10:00 that night. Consequently, my head did not hit the pillow at home in London, Ontario, 180 kilometres away until 3 a.m. Truth be told, even if the show had ended at the scheduled time of 11 p.m., we still would not have made it back until after 2 o’clock.

Madonna performing Iconic, to open her Rebel Heart show.

There was a time, prior to 2005, when a quick trip to Toronto to see a show or sporting event (Blue Jays, Raptors or Maple Leaf game) was easy, even on a school night. My wife or a friend and I would pop into my car at 3:30 and be in a downtown Toronto restaurant having dinner by 6:00. Even if the event ended at 11:00, I'd be sawing logs by 1:30.  An extra cup of coffee in the morning would vanquish any brain fog.

Things have changed. The volume of traffic in and around Toronto is now almost impenetrable. My friend Steve "Lumpy" Sullivan and I went to see Genesis in November, 2021. Lumpy picked me up immediately after my school day ended and we were on the 401 highway by 4 p.m.  By the time we parked, checked into our hotel and "sprinted" (more of a post-50-year-old fat guy jog) to the Scotiabank Arena, we plonked into our seats just as the band hit its first note -- no pre-show dinner for us.

Nevertheless, there was plenty of time for food post-show. That was only because we had booked a downtown room at, believe it or not, a reasonable rate of $220. Current rates for popular downtown Toronto hotels often exceed $500 on weekends. After the last few Toronto shows I have been to, I have driven directly home. Even so, that comes with its own set of complications. When friends and I went to see Porcupine Tree perform in September, 2022, we spent an hour trying to get from Meridian Hall on Front Street to the Gardiner Expressway -- a distance of 500 metres (1/2 a kilometre). It was then another hour before we cleared the Greater Toronto area, still an hour and a half from home.

1/2 kilometer distance from Meridian Centre to the Gardiner Expressway

Fortunately, I live about two hours from both Detroit, Michigan and Buffalo, New York – both big entertainment centres. Even with border stoppages, the journey is shorter and, despite the currency exchange rate, hotels are much cheaper. I even drove to Ottawa in September to see Peter Gabriel perform on a Saturday, rather than trying for his Wednesday date in Toronto. That trip was convenient because my dad lives not far from the entertainment venue, providing the opportunity for a visit and free digs.

Relistening to Like A Prayer in preparation for this post was a blast from the past. I did not own the record, but the six hits (including four that cracked the Top Ten in 1989) were omnipresent that year. The album marked a change in direction for Madonna and she made the recording during a time of emotional turmoil.  As she explained in a 2014 interview:

"It was a real coming-of-age record for me emotionally," Madonna told me. "I was at the end of my marriage [to actor Sean Penn] and I was working with Pat (co-producer Patrick Leonard), who was also in a very dark state of mind, and we worked in a very isolated place in the San Fernando Valley. I was very lonely when I was working on the record. I had to do a lot of soul-searching, and I think it is a reflection of that."

For many fans, Like A Prayer" marked the moment when Madonna figuratively and literally, left behind her 20--something pop persona. The newly-minted 30-year-old wrote introspective and revelatory songs and she explored her relationship with her family and faith. She also reflected on the brief time she had with her mother, Madonna Louise, who died of breast cancer in 1963 when the younger Madonna was six. It was not lost on the singer that, at 30, she was then older than her mother had been when she died.

Baby Madonna with her parents, 1958.

The record's title track was a monster hit for Madonna and is considered by many critics to be her best song. Rolling Stone Magazine's 500 Greatest Songs Of All Time listed it at #306 in a 2004 edition of the periodical. The video to the song was incredibly controversial at the time, with provocative images representing sexual assault, racism, interracial relationships and Catholic iconography, including Madonna revealing a stigmata. The video shows the songstress dancing in front of a church and burning crosses while wearing a crucifix and dressed in a small, sheer, slip-dress. She closes the video kissing a black Jesus. Technically, that was historically accurate, although evangelicals were fixated on a blue-eyed Son of God who looks more like Barry Gibb than a Middle Eastern Jewish man. Everything about the performance seemed intentionally executed to maximize the ire of the Christian right-wing, particularly in the south. I loved it!!

Screen capture from Madonna's Like A Prayer video.

Shortly before releasing the video, Madonna had signed a $5 million contract with Pepsi for rights to the song in a commercial campaign launched in January, 1989. The video from the Pepsi commercial was vastly different, depicting a far more wholesome All-American version of Madonna reflecting on her childhood and dancing in ‘50s-style vignettes. However, calls from evangelicals and even the Pope to boycott Pepsi products forced the soda company to pull the commercial and distance itself from the campaign. Interestingly, the complainers are mostly the same people who whine about “cancel culture”.

Promotional photo from Pepsi's ill-fated Like A Prayer campaign.

Despite this, Madge got to keep the $5 million and the controversy only helped record sales that spring. Now, if we can just get her to show up on time for her future concerts ...either in Detroit or Buffalo!