Peter Gabriel. Is he capable of writing a bad song? That was the question I found myself asking during my first full listen to So.
This is an album that wears its year of release proudly. Compressed drums, synthesiser textures, processed bass and polished guitars are everywhere. It sounds unmistakably like 1986, but that isn’t necessarily a criticism. Beneath the production choices are songs strong enough to stand on their own.
An Opening Run of Hits
“Red Rain” makes a really good opener. The heavily compressed drum sound immediately establishes the period, but it works in the context of the record. “Sledgehammer” barely needs introducing; it’s one of those enormous songs whose reputation speaks for itself.
Then comes “Don’t Give Up”, my first genuine stop-and-listen moment. Kate Bush makes that song. Gabriel provides its weary centre, but Bush is the emotional counterweight. Her performance doesn’t merely decorate the track; it changes how the song feels.
It’s 1986
By the time “Big Time” arrived, I was almost laughing at the relentless run of massive songs. What a tune. The clean, sparkly guitar, huge female backing vocals, compressed drums and heavily modulated bass could hardly belong to any other decade.
The 1980s were an era when new studio technology seemed to encourage everyone to use every available toy. So doesn’t try to disguise that. Its production is big, glossy and processed, but the distinction is that it sounds of its time rather than being defeated by it.
Final Thoughts
Gabriel reminds me a little of Bryan Ferry in one important respect: whatever the genre, a great song is a great song. This record is packed with them.
“Red Rain”, “Sledgehammer”, “Don’t Give Up” and “Big Time” made especially strong impressions, with Kate Bush’s contribution the standout moment of my listen.
Verdict: A great album, unmistakably of its era and absolutely worthwhile. Its classic status rests on excellent songs, not on pretending the 1980s never happened.
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