Mossman on music: So '80s!

The 25th anniversary of Peter Gabriel's classic album.

Peter Gabriel says he was advised to do the iconic black and white cover for So because “my usual obscure LP sleeves alienated women”. His four previous records were all called Peter Gabriel, written in an identical font, with various parts of his face melted or obscured. The makeover in 1986 marked his transition from the lofty realms of experimental music to jacket-and-jeans mainstream pop. Eighties music fashions were so pervasive that if you wanted hits, there was nowhere else to go.

All these heavyweight musicians of the ’60s and ’70s emerged, one by one, into the pop video age and a whole generation of us didn’t know them any other way. To a five-year-old child, Paul McCartney was the man who sang the Frog Song. Paul Simon was the funny man in the video with the big man, singing about the “roly-poly little bat-faced girl”. Peter Gabriel had dancing chickens in his video, and a toy train that drove right round his head!

You knew instinctively that much of this stuff was serious music; through the half-understood lyrics of "Call Me Al", I came to ask the adults why you weren’t supposed to buy the apples with “Cape” stickers on them. Looking back, there was something truly heroic in these venerable musicians rolling their sleeves up and clowning around with puppets while other bands – hello, Stones – looked like they wanted to crawl under the duvet and wait till the ’80s were over.

Peter Gabriel left Genesis and went solo in 1975. There were collaborations with the cerebral Robert Fripp (on the first and second albums called Peter Gabriel), early excursions in world music (on the third) and pioneering experiments with digital recording and the Fairlight sampling computer on the fourth. But he wasn’t overburdened with hits. Significantly, it was a video that gave him his first number one – "Shock The Monkey", with the white face makeup and the funny macaque – which only got to number 58 in the UK charts but topped the MTV chart for nine weeks.

For a while, videos sold music (remember that Not The Nine O’Clock News spoof “Nice Video Shame About The Song”) and Gabriel was happy to go there. He’d always been the visual one in Genesis – the band often had no idea what costume he was going to walk on stage wearing: The Flower? The Magog? The Slipperman? Brittania? The dress-wearing, fox-headed beast from the cover of Foxtrot?

"Sledgehammer", which still remains the most-played music video of all time, featured claymation and stop motion by Aardman Animations, who went on to make Wallace & Gromit – the dancing chickens were Nick Park’s early outings in plasticine. Gabriel lay under a sheet of glass for 16 hours and filmed the video one frame at a time. It wasn’t so different from the meticulous, painstaking way he put his records together, sampling, deconstructing and rebuilding sounds.

From the interest in “world music” to his hunger for new technology, the ’80s was Gabriel’s age, he just had to wait for it. His clean melodies and high, constipated voice sound pre-tooled for the decade now. Solsbury Hill (from 1977) would sit comfortably alongside the songs here on So – Gabriel took shades of English pastoral from prog rock and simmered them down into a pure, pagan pop tune. You can hear the same minimalism on "Don’t Give Up" (with Kate Bush), which he describes as “the story of a man and a woman faced with losing a job”. This is an timeless protest song, all hooded multitudes and burned forests – more Lord of The Rings than Arthur Scargill, and infinitely more powerful, especially if you’re five.

For more precise Gabriel politics, turn to the Live In Athens gig included in this box set and listen to him dedicating "Games Without Frontiers" to “the 43,000 victims of a totally unnecessary war in Nicaragua”. Elsewhere – dish that he was – I’m not sure anyone’s going to want the five picture postcards of Pete in various states of close-up and crowd surf. As with all box sets the most valuable disc here remains the plain old album – short by today’s standards, just nine songs, but still powerful. These enduring, philosophical, grown-up pieces of music will always be coloured by the crazy visual world that accompanied them. Gabriel made the most of the ’80s, even if he knew he’d never be a real, proper popstar like Nick Kershaw or A-ha.

"So" [25th Anniversary Edition] is out now on Real World Records

 

Peter Gabriel at the Hop Farm music festival, Kent. Photo: Getty Images

Kate Mossman is the New Statesman's arts editor and pop critic.

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Commons confidential: Vive May's revolution

It's a risky time to be an old Etonian in the Tory party. . . 

The blond insulter-in-chief, Boris Johnson, survives as Theresa May’s pet Old Etonian but the purge of the Notting Hell set has left Tory sons of privilege suddenly hiding their poshness. The trustafundian Zac Goldsmith was expelled from Eton at the age of 16 after marijuana was found in his room, unlike David Cameron, who survived a cannabis bust at the school. The disgrace left Richmond MP Goldsmith shunned by his alma mater. My snout whispered that he is telling colleagues that Eton is now asking if he would like to be listed as a distinguished old boy. With the Tory party under new, middle-class management, he informed MPs that it was wise to decline.

Smart operator, David Davis. The broken-nosed Action Man is a keen student of geopolitics. While the unlikely Foreign Secretary Johnson is on his world apology tour, the Brexit Secretary has based himself in 9 Downing Street, where the whips used to congregate until Tony Blair annexed the space. The proximity to power gives Davis the ear of May, and the SAS reservist stresses menacingly to visitors that he won’t accept Johnson’s Foreign Office tanks on his Brexit lawn. King Charles Street never felt so far from Downing Street.

No prisoners are taken by either side in Labour’s civil war. The Tories are equally vicious, if sneakier, preferring to attack each other in private rather than in public. No reshuffle appointment caused greater upset than that of the Humberside grumbler Andrew Percy as Northern Powerhouse minister. He was a teacher, and the seething overlooked disdainfully refer to his role as the Northern Schoolhouse job.

Philip Hammond has the air of an undertaker and an unenviable reputation as the dullest of Tory speakers. During a life-sapping address for a fundraiser at Rutland Golf Club, the rebellious Leicestershire lip Andrew Bridgen was overheard saying in sotto voce: “His speech is drier than the bloody chicken.” The mad axeman Hammond’s economics are also frighteningly dry.

The Corbynista revolution has reached communist China, where an informant reports that the Hong Kong branch of the Labour Party is now in the hands of Britain’s red leader. Of all the groups backing Jezza, Bankers 4 Corbyn is surely the most incongruous.

Labour’s newest MP, Rosena Allin-Khan of Tooting, arrived in a Westminster at its back-stabbing height. Leaving a particularly poisonous gathering of the parliamentary party, the concerned deputy leader, Tom Watson, inquired paternalistically if she was OK. “I’m loving it,” the doctor shot back with a smile. Years of rowdy Friday nights in A&E are obviously good training for politics.

Kevin Maguire is the associate editor (politics) of the Daily Mirror

Kevin Maguire is Associate Editor (Politics) on the Daily Mirror and author of our Commons Confidential column on the high politics and low life in Westminster. An award-winning journalist, he is in frequent demand on television and radio and co-authored a book on great parliamentary scandals. He was formerly Chief Reporter on the Guardian and Labour Correspondent on the Daily Telegraph.

This article first appeared in the 28 July 2016 issue of the New Statesman, Summer Double Issue