About a week and a half ago, I completed the manuscript for Experiencing Peter Gabriel: A Listener’s Companion. It includes eight chapters, a timeline, an introduction, a conclusion, a list of selected reading and media, and a list of selected listening. The book will be published by Rowman & Littlefield by September of 2016 in print and e-book form and will be available at Amazon and elsewhere.
The book cover will incorporate the following image:
I’m interested in proposing a paper for the 2016 Performance Studies Network conference at Bath Spa University. However, would the subject matter of my forthcoming listener’s guide to the music of thirty-year Bath area resident Peter Gabriel actually count? His “diverse, interdisciplinary developments,” “global perspective,” and so on certainly do seem to fit the themes of the conference, even though all of the confirmed activities are so far restricted to contemporary art music and world music. How could I afford to go, though?
For Experiencing Peter Gabriel: A Listener’s Companion, I think I made the correct decision to do Chapters 1-2 up to early Genesis (childhood/1967-71 and 1972-75), Chapter 3 covering Peter Gabriel 1 and 2 (1976-78), and one on each of the main studio albums after that. I’m nearing completion of Chapter 4 on PG3/Melt (1979-80), and it will be around 22 pages, which is similar to the lengths of Chapters 1, 2, and, 3. I was a bit worried I wouldn’t have enough material, but I think that PG3/Melt is his best album. In Chapters 5 (1981-4/IV/Security), 6 (1985-89/So), 7 (1990-99/Us), and 8 (2000-09/Up), I’ll also have his live album, four film/media scores, occasional movie songs, and entrepreneurial/humanitarian activities to cover a bit. Chapter 9 (2010-15/Scratch/NewBlood) will then also get into the covers/retrospective/double-Rock-Hall-induction, etc. stuff. It’s shaping up nicely!
Around the same time, Gabriel made an orchestra-accompanied cover version of the Beatles’ “Strawberry Fields Forever” for an obscure film of war-related footage and news headlines and clips from war movies combined with new versions of Beatles’ songs, called All This and World War II. The film and soundtrack double-album also include recordings by the Bee Gees, Leo Sayer, Tina Turner, Elton John, Frankie Valli, Rod Stewart, the London Symphony Orchestra, and numerous others, as released in November of 1976. Gabriel’s version of that Beatles’ song was thus his first solo release, and it is fairly charming, although he occasionally sounds rather like Kermit the Frog. He later worked on a number of film scores and film songs from 1984 to 2008 and then revisited the idea of orchestra-accompanied cover versions much more extensively on his 2010 album Scratch My Back. In a related project, the 2013 response-album And I’ll Scratch Yours includes other artists’ stylistically-distinctive cover versions of some of Gabriel’s songs.