Scratch My Back and I'll Scratch Yours

When I first heard about the new Peter Gabriel album, and how there were no guitars, and no drums, I said, “Really? What I really prefer are more guitars and drums, not less.”

What a stupid thing to say.

I will tell you how I quickly realized how wrong I was, and how I came to love “Scratch My Back,” but before that a little history is in order.

I first experienced Peter when I heard the band Genesis, back in the seventies. I had listened to a variety of rock music as a teen, and at around 20 or so I started to prefer progressive rock. I was fortunate enough to catch Peter’s 1977 tour at my sister’s small college in upstate New York. Later, I met my good friends Kevin and Rob, who were very big fans. Throughout the years we waited anxiously for each new Peter Gabriel album. In 2003, we were lucky enough to see Peter’s “Growing Up” show in San Jose.

This brings us to 2010. I finally went online and listened to bits of the new song “Flume.” That was enough, I got the CD as soon as I could, and I have been listening to it quite a lot ever since. It is lush and sublime. It pushes certain buttons I have inside me that not a lot of music can reach.

It is very different. It is not another PG album with a two-letter name. I encourage you to discard any preconceptions or expectations you have, and be willing to go to a new place. The songs are not Peter’s, they are covers. Of primary concern here is the writing. The orchestra enhances the words; you can hear everything that is said. I enjoy the effect of the whole, each song is connected, and I find it difficult to separate them.

One example is the opener, “Heroes,” from David Bowie. The arrangement is amazingly simple. The strings begin softly, building to a climax in the middle, and gently letting us down again at the end, in a perfect arc. The vocal follows a different but concentric path. The story benefits greatly, the statement is much clearer, the impact is much greater. I love it.

Some of the songs are pretty dark (big surprise there). Evelyn says “it is very serious.” Yes. It’s not completely different, it is still Peter.

I could go on, but I’ll let you listen to the podcasts, Peter explains the project much better than I can. (You can find them in the usual places.) It is a treat to listen to Peter talk about the songs, and the goals, the adjectives he uses, the references to his other albums and songs, and artists, it’s a pleasure, after all these years. Interesting what he says about how artists need rules and obstacles.

I can’t wait for the show in Los Angeles on May 7th.