Author: Peter Podbrežnik
Artist: Gabriel, Peter
Label: Charisma Records
Released: 1978
Length: 41:29
Rating: 4.5/5
On his second solo outing, the brilliant singer Peter Gabriel finally scratched off the stock image of the theatrical prog rock icon in the fox mask, a holdover from his Genesis days, and used a wide palette of experimental sonic visions to present himself as a musician utterly free of genre, for whom progression was an indispensable means of expression. After the excellent self-titled debut, which the wider public remembers mostly for the autobiographical hit “Solsbury Hill”, he was determined to strip out the last remnants of the Genesis legacy and wave the green flag at limitless sonic experimentation.
Unlike the relatively successful debut and his later records, which went on to enviable commercial success, “II” (or “Scratch”, as some like to call it thanks to Storm Thorgerson’s great cover art) was something of an ugly duckling on that front, since outside the home turf of Britain it made no real splash on the international charts. It also didn’t throw off a single hit, even though it holds quite a few dazzling gems that art rock connoisseurs still drool over today. Contrary to the majority of critics, who usually wave “II” off and assign it a marginal role in Gabe’s discography, this is one of his most accomplished records when it comes to experimenting with eclectic sonic landscapes and trying out different genre territories.
The main reason for the low profile of this splendid album, one that will have every prog rock devotee grinning, is that “Scratch” was the fruit of Peter’s close collaboration with King Crimson chieftain Robert Fripp, who served here as lead guitarist and producer. His trademark guitar moves run through most of the album, while the production, thanks to the dictatorial Crimson King, is “to blame” for the noticeably gloomier atmosphere compared to Peter’s debut. Among the cast of top-class players, their indispensable partner in crime Tony Levin on bass guitar stands out (as usual), contributing some truly monumental bass lines. Keyboardist Larry Fast (ex-Synergy, Nektar) with his synthesizer kingdom and drummer Jerry Marotta, who brought an enviable dose of impulsiveness to Peter’s backing band, also played very important roles. Today both are members of Levin’s own solo band, which further speaks to Peter’s talent for bringing together different musical gifts.
With masters of their instruments like these, the top-notch level of expression and technical polish comes as no surprise, nor does the use of innovative sound technologies that Peter was always famous for. His lyrics this time touch on very broad themes and feelings such as human freedoms, discrimination, naivety, alienation and homesickness. From there it was not far to his role as an anti-racism fighter and charismatic awakener on the human rights front. What’s most fascinating here is Peter’s gradual evolution as a singer: at this stage of his career he had already enriched the theatrical vocal style of the Genesis days with additional vocal approaches, while holding on to his recognizable, highly charismatic timbre.
The album drifts constantly between all sorts of genre elements, and you can really feel how the legendary artist was driven by an unbridled desire for his own distinct artistic expression, one he used to keep reminding the audience that he had become much more than just a former Genesis singer. The electrified “On the Air”, where he successfully fused hard rock punch with prog rock pomp, is one of the best opening tracks of his career. Breakneck guitar riffs cut straight to the bone, while synthesizer textures bring in the necessary doses of subtlety. Tying it all together is Peter’s incredible vocal charisma, delivering a mischievous lyric about a poor radio announcer. The cheeky “D.I.Y.” provides the first stylistic contrast, with Peter sounding like some mischievous brat pointing a finger at the whole world. His vocal delivery, laid over an impulsive acoustic backing, fits perfectly with the lyrical jab at all the modern-day hacks and false prophets. The buzzing of flies heralds “Mother Violence”, one of his most beautiful ballads, built on a romantic acoustic melody. On this overlooked, utterly unique pastoral classic, which he wrote with his first wife Jill, the lyrics touch on fear, which is usually the root cause of violence.
Uncle Gabe wouldn’t be the former Genesis singer if he hadn’t cooked up at least one sarcastic burlesque with “A Wonderful Day in a One-Way World”, soaked in British black humor. In it he charmingly parodies the petty bourgeoisie, something he would repeat many years later with the hit “Big Time”. The epic “White Shadow” is also a caustic satire of capitalism, with its ambient waves of synthesizers, majestic slide guitar passages, and let’s not even mention Fripp’s unmistakable, schizoid soloing. Thanks to its strong symphonic character, this is where you’ll find the most parallels with Peter’s Genesis legacy. “Indigo”, in which he tells of a painful parting from a loved one, is a moving ballad of varied sonic palettes. Peter sings here with heart-wrenching melancholy, while a rich array of instrumental flourishes flows in the background, led by meaningful synthesizer passages. “Animal Magic”, the album’s other humorous moment, is an interesting hybrid of blues burlesque with saloon piano passages and symphonic rock grandeur. As he tells the story of a loser who joins the professional army in the hope of becoming a “real man”, Gabe’s vocal and lyrical delivery positively drips with black humor.
One of the album’s peaks is the ambient-avant-garde “Exposure”, which will surely enchant every King Crimson fan, as it features good old Uncle Bob in all the glory of his famous frippertronics (special pre-recorded sound loops, which he delivers through effects on the electric guitar). The interplay between Fripp’s guitar artistry, Levin’s melodic bass lines and Peter’s constantly shifting vocal phases is incredible and creates an exceptional, orientally tinged mood. Anyone who ever toyed with the wild fantasy of what would happen if Gabriel guested with King Crimson gets the closest thing to it right here. A slightly different version of this classic appears on Fripp’s self-titled debut from 1979. The jazz-spiced ballad “Flotsam and Jetsam” is a moving vocal and lyrical portrait of a failed human relationship, further elevated by thick bass lines and witty piano touches. “Perspective” is a rowdy hard rock experiment with witty saxophone and piano bits. Peter’s nonchalant singing is joined by sharp backing vocal harmonies. The nostalgic ballad “Home Sweet Home” is a moving closer, where Gabe, during a melancholy vocal performance, plays around with elements of country, soul and jazz that are unusual for him.
The second chapter of Peter’s solo career is a brilliant experimental stew that casts the artist as a tireless adventurer, serving up eclectic sonic expressions that prove he was in constant artistic growth. You could say that here he invented his own style of progressive rock expression, one that almost completely buried his Genesis legacy. For anyone who happens not to fancy his later, highly sophisticated experimenting with world music and pop rock, this is practically the ideal pick. In its total compositional spontaneity and (by Gabe’s usual standards) rough production, “II” is a completely unique record in Peter’s discography, which is one of the main reasons it has been so widely misunderstood. As a curiosity, let me mention that “II” was originally conceived as part of a special, interlinked trilogy, to be completed by Fripp’s debut “Exposure” and Daryl Hall’s album “Sacred Songs”. All three albums shared production by stern Uncle Bobby, who, alongside Gabe, can easily be declared the main “star” of this excellent album.
Lineup
Peter Gabriel – vocals, piano, synthesizer
Robert Fripp – guitar
Tony Levin – bass guitar
Larry Fast – synthesizer
Jerry Marotta – drums
Sid McGinnis – guitar
Bayete – keyboards
Roy Bittan – keyboards
Tim Capello – saxophone
George Marge – recorders on tracks 6, 8 and 9
John Tims – insect sounds on track 3
Production
Robert Fripp
Tracklist
1. On The Air
2. DIY
3. Mother Of Violence
4. Wonderful Day In A One Way World
5. White Shadow
6. Indigo
7. Animal Magic
8. Exposure
9. Flotsam And Jetsam
10. Perspective
11. Home Sweet Home
