Author: Peter Podbrežnik
Artist: Gabriel, Peter
Label: Charisma Records
Release: 1982
Length: 45:27
Rating: 4.5/5
The paths of artistic geniuses, whose daring creations shape legions of future generations, are often baffling and unpredictable. In the music world, there have been few visionary, original artists on the level of the legendary British singer Peter Gabriel. His musical projects still rank among the greatest feats in the history of popular music, especially when it comes to blending eclectic styles and putting innovative studio technology to work. In the early ’80s, Peter teamed up with co-producer David Lord to record his fourth consecutive album released under his own name, though in the US it was sold under the far more artsy title “Security”.
True to his tradition as an unpredictable sonic innovator, Mr. Gabriel served up a whole slew of moves on this record that were revolutionary for the time when it came to recording technology. “Security” is one of the first albums ever recorded with digital recording techniques. The instrumental arrangements are mostly electronic in nature, built on heavy use of electronic samples and percussion. Stunts like these were also made possible by the Fairlight CMI computer, which was outrageously expensive back then and today, of course, belongs in a museum. Working with digital samples and electronic percussion became standard practice for the rest of Peter’s career from here on out. His revolutionary sonic experiments landed on fertile ground in this highly ambitious project, which boasts an enviable mix of new wave, world music and experimental rock. In terms of its convincing fusion of wide-ranging styles and cutting-edge recording technique, “Security” is one of Peter’s most experimental and complex outings, and it never stops thrilling with its unpredictable nature, its sonic and lyrical transcendence and its phenomenal production.
Boundless genius as a composer, producer and lyricist notwithstanding, Peter would never have pulled off his crazy ideas without (as always) a tried-and-tested crew of top-notch musical comrades at his side, led by the lineup of Tony Levin (King Crimson), Jerry Marotta (ex-Orleans), Larry Fast (ex-Nektar) and David Rhodes (ex-Random Hold). Among the prestigious guests on the album, two stand out: the superb occasional drummer Simon Phillips, best known for his work with Toto, and the legendary singer Peter Hammill (Van Der Graaf Generator, solo) on backing vocals. The two brilliant Peters first worked together on “Exposure” (1979), the debut by King Crimson guitarist Robert Fripp. Uncle Gabriel once again managed to squeeze the maximum out of all these exceptional musicians.
The messages of the individual songs come vividly to life too, touching on a wide range of lyrical subjects. Peter once again proves himself a sharp observer of the human psyche and of social problems, and a sincere fighter for human rights. His uncompromising psychoanalysis of humanity kicks in already on the ultra-dramatic opening classic “The Rhytm of the Heat”. The lyrics were inspired by a near encounter between the famed Swiss psychologist Carl Jung and a group of African drummers. The scorching, I’d even say hellish atmosphere, built on new wave samples and world-music rhythms, above all the wild use of African percussion, locks the listener into a very particular trance in an instant, and it’s not hard to picture a fiery shamanic dance in the middle of an African village. Throughout the rest of the album, Peter also shows himself to be a passionate lover of world-music rhythms and a champion of the oppressed.
The transcendental “San Jacinto”, which reflects the fear of North and South American natives that their culture will vanish and be destroyed by white conquerors, is among the best compositions of the artist’s solo career. Peter’s voice is full of suffering and rage, while the awakening chorus lets you feel optimism and victory over fear. His excellent vocal performance is accompanied by a vivid use of electronic percussion and vibraphone, which bring an exotic vibe to the song, while witty samples and punchy guitar phrases chime in now and then. “I Have the Touch” is a prime example of art rock, feeding on melodic pop-rock arrangements laid over avant-garde rhythmic mannerisms. Peter’s singing holds on to a hypnotic central melody the whole way through, while the electronic samples flow beautifully between Levin’s melodic bass lines and Simon Phillips’ witty drum fills.
Next up is the avant-garde “The Family and the Fishing Net”, which offers a sarcastic comparison of a modern wedding to a voodoo sacrifice. Here Gabe’s prog-rock experimentalism shines in full glory, with completely bonkers rhythmic shifts and spine-chilling sound effects. Deranged vocal harmonies paired with schizoid samples and shamanic rhythms add up to a distinctive, creepy atmosphere. As far as building extraordinary atmospheric intensity goes, this is another one of the album’s peaks. The excellent “Shock the Monkey”, which scored a nice success as a hit single, is without a doubt the most recognizable piece in the whole batch of songs. This evergreen classic is an extremely witty allegory about jealousy, seen through the eyes of a frightened primate used as a metaphor for personality problems. Plenty of you will also remember the unforgettable, grotesque video in which Peter, with his face painted, teams up with a visibly terrified macaque to deliver a heaping dose of British black humor. Peter’s witty, chameleon-like vocal performance is backed by fat bass lines, lively rhythmic patterns and feisty synth bits. The hypnotic chorus is built in the best pop-rock manner, while the phenomenal finale, with its oriental synth passages and layered vocal harmonies, delivers a veritable sonic nirvana.
After this unforgettable burlesque, Peter gets “serious” again. The dramatic, unconventional ballad “Lay Your Hands on Me” touches on mental and spiritual healing through the mutual trust of two partners. Gabe would go on to explore this complicated territory on future albums too. Alongside Peter’s mournful singing, there’s no shortage of experimental, almost avant-garde sonic adventures. Within the song you’ll find plenty of electronic samples, mighty vocal harmonies, feisty world-music rhythms and even a few “rapped” bits. “Wallflower”, where Peter slips back into the role of human-rights crusader, since the lyrics deal with the mistreatment of political prisoners in Latin America in the mid-’80s, is much closer to a classic ballad. Accordingly, it ranks among the less interesting pieces on the album, even though the central melody, built on piano and synth touches, is finger-lickin’ good. Peter’s fully immersed singing, meanwhile, hits you right in the heart. The closing “Kiss of Life” is a fairly interesting piece that feeds mainly on witty rhythmic elements of world music, Latin to be precise, and on juicy synth passages. Peter’s singing is once again tinged with an enviable dose of melancholy, though there are occasional moments of vocal playfulness that fit perfectly with the feisty rhythmic embellishments.
The fourth act of Peter’s solo journey yielded one of his most experimental albums, one that still keeps thrilling with its stylistic and rhythmic variety. “Security” is the embodiment of songwriting and production mastery in every respect, the record that cemented the legendary artist as a great sonic innovator. Given its experimental nature, it’s actually quite a surprise that it scored a nice commercial success, led by the unconventional pop-rock hit “Shock the Monkey”. With its sonic refinement, it already pointed in many ways to one of the key ingredients that led to Peter’s later pop-rock triumphs and superstar status.
Lineup
Peter Gabriel – vocals, keyboards
Tony Levin – bass guitar
David Rhodes – guitar
Jerry Marotta – drums, percussion
Larry Fast – synthesizers
GUEST MUSICIANS:
Peter Hammill – backing vocals on 4, 5 and 6
Simon Phillips – drums on 3
John Ellis – bass vocals on tracks 1, 3, 8, guitar on tracks 2 and 4
Roberto Laneri – saxophone on 4
Morris Pert – cimbalom on track 6, percussion on track 8
Stephen Paine – Fairlight CMI on track 4
David Lord – synthesizer on 6 and 7, piano on 7 and 8
Jill Gabriel – bass vocals on 2
Ekome Dance Company – African drums on 1
Production
Peter Gabriel and David Lord
Track list
1. Rhythm Of The Heat
2. San Jacinto
3. I Have The Touch
4. Family And The Fishing Net
5. Shock The Monkey
6. Lay Your Hands On Me
7. Wallflower
8. Kiss Of Life
