PETER GABRIEL 5 SEALED TITLES (7 LPs) including PETER GABRIEL 1/Car, SO, UP, US ands 4. - All are 200 Gram Audiophile Masterpieces

These Classic Pressings were cut from the original 1/2" 30 ips analog master tapes on the Classic all tube stereo cutting system at Bernie Grundman Mastering by "The Wizard" Bernie Grundman himself.

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PETER GABRIEL 1-  This Out of Print Limited Edition Audiophile Mastered LP (from the Original Session Tapes) was mastered by Classic Records.   This 200 Gram Heavy Vinyl LP has been critically acclaimed as the finest and quietest ever produced of  this recording.  It is a new listening experience that will virtually make you feel as if you were in the studio.

In 1977 there was much anticipation for the first solo effort from the flamboyant Gabriel.  Three years had passed since his swan song with Genesis.  He had certainly exited on a high note with THE LAMB LIES DOWN ON BROADWAY.  While fans shouldn’t have worried about the survival of Genesis without their original lead singer, neither would they be disappointed in his solo debut.  Produced by Bob Ezrin (Pink Floyd, Alice Cooper), he addressed the split with his band mates in the allegoric hit “Solsbury Hill”, while retaining the art-rock sensibilities he had pioneered. Tracks include:  Moribund The Burgermeister – Solsbury Hill – Modern Love – Excuse Me – Hmdrum – Slowburn – Waiting For The Big One – Down The Dolce Vita – Here Comes The Flood.

PETER GABRIEL SO-   This release features the additional tune "We Do What We're Told (Milgrames 37)" that was originally not on the Geffen vinyl issue in 1986.

Peter Gabriel introduced his fifth studio album  SO with "Sledgehammer," an Otis Redding-inspired soul-pop raver that was easily his catchiest, happiest single to date. Needless to say, it was also his most accessible, and, in that sense it was a good introduction to So, the catchiest, happiest record he ever cut. "Sledgehammer" propelled the record toward blockbuster status, and Gabriel had enough songs with single potential to keep it there. There was "Big Time," another colorful dance number; "Don't Give Up," a moving duet with Kate Bush; "Red Rain," a stately anthem popular on album rock radio; and "In Your Eyes," Gabriel's greatest love song which achieved genuine classic status after being featured in Cameron Crowe's classic, Say Anything. These all illustrated the strengths of the album: Gabriel's increased melodicism and ability to blend African music, jangly pop, and soul into his moody art rock. Apart from these singles, plus the urgent "That Voice Again," the rest of the record is as quiet as the album tracks of Security. The difference is, the singles on that record were part of the overall fabric; here, the singles are the fabric, which can make the album seem top-heavy (a fault of many blockbuster albums, particularly those of the mid-'80s). Even so, those songs are so strong, finding Gabriel in a newfound confidence and accessibility, that it's hard not to be won over by them, even if So doesn't develop the unity of its two predecessors. 

PETER GABRIEL UP -  That UP exists at all is faintly miraculous The production has been in the works since Peter Gabriel’s 1992 albums US.  Long time collaborators Tony Levin, Manu Katche and David Rhodes support the musical framework underlying Peter’s work, with the participating of a number of musical figures from Black Grape (Ged Lynch), Steely Dan (Steve Gadd)  Fleetwood Mac (Peter Green), Youssou D’Nour,  the Blind Boys of Alabama, and Nusrat Fateh Ali Khan.  The London Session Orchestra performs most of the string arrangements, which are present in several songs . Peter Gabriel has held recording sessions in Senegal, Atlanta, Singapore, the French Alps, and on a boat o the Amazon River, as well as at his own RealWorld studios.  Having written and prepared over 150 songs, he’s managed to cut this huge body of work down to just 10 tracks.  There’s remarkable consistency and contemporary feel here with Gabriel combining tribal rhythms with complex backing vocals, rock guitar, piano and electronic effects.   Indeed, the opener, “Darkness” begins with an aggressiveness that recalls the PRODIGY.  Elsewhere there is the dreamy “The Drop” and the orchestral heights of “Signal To Noise.”  Throughout Gabriel uses water metaphors to put forward his positivist message and it’s all brilliant, sophisticated and soulful.  The man’s a marvel and UP is a master work Some gems are easier to unearth than others  "Digging in the Dirt" has an insistent pulse, "Blood of Eden" and "Come Talk to Me" are quite beautiful, "Secret World" is quietly anthemic  yet, given enough time, the record's understated approach and reflection becomes its most attractive element. Transferred for the first time from the 30 ips analog master for 2 LP vinyl and packaged in a deluxe gatefold jacket makes for a definitive version.

PETER GABRIEL – US   Six years after earning his first blockbuster, Peter Gabriel finally delivered Us, his sequel to So. Clearly, that great span of time indicates that Gabriel was obsessive in crafting the album, and Us bears the sound of endless hours in the studio. It's not just that the production is pristine, clean, and immaculate, it's that the music is, with only a handful of exceptions (namely, the "Sledgehammer" rewrite "Steam" and the fellatio ode "Kiss That Frog"), remarkably subtle and shaded. It's also not a coincidence that Us is, as Gabriel says in his liner notes, "about relationships," since the exquisitely textured music lets him expose his soul, albeit in a typically obtuse way.

Gabriel is as adventurous as ever, yet he is relentlessly sober about his experiments, burying exotic sounds and percussion underneath crawling tempos measured atmospherics  this is tastefully two-toned music, assembled by a consummate craftsman who became too immersed in detail to make anything but an insular, introspective work.

PETER GABRIEL 4 -

#4 which was titled SECURITY  in the U.S. continues where the Third Gabriel album left off, sharing some of the same dense production and sense of cohesion, yet lightening the atmosphere and expanding

the sonic palette somewhat. The gloom that permeates the third album has been alleviated

and while this is still decidedly somber and serious music, it has a brighter feel, partially

derived from Gabriel's dabbling in African and Latin rhythms. These are generally used as

tonal coloring, enhancing the synthesizers that form the basic musical bed of the record. #4

flows easily and enticingly, with certain songs -- the eerie "San Jacinto," "I Have the Touch," "Shock the Monkey." #4 remains a powerful listen, one of the better records in Gabriel's catalog, proving that he is

becoming a master of tone, style, and substance, and how each part of the record enhances

the other.

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