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SPECIAL ANNIVERSARY EDITION 02
"Hello Everyone! My, It's been a fun-filled 2 years, hasn't it? Imagine that... 2 years already! And to celebrate the occasion, we are offering you this very
special show. This recording was sourced from the Pre-FM Master Reels of the Radio Broadcast, a source which was previously unavailable until now. The
result is much higher quality sound compared to other available versions of this concert. We hope that you agree. Now, it is time for us to move on to
our 3rd year. We already have some real dandies in the works. Just wait and see :) Thank You for Supporting PRRP!
PRRPSAE02-PETER GABRIEL
BROKEN EYES AND CONTACT LENSES
March 15, 1977 (Music Hall - Cleveland, Ohio)
1.1 Here Comes The Flood (Piano Version) 2:57
1.2 On the Air 4:08
1.3 Moribund The Burgermeister 4:47
1.4 Waiting For The Big One 7:53
1.5 A Song Without Words 3:53
1.6 Excuse Me 3:20
1.7 Solsbury Hill 5:17
1.8 Ain't That Peculiar 5:17
1.9 Why Don't We 7:08
1.10 Humdrum 4:19
1.11 Peter Talking 1:11
1.12 Slowburn 5:20
1.13 All Day And All Of The Night 4:12
2.1 Here Comes The Flood (Band Version) 4:12
2.2 Modern Love 4:37
2.3 Band Introductions 1:09
2.4 Down The Dolce Vita 10:36
2.5 Back In N.Y.C. 7:37
Bonus Track
2.6 Peter Gabriel Interview-Piccadilly Radio
(April 1977-Manchester,UK) 15:56
Peter Gabriel - Lead Vocals, Piano, Flute and Percussions
Dusty Rhodes (aka-Robert Fripp - Guitars & Effects
Steve Hunter- Lead Guitars
Tony Levin - Bass Guitars, Stick, Backing Vocals
Larry Fast - Synthesizers
Alan Schwartzberg - Drums, Percussion and Backing Vocals
Phil Aaberg - Keyboards and Backing Vocals
John Maelen - Percussion and Backing Vocals
YOU CAN KEEP MY THINGS…
The tempest had died down. It was done. Peter Gabriel had left Genesis in 1975 after The LAMB LIES DOWN ON BROADWAY tour and was now about to
embark upon a whole new venture as a solo artist. Phil Collins was the new lead singer of the band Gabriel had left behind, and with the albums A TRICK
OF THE TAIL and WIND AND WUTHERING, both released in 1976, Genesis were enjoying new levels of success in album sales and concert attendances. This
prompted mixed feelings for their ex-frontman, as he would later explain: “It felt kind of strange for me. I mean, I was very happy for the guys because I
knew they could make it without me but it’s strange how the way people feel about you can change so fast. When I was with Genesis, just because of
the costumes and the stage shows, people assumed that I ‘was’ Genesis, that I was doing everything, which was a faulty vision that I constantly fought
to dispel. But when I had left and the band was reaching new heights, people started to assume that I had done nothing, which was a bit ego-bruising,
to say the least !”…
With that in mind, Peter Gabriel now had to prove that he could stand alone and create his own musical world. No easy task after such an incredible
run with as great a band as Genesis was then, but Gabriel was never a man to shy away from a challenge From the very start, he knew that he had to
be as different from Genesis as possible, Both musically and visually - no more long and syncopated musical suites, no more batwings and flower masks.
The last months of 1975 and the first half of 1976 were spent at his home in England, resting with his family and slowly writing new material on the piano.
Having dug deep into his own musical background, he created a very special collection of songs, each of which had a distinct personality of its own,
and he set about recording his first solo album. In an effort to get away from the archetypal ‘English’ rock sound, Gabriel sought the help of American
producer Bob Ezrin, well known for his work with Alice Cooper and Kiss. Most of the resulting album was recorded at Soundstage studio in Toronto,
Canada. Ezrin’s involvement in the project undoubtedly helped bring forth the raw sound that Gabriel was looking for, but it was the choice of musicians
in his new recording band that would ultimately make this first solo album such a departure from Gabriel’s previous recorded work.
Steve Hunter’s harsh guitar licks and Allan Schwartzberg’s heavy drums were as far removed from the Hackett-Collins combination as could possibly be
imagined, while Larry Fast’s discrete synthesizer work couldn’t be further away from Tony Banks’ huge presence on the keyboards. Add Tony Levin, an
amazing bass player with a unique style of his own, and the brilliant ex-King Crimson guitarist Robert Fripp (who would insist on staying in the shadows,
both on the album and the ensuing tour when he was referred to only as ‘Dusty Rhodes’), and you have all the elements needed to create an album as
different from Genesis and progressive rock in general as a fly is from a windshield ! To further accentuate the contrast, Gabriel would also bring in
orchestral arrangements for one of the songs, another first for the ex-Genesis angel. One could still hear vague musical remnants of Peter’s days with
Genesis in songs like “Moribund The Burgermeister” and “Down The Dolce Vita”, but for the most part, this first solo effort was very fresh in its overall
approach and it came as a delightful surprise to Peter Gabriel fans the world over. The advertising campaign which accompanied the release of the
album in February 1977 advised listeners to ‘Expect The Unexpected’. Wise words indeed.
With the album and first single “Solsbury Hill” achieving deserved success, March 1977 saw Gabriel taking his new music out on the road. Electing to
avoid using costumes and elaborate stage choreography, Gabriel’s voice, body and music would now be the only weapons he would use to try and
conquer a whole new audience. The set list consisted of the new album in its entirety, along with early versions of new songs that would later appear on
his second album, and even a few covers. By the time the tour reached the UK, the following month, “Why Don’t We?” had been dropped from the set,
never to reappear live or in a recorded version.
Was the surprisingly heavy interpretation of Genesis’ “Back In NYC” as an encore a concession to his older fans ? Only Peter could tell us but after playing
“The Lamb Lies Down On Broadway” on the 1978-79 tour for his second album, no more Genesis song would ever be included in the set list of a Peter
Gabriel show. The man was intent on making it on his own ! And it all began with the 1977 tour for his first album, from which we proudly bring you this
exceptional recording of what was only Gabriel’s sixth ever solo performance. We most certainly hope that you are going to enjoy it as much as we do.
PRRP Staff
Notes from the Re-Master
This recording comes to us as a CD copy of the master pre-FM reels. The show was initially broadcast in the Cleveland area which has lead to a
number of versions of the recording being available to the public. But this is the first time, to our knowledge; this pre-FM source has been available.
Despite its Pre-FM status there was still quite a bit of noise in this recording. Multiple techniques of noise reduction were tried but eventually an
inversion-subtraction method was found to be most effective. This noise cancellation technique was variably applied throughout the show as needed to
reduce the perceived noise. Manual removal of pops and clicks was necessary as was selective removal of an occasional buzz.
Tonality also needed a bit of adjustment. The original source was quite deficient in the bass and sub-bass components. Those were boosted. There
were sections with prominent bass drum where even further bass enhancements were needed. Other sections were a little excessive in the treble range.
Rather than a global treble reduction, a dynamic de-esser in the high treble range seemed most effective. This technique smoothed both the excessive
sounding “SS” when sung and the occasional piercing character of the high toned instruments.
Track gaps were found and removed. Some audience noise was reduced in volume but not was cut in length. The discs were re-balanced
because the interview was added at the end of the show. This required a mix-pasting of the original cut in the show but fortunately, no patch was
necessary as the cut occurred during applause. Finally, a small amount of echo was added to enhance the sound. Since this was a soundboard
recording the presence was a bit dry and the sound character of a truly live performance was lacking. Adding a bit of echo helped to correct this
problem.
The Interview section had quite a bit of noise that needed reduction. Two different techniques were used to accomplish this. The tonality also
needed adjustment. Bass was reduced and treble/midrange was enhanced to better understand the dialogue. Frequent pops and clicks occurred and
were manually removed. Finally, the Right channel was suppressed compared to the left and so the two channels were re-balanced.
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