Peter Gabriel - Us

Since his departure from Genesis, Peter Gabriel has crafted a very successful career blending his slight, anguished voice with studio sorcery and a bevy of world-music influences. However, Us does very little to build a case for his artistic growth in the six years that separate it from the commercial milestone of So. During the hiatus, Gabriel's marriage broke up, which undoubtedly contributes to the self-consciousness and introspection that permeate the album. The pop psychology of "Love to Be Loved" and "Washing of the Water" is overwrought. The exotic instrumentation on "Come and Talk to Me" seems intrusive and contrived. "Steam" and "Kiss the Frog" lighten the tone, but, as good-natured rockers, they are no matches for "Sledgehammer" or "Big Time." The production values and supporting players are of the highest order, but, with this material, Gabriel comes across as hypersensitive. Except for die-hard fans, Us is So-lite. --Rob Stewart Amazon.com

Just US folks

While US has received somewhat mixed reviews, I have to wonder if its only crime was that it was not a dramatic breakthrough after the six year hiatus that followed the release of SO. Amazon critic Rob Stewart's dismissal of the recording as "SO-lite," is certainly clever, but kind of a cheap shot. Yeah, the tunes designed as potential singles (whether ever released as such or not) were not quite the joyous ribaldry/anarchy of "Sledgehammer," but I'd disagree with Stewart that neithr "Steam" nor "Kiss that Frog" are also not up to the level of "Big Time," a song I thought an unworthy follow-up to "Sledge." I find these tracks much more engaging that "BT," and they DON'T end with a dumb, adolescent joke.

Stewart and other critics scoff a bit at the "hypersensitivity" they see here. It's an understandable criticism, in a way, and I will admit that I haven't been focusing much on the lyrics myself. (My copy is an older CD, left behind--ironically enough, given the album's main themes--by my ex--and if there ever was a lyric sheet, there isn't one now). Since I haven't been hanging on every word, I can't say for sure whether there is too much confessionalism going on here. But I can say that even a tune with a potentially mawkish title like "I Love To Be Loved" turns out to be a pretty potent musical experience. It takes a certain bravery to even attempt a song like that. The fact that he pulls it off with something like aplomb is a testament to his talent.

From what I can make out lyrically, I'm pretty impressed. Gabriel is one of those songwriters who doesn't have to be cool to be cool. The songs on US have a certain inevitable feel. It's almost as though "Digging In the Dirt" and "Washing of the Water" (he's got a thing for the present participle, doesn't he?) and "Blood of Eden" HAD to come into being. These are songs that pack an emotional wallop, even before you've quite figured out what they're all about.

About those lyrics: yes, I know I could look 'em up. And I probably will get around to it one day soon. But I don't really feel the NEED to (and I am something of a word person). That alone suggests that US works beautifully on a strictly musical level. For this l istener, that's certainly the case at least.



July 19, 2008

One of his best

It is astonishing to me that Amazon selected the fairly negative review by Rob Stewart as their editorial choice for this record..."Us" is surely in Gabriel's top 4. After "3/melt" and "Security," "Us" may be a tie for 3rd with his pop masterpiece "So," though it depends on mood; "Us" feels a bit more experimental than the brilliant pop of "So."

As with most of Gabriel's studio records, it's a concept record, and the concept here is relationships. The songs chronicle the breakdown of a relationship, namely Gabriel's marriage and divorce, and the subsequent emotional and psychological journey he experiences. It begins with Come Talk to Me, written about his daughter's struggle with her parents' marital breakdown. Then there is a contiguous narrative set of songs about the frustrations, longings, complexities, passion and pain of relationships in general, and male-female in particular(Love to Be Loved, Blood of Eden, Only Us, and Steam--this last one may or may not have to do with sex as often suggested, but Gabriel himself said it was about a relationship between someone projecting a cultured, educated persona and the guy who had the frustration of knowing what she really was like). Then there is the need to eventually let go of all the baggage and be renewed (Washing of the Water). That leads nicely into what I think is an ingenious metaphor for therapy, which Gabriel was going through at the time(the stunning Digging in the Dirt, which Gabriel said was about dealing with our violent impulses). Then there is the upbeat romp about finding new love when you're "past your prime" and feeling old n' ugly, and hoping she'll see you're a good guy (Kiss that Frog); and a beautiful epic summary reflection on the tragedy that is a failed marriage (Secret World). There's also the trademark Gabriel socio-political reflection, this one a brooding worldbeat meditation on the possibility of change(14 Black Paintings).

Musically, it is not incorrect to compare the sound of the record with "So," as some have done here, but it's not quite as accessible as "So." Although, Gabriel nicely melded his accessible "pop" sound with his more experimental spirit here. The arrangements are all solid; the sheer consistency of one good song after another throughout the record causes it to rise the top of his other work. Secret World and Digging in the Dirt are simply two of the best songs of his career (along with runner-up gems like the poignant, Gospel-inspired meditation Washing of the Water). Some of Tony Levin's cleverest bass work with Gabriel is on this record, along with some of Gabriel's most clever instrumental arrangements, and some of his most insightful and touching lyrics. Personally, it may be my favorite in his catalog. I could only give it 4 stars because "3/Melt" and "Security" get 5. May 20, 2008

Can't live without Us

It has been about 5 years since I have been looking locally for this CD. Finally I looked to Amazon and thank God. I finally have it back in my changer and it will probably never find its way back to its cover! September 21, 2007

Peter Gabriel's Best Album, Done Even Better

When "Us" was released in 1992, it immediately became a steady staple in my musical diet. It was the perfect musical acompaniment to a rocky relationship I was wrestling with. The album stayed in heavy rotation for two years, until most of my collection was stolen during a drug addict break-in.

I wasn't aware of this 2002 remaster release until last month, when I was perusing Amazon for those few remaining CDs that I haven't managed to replace yet.

Replete with subtle, complex musical arrangements and intensely humane lyrics, "Us" is Peter Gabriel's best, most complete album. "So" is a close second, but there are a few tracks on "So" that seem like mere filler. Not so on "Us." Every track seems purposefully crafted and included, with the possible exception of "Fourteen Black Paintings" (not a bad song at all, just sounds more like it belongs on a movie soundtrack). I suppose you could also argue that the two mainstream pop-esque songs, "Steam" (which I always thought was similar to -- but much better than -- "Big Time") and "Kiss That Frog," don't quite harmonize with the overall emotional tenor of "Us," but I won't quibble with greatness. "Come Talk to Me" is a compelling opening and invitation, followed immediately by the beautiful and moving "Love to be Loved" and "Blood of Eden." And you can't find more musical honesty and integrity than showcased in "Washing of the Water" and "Digging in the Dirt."

The remastered version superbly highlights the many acoustic nuances that were so painstakingly crafted by Gabriel. Can't recommend it highly enough -- just make sure to treat yourself to excellent speakers or headphones that can really showcase everything going on here. Then sit back and sail away. Wrestling with heartache never felt so good. August 13, 2007

Skip Rob Stewart's Review

If you are considering purchasing this album, WHATEVER you do, read beyond the first review (if it is still the review by Rob Stewart). This is an absolutely brilliant recording and is essential listening for anyone seeking deep, emotional, thought provoking music crafted using atypical instrumentation and rhythms. It is more difficult to convey pain and loss convincingly to others on a musical instrument than any other emotion. In truth, very few people are truly even able to do so. And furthermore, the more instruments used when trying to express this very ancient and basic emotion, the more the emotion itself becomes buried. With "Us", Gabriel has created something so personal that it feels like you're reading a letter to his ex-wife that you've accidentally found among his possessions---except, you're hearing it instead of reading it. It would be difficult for a non-musician to understand how hard it is to make someone else feel exactly like you do using a musical instrument. Here, Gabriel manages to express the kind of grief one typically hears in blues or gospels. It is remarkable how many exotic instruments grace this recording, and yet the entire affair is one giant perfect symbiotic swirl of beauty, grace, pain and guilt. One can hear the desperation in Gabriel's very voice as well as in the vibrato of most of the instruments. In short, to accomplish an aural/musical plea for forgiveness so effectively is a stunning accomplishment, regardless of whether you regard it as "better" or "worse" than his last recording.
It goes without saying that Gabriel's body of work has been highly influential, and as an artist, he is truly peerless---look up Real World Records or WOMAD on the internet---Gabriel doesn't sit on his laurels like some others ("Sir" Geldof).
This is required listening. July 31, 2007

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