Product Description A decade in the making 'Up' is Peter Gabriel's 12th solo album but his first 'song based' effort since 1992's 'Us'. Featuring numerous guest appearances including Peter Green, Black Dyke Mills Band, Youssou N'Dour and the late Nusrat FatehAli Khan. 'Up' was reportedly pared down from a staggering 150 recorded songs. Features the single 'The Barry Williams Show'. .co.uk That Up exists at all is faintly miraculous. Over the past seven years, with guests including Youssou N'Dour, Peter Green, Blind Boys of Alabama and Nusrat Fateh Ali Khan, Peter Gabriel has held recording sessions in Senegal, Atlanta, Singapore, the French Alps and on a boat on the , as well as spending lengthy sojourns in his own Real World studios. Having written and prepared over 150 songs, it's amazing that Gabriel's managed to cut this huge body of work down to just 11 tracks. It's still more amazing that these tracks should be so consistent, and so contemporary. This quality springs from a thoughtful (and rare) layering process, with Gabriel combining his usual tribal rhythms with complex backing vocals, myriad samples, rock guitars, deep piano and--crucially--electronic sound effects. Indeed, the opening "Darkness" begins like the Prodigy before slipping into a quiet discussion of vulnerability and fear. Elsewhere, there is the funky gospel-rock of "Burn You Up, Burn You Down", the dreamy, Peter Hammill-like fragility of "The Drop" and the vocal pyrotechnics and orchestral heights of "Signal to Noise". Throughout, Gabriel uses water metaphors, from droplets to oceans, to examine human troubles and put forward his positivist message. It's all brilliantly done--sophisticated and soulful both. The man's a marvel, and this is a big, big hit. --Dominic Wills
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Review There's a scene in Grosse Point Blank where John Cusack as Martin Blank meets an old school friend in his home town following a lengthy period of disappearance (spent working as an assassin) and all his buddy can say is, ''Ten years! TEN YEARS MAN!?! Where have you been?'' Even the most patient of Gabriel's followers will be muttering something similar, especially as what is contained on the long-awaited follow-up to Us is, on first spec, pretty much a direct continuation of what he was doing a decade ago. Or is it?Firstly any sonic similarity to previous work is easily explained by the fact that many of the songs on offer here were actually started during the sessions for Us. In the intervening period Gabriel has produced music for the Millenium Dome (OVO) and film The Rabit-Proof Fence, written stuff with apes (no Monkees or Gorillaz jokes, please), kept his Real World label going, worked with Greenpeace, WOMAD and the Witness programme for human rights and married and become a father again, so get off his case -he's no idle wheel-spinner. Likewise this album is no coasting exercise. Like every great work it takes a little living with to tease out the depth and intricacies that lie at its heart but eventually reveals itself as both mature and full of wonders.Initial listens will leave one with a sense of aching sadness yet (PG says), like its title, this is an album of positive life-affirmation. By this he refers to the central themes of death and renewal. No shirking the big issues then, eh? The title track deals with the process of grieving, as (unsurprisingly) does ''I Grieve'', whereas ''Growing Up'' is a description of just that a soul's journey on this mortal coil. ''Don't Leave'' is a description of someone critically wounded, yet focuses on the pull of loved ones, urging the victim back to the land of the living.If this all sounds ponderously deep, it's not. Gabriel's correct that what's on offer here is an ability to face up to and deal with our mortality and frailty without seeing it as a bleak Beckettian journey into a void. ''More Than This actually'' goes as far as to say, again and again, that there is something beyond mere existence and ''Darkness', while discordant and brooding on the nature of fear, has a chorus of ''I cry until I laugh'' seems to hint at therapy that heals. There is humour here too, albeit of a scathingly black kind on the Jerry Springer-baiting funkathon, ''The Barry Williams Show''.Musically the textures are unbelievably rich with subtle beats and washes of sound provided by the usual team of David Rhodes (guitars) and Richard Chappell (programming), mixed to perfection; all underpinned by Tony Levin's fabulous bass and aided by luminaries as diverse as Daniel Lanois, Danny Thompson, The Blind Boys Of Alabama, Nusrat Fateh Ali Khan and the Black Dyke brass band. True, the structures havent moved far away from So and Us but as Mike Love once said to Brian Wilson, "why f**k with the formula?" Gabriel remains a songsmith who speaks from the heart and never fails to move. Ten years suddenly seems like minutes and all is forgiven... --Chris JonesFind more music at the BBC This link will take you off in a new window See more
Reviews
4.6
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D**R
Took it's time...
From the shock tactic opening killer 'Darkness', you can be sure that you have trespassed in Gabriel's World. Before you are allowed to go free, you'll have to reside for a while and focus on the surroundings, eloquently delivered, by your most expressive host.First track, 'Darkness', is going to mug your soul. It's a rare Gabriel track, one that is instantly in there, never to be forgotten. As other tracks are left to grow on you, this opener has already taken root.It's been a painful wait for this album and it's obvious that based on the recognisable Gabriel touch, a whole decade of further influences have been shaped and moulded.'Growing Up' has a more retro feel, an old style comfortably waiting to be heard. 'Sky Blue' is also very reminiscent of his early work, hints of 'So', and a very welcome feeling it gives too.'No Way Out' is barely a departure, nothing scarily unfamiliar, just mellow and mixed. Uncertain of it's identity of era, it's one of the more worthwhile tracks.'I Grieve' is a typically heartfelt affair, slightly overshadowed by the next track, 'The Barry Williams Show', the more up-beat, down-morals number punctuated by Tony Levin's unmistakable Bass.'My Head Sounds Like That' gets the nerves back together and brings you down in a similar, rather spooky, vein to 'The Lamb Lies Down On Broadway' of old. While 'More Than This' gives back some sense of reality, 'Signal To Noise' will just pitch you right back. Teasing you with the regular normality at the start, this finishes off as something close to epic.And relax. The last track, 'The Drop', will ease you back with a slightly more improved perception of the world.Typically, Gabriel brings together some outstanding musicians from the globe and, at long bloody last, gives us another worthy work of art.Slightly more sinister perhaps, or just my own paranoia, on the sleeve notes it is written: "...and to Martin - we will miss you."
H**N
Keep listening - one of his finest moments.
This is a breathtaking album. It feels like a culmination of all the threads that Gabriel has been working all these years. If you're expecting a continuation of the ethnic sounds of "Us" or the accessibilty of "So" you're in for a big surprise. This is a multi-layered album, both musically and emotionally, with Peter covering some familiar ground of the human condition, and everything from Islamic sounds to strings to a serious techno/metal bit (Darkness.) It's not an album that grips at first, but it intrigues, captures your ear then blows you away. If you are familiar with Peter's past work, you'll hear elements of everything here, but this is a new, darkly rich and evocative avenue. He is in possibly his best voice ever, and the production gives plenty of space to appreciate his inimitable vocal. Stand-out tracks for me are "Growing Up" which sticks in your head and jumps out on you at unexpected moments, and "Signal to Noise" which displays such a breadth of inspiration yet ties it all together in a coherent piece of sheer beauty, with probably the best vocals on the album. Get this album with the expectation of the unexpected, and you won't be disappointed.
M**N
A masterpiece
A Peter Gabriel modern masterpiece. Get it and play it loud.
B**M
It's not the peak of So and Us together but still good
A good signing off by Peter Gabriel if he's not going to make any more brand new studio albums (I say that since in 2013 Gabriel will re-release the So album and tour with it again). The Barry Williams Show is one of the standout tracks but as always with Gabriel it's a whole-album ride and it grows on you and hangs together well.
C**E
Sublime
This is a beautiful album from Peter. When I first listened to it I wasn't sure if it was up there with his best work,but after a few listens I think It's one of his finest.The mood is very introspective,but Gabriel's beautiful voice and fine lyrics are a joy to behold. My favourite track is "Sky Blue " with the Blind boys of Alabama showing a lot of vision on backing vocalsIt's good to see Peter still being creative with so many of the artists of his era still performing their greatest hits package.I fell in love with that voice when I bought the "Trespass" album and have been a fan ever since !
D**N
UP
Another great Peter Gabriel product, parts of which I had only heard on live albums before. Recommended to al lovers of Gabriel/Genesis.
R**.
PG in Great Form
As usal another great release of PG. A very good CD.
D**B
Excellent!
An excellent collection of songs. Fantastic production deserving many listens that reveal the deep layering of sounds. Has remained a favourite for some time now and showcases the excellent song writing talents of Mr Gabriel.
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There's a scene in Grosse Point Blank where John Cusack as Martin Blank meets an old school friend in his home town following a lengthy period of disappearance (spent working as an assassin) and all his buddy can say is, ''Ten years! TEN YEARS MAN!?! Where have you been?'' Even the most patient of Gabriel's followers will be muttering something similar, especially as what is contained on the long-awaited follow-up to Us is, on first spec, pretty much a direct continuation of what he was doing a decade ago. Or is it?
Firstly any sonic similarity to previous work is easily explained by the fact that many of the songs on offer here were actually started during the sessions for Us. In the intervening period Gabriel has produced music for the Millenium Dome (OVO) and film The Rabit-Proof Fence, written stuff with apes (no Monkees or Gorillaz jokes, please), kept his Real World label going, worked with Greenpeace, WOMAD and the Witness programme for human rights and married and become a father again, so get off his case -he's no idle wheel-spinner. Likewise this album is no coasting exercise. Like every great work it takes a little living with to tease out the depth and intricacies that lie at its heart but eventually reveals itself as both mature and full of wonders.
Initial listens will leave one with a sense of aching sadness yet (PG says), like its title, this is an album of positive life-affirmation. By this he refers to the central themes of death and renewal. No shirking the big issues then, eh? The title track deals with the process of grieving, as (unsurprisingly) does ''I Grieve'', whereas ''Growing Up'' is a description of just that a soul's journey on this mortal coil. ''Don't Leave'' is a description of someone critically wounded, yet focuses on the pull of loved ones, urging the victim back to the land of the living.
If this all sounds ponderously deep, it's not. Gabriel's correct that what's on offer here is an ability to face up to and deal with our mortality and frailty without seeing it as a bleak Beckettian journey into a void. ''More Than This actually'' goes as far as to say, again and again, that there is something beyond mere existence and ''Darkness', while discordant and brooding on the nature of fear, has a chorus of ''I cry until I laugh'' seems to hint at therapy that heals. There is humour here too, albeit of a scathingly black kind on the Jerry Springer-baiting funkathon, ''The Barry Williams Show''.
Musically the textures are unbelievably rich with subtle beats and washes of sound provided by the usual team of David Rhodes (guitars) and Richard Chappell (programming), mixed to perfection; all underpinned by Tony Levin's fabulous bass and aided by luminaries as diverse as Daniel Lanois, Danny Thompson, The Blind Boys Of Alabama, Nusrat Fateh Ali Khan and the Black Dyke brass band. True, the structures havent moved far away from So and Us but as Mike Love once said to Brian Wilson, \"why f**k with the formula?\" Gabriel remains a songsmith who speaks from the heart and never fails to move. Ten years suddenly seems like minutes and all is forgiven... --Chris Jones
","image":["https://m.media-amazon.com/images/I/61x+NH-bDoL.jpg","https://m.media-amazon.com/images/I/51YMlnZnxWL.jpg"],"offers":{"@type":"Offer","priceCurrency":"MAD","price":"368.02","itemCondition":"https://schema.org/NewCondition","availability":"https://schema.org/InStock","shippingDetails":{"deliveryTime":{"@type":"ShippingDeliveryTime","minValue":3,"maxValue":3,"unitCode":"d"}}},"category":"pop","review":[{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"D***R"},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 23 September 2002","name":"\n\n\n\n\n\n\n\n \n \n Took it's time...\n \n","reviewBody":"From the shock tactic opening killer 'Darkness', you can be sure that you have trespassed in Gabriel's World. Before you are allowed to go free, you'll have to reside for a while and focus on the surroundings, eloquently delivered, by your most expressive host.First track, 'Darkness', is going to mug your soul. It's a rare Gabriel track, one that is instantly in there, never to be forgotten. As other tracks are left to grow on you, this opener has already taken root.It's been a painful wait for this album and it's obvious that based on the recognisable Gabriel touch, a whole decade of further influences have been shaped and moulded.'Growing Up' has a more retro feel, an old style comfortably waiting to be heard. 'Sky Blue' is also very reminiscent of his early work, hints of 'So', and a very welcome feeling it gives too.'No Way Out' is barely a departure, nothing scarily unfamiliar, just mellow and mixed. Uncertain of it's identity of era, it's one of the more worthwhile tracks.'I Grieve' is a typically heartfelt affair, slightly overshadowed by the next track, 'The Barry Williams Show', the more up-beat, down-morals number punctuated by Tony Levin's unmistakable Bass.'My Head Sounds Like That' gets the nerves back together and brings you down in a similar, rather spooky, vein to 'The Lamb Lies Down On Broadway' of old. While 'More Than This' gives back some sense of reality, 'Signal To Noise' will just pitch you right back. Teasing you with the regular normality at the start, this finishes off as something close to epic.And relax. The last track, 'The Drop', will ease you back with a slightly more improved perception of the world.Typically, Gabriel brings together some outstanding musicians from the globe and, at long bloody last, gives us another worthy work of art.Slightly more sinister perhaps, or just my own paranoia, on the sleeve notes it is written: \"...and to Martin - we will miss you.\""},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"H***N"},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 21 April 2003","name":"\n\n\n\n\n\n\n\n \n \n Keep listening - one of his finest moments.\n \n","reviewBody":"This is a breathtaking album. It feels like a culmination of all the threads that Gabriel has been working all these years. If you're expecting a continuation of the ethnic sounds of \"Us\" or the accessibilty of \"So\" you're in for a big surprise. This is a multi-layered album, both musically and emotionally, with Peter covering some familiar ground of the human condition, and everything from Islamic sounds to strings to a serious techno/metal bit (Darkness.) It's not an album that grips at first, but it intrigues, captures your ear then blows you away. If you are familiar with Peter's past work, you'll hear elements of everything here, but this is a new, darkly rich and evocative avenue. He is in possibly his best voice ever, and the production gives plenty of space to appreciate his inimitable vocal. Stand-out tracks for me are \"Growing Up\" which sticks in your head and jumps out on you at unexpected moments, and \"Signal to Noise\" which displays such a breadth of inspiration yet ties it all together in a coherent piece of sheer beauty, with probably the best vocals on the album. Get this album with the expectation of the unexpected, and you won't be disappointed."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"M***N"},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 7 March 2021","name":"\n\n\n\n\n\n\n\n \n \n A masterpiece\n \n","reviewBody":"A Peter Gabriel modern masterpiece. Get it and play it loud."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"4.0"},"author":{"@type":"Person","name":"B***M"},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 3 March 2013","name":"\n\n\n\n\n\n\n\n \n \n It's not the peak of So and Us together but still good\n \n","reviewBody":"A good signing off by Peter Gabriel if he's not going to make any more brand new studio albums (I say that since in 2013 Gabriel will re-release the So album and tour with it again). The Barry Williams Show is one of the standout tracks but as always with Gabriel it's a whole-album ride and it grows on you and hangs together well."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"C***E"},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 23 December 2002","name":"\n\n\n\n\n\n\n\n \n \n Sublime\n \n","reviewBody":"This is a beautiful album from Peter. When I first listened to it I wasn't sure if it was up there with his best work,but after a few listens I think It's one of his finest.The mood is very introspective,but Gabriel's beautiful voice and fine lyrics are a joy to behold. My favourite track is \"Sky Blue \" with the Blind boys of Alabama showing a lot of vision on backing vocalsIt's good to see Peter still being creative with so many of the artists of his era still performing their greatest hits package.I fell in love with that voice when I bought the \"Trespass\" album and have been a fan ever since !"},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"4.0"},"author":{"@type":"Person","name":"D***N"},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 25 May 2014","name":"\n\n\n\n\n\n\n\n \n \n UP\n \n","reviewBody":"Another great Peter Gabriel product, parts of which I had only heard on live albums before. Recommended to al lovers of Gabriel/Genesis."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"3.0"},"author":{"@type":"Person","name":"R***."},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 25 October 2017","name":"\n\n\n\n\n\n\n\n \n \n PG in Great Form\n \n","reviewBody":"As usal another great release of PG. A very good CD."},{"@type":"Review","reviewRating":{"@type":"Rating","ratingValue":"5.0"},"author":{"@type":"Person","name":"D***B"},"datePublished":"Reviewed in the United Kingdom 🇬🇧 on 27 December 2013","name":"\n\n\n\n\n\n\n\n \n \n Excellent!\n \n","reviewBody":"An excellent collection of songs. Fantastic production deserving many listens that reveal the deep layering of sounds. Has remained a favourite for some time now and showcases the excellent song writing talents of Mr Gabriel."}],"aggregateRating":{"@type":"AggregateRating","ratingValue":4.5,"bestRating":5,"ratingCount":8}}
