A KILLER shootout winning UK copy with Triple Plus (A+++) sound on both sides, on quiet vinyl too
The overall sound here is incredibly big and full, with punchy bass and energy that’s off the charts
Probably his most consistent recording, with the estimable Robert Fripp on guitar – some of his most innovative mainstream music
A 4 1/2 star: “…stunning slices of modern rock circa 1978, bubbling with synths, insistent rhythms, and polished processed guitars, all enclosed in a streamlined production that nevertheless sounds as large as a stadium.”
This is one of our favorite Peter Gabriel albums around here, and may well be the best recording he ever made. The typical copy, though, barely hints at just how good this album can sound. Only the best early British pressings have any hope of sounding this good.
Thankfully the second PG album does not suffer from the digital spit, grit and hash of So and Security. It’s arguably his best recording overall with superb dynamics and a clean, punchy rock sound that perfectly fits the music. Some of the cymbal crashes on the hot copies of this album really CRASH.
This is The Peter Gabriel Rock and Roll Album. To my knowledge he never made another.(more…)
A stunning sounding copy with shootout winning Triple Plus (A+++) sound from start to finish
Killer throughout – bigger, bolder, more bass, more energy and presence, and the list goes on
Clearly the hardest of the first five PG records to find with good sound and decent vinyl, which is why these rarely make the site
“…much of the record teems with invigorating energy (as on Slowburn, or the orchestral-disco pulse of Down the Dolce Vita), and the closer “Here Comes the Flood” burns with an anthemic intensity that would later become his signature in the ’80s.”
Tubey Magical Richness and breathy vocals are the hallmarks of a good British PG 1.
Unlike any that follow, the sound varies greatly from track to track on the first PG album, as does the music. You know you have a good copy when the best sounding tracks sound their best. That may seem like a tautology but is in fact the only way to judge a side when the songs sound this different from one another.
What to Listen For (WTLF)
On side one the fourth track, Excuse Me, with its barbershop quartet harmonies, has (potentially — it depends on how good your copy is) Demo Disc Quality Sound.
On side two of the best copies Waiting for the Big One will indeed be big, as well as powerful and above all dynamic.