Following his departure from Genesis in the summer prior, Peter Gabriel unveiled his eponymous first solo album in February 1977, marking a significant new chapter at the age of 26. Enlisting the acclaimed producer Bob Ezrin, the ambition was clear: to forge a sound that was more immediate and assertive than his previous work.
“With the first album, having just left Genesis, I was accustomed to defined roles within a band. Suddenly finding myself in a studio surrounded by incredibly skilled musicians was quite daunting. It took me about three albums to truly gain confidence and discover what made my musical identity distinct. This first record was very much a process of exploration.”
Peter Gabriel collaborating with engineer in the recording studio control room.
“I chose Bob Ezrin to produce the album after meeting with numerous producers. He was based in Toronto at the time, and we worked at his studio there. He recommended some musicians, and I brought in others. It was fascinating to see how this mix would come together.”
Gabriel’s desire was to intentionally distance his solo work from his Genesis past. This meant venturing into diverse musical territories.
“I really wanted this first record to sound different from my work with Genesis. We experimented with various styles – even a touch of barbershop, which Tony Levin contributed to. There were blues-infused tracks, a real mix of songs and arrangements, all consciously designed to offer something distinct from my Genesis era.”
Harmonium being set up for recording in a bathroom to capture unique acoustics during Peter Gabriel’s first solo album sessions.
The recording sessions took place during a Toronto winter, a starkly different environment from his usual surroundings.
“The sessions were in Toronto in the winter, with a lot of snow. I used a bicycle to get around and explore Toronto. It feels like such a long time ago now – Tony Levin even had hair back then, which is hard to believe now. He’s been bald for so many years, and now I’m heading that way myself. Looking back at photos from that time, that’s what strikes me most.”
Peter Gabriel preparing to go on stage during his early solo career, showcasing his departure from Genesis era theatrics.
The album artwork, a crucial element of Peter Gabriel’s albums, was conceived with Hipgnosis, a design group he had briefly collaborated with towards the end of his time with Genesis. Storm Thorgerson and Peter Christopherson of Hipgnosis were instrumental in shaping album cover art as an art form.
“The album cover was done with Hipgnosis. I had worked with them a bit towards the end of Genesis, especially Storm Thorgerson and Peter Christopherson. They were so influential in how album sleeves evolved. Storm had this dry, laconic humor, which made working with him really enjoyable. You’d often end up being the subject of his jokes, but I always loved working with him. It was actually his car I was sitting in on the cover. I liked the idea of water, the black and white, and the blue tint.”
The iconic cover image, featuring Gabriel in a water-sprayed car, was meticulously crafted.
The picture was taken in Wandsworth, London, in Storm Thorgerson’s Lancia Flavia. It was sprayed with water, and Peter sat in the passenger seat. Originally black and white, the artwork was hand-colored, with each water droplet painstakingly highlighted by Richard Manning.”
Another cover concept involved mirrored contact lenses, showcasing Gabriel’s penchant for visual experimentation.
“One idea I had for that first cover was mirrored contact lenses. It took about a month to find someone who could make them. A company in America, I think in Boston, agreed, but made me sign a waiver about eye damage, as they were putting mirror on the back of hard lenses. They were painful but looked incredible – like having steel balls for eyes. I remember wearing them on a plane once and scaring a few people, which I enjoyed. But the mirror eventually wore off.”
Peter Gabriel’s experimentation with mirrored contact lenses for a photoshoot during his first solo album era.
Another memorable photo session involved underwater filming with Terry O’Neill.
“Another photoshoot I enjoyed was with Terry O’Neill. I wanted to do this underwater smoking concept. He found this old 70s disco in London with colored lights and a small pool in the center – the kind of place they’d fill with scantily clad women in a very Hefner style. I went into the pool to film, and the lights shorted, giving me a shock underwater. That session was quite fun, though.”
Peter Gabriel during an underwater photoshoot, exploring visual concepts for his debut solo album, moving away from Genesis stage persona.
Touring for the album marked Gabriel’s first time on the road without Genesis, a significantly different experience.
“Going on tour with a band other than Genesis was very different. Some musicians were true professionals, flying back to New York between shows for jingles. Others were more like me, focused on the music over maximizing income.”
The tour was nonetheless enjoyable, highlighted by memorable performances from percussionist Jimmy Maelen.
“But it was a lot of fun. I remember Jimmy Maelen, our percussionist, who sadly passed away. He was a fantastic performer and had these two huge gongs. He’d set them up meticulously before each show, positioned so high he had to leap to hit them. It was all about maximizing the drama.”
The music video for “Modern Love” was directed by Peter Medak, known for “The Ruling Class.”
“The ‘Modern Love’ video was directed by Peter Medak. I loved his film ‘The Ruling Class.’ We filmed in Shepherds Bush, at a new shopping center being built with these futuristic escalators.”
A later, more spontaneous video for “Solsbury Hill” was also created.
“We also did something with ‘Solsbury Hill’ later, just messing around at Real World with my painter friend Graham Dean. We didn’t have much budget for videos then.”
Peter Gabriel in conversation with producer Bob Ezrin during the making of his first solo album, a pivotal moment post-Genesis.
Producer Bob Ezrin, in a 2019 interview, reflected on the unique dynamic of the album’s creation.
“We got together in Toronto, and I assembled a band – a ‘Dirty Dozen’ of musicians, most of whom Peter hadn’t met. This included Tony Levin, who has been with him ever since, Steve Hunter, Jimmy Maelen, Allan Schwartzberg, Larry Fast, and Joey Chirowski. Peter also wanted a Brit, so we brought in Robert Fripp. It was an incredible group of disparate, brilliant personalities from different disciplines. When they played together live in the studio, it was magical.”
This debut solo album marked Peter Gabriel’s successful stride away from Genesis, establishing his distinct artistic path and launching a celebrated solo career.
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