Following his departure from Genesis in the summer prior, Peter Gabriel embarked on his solo journey, releasing his eponymous first album in February 1977 at the age of 26. Teaming up with the renowned producer Bob Ezrin, the clear objective was to forge a sound that was more immediate and assertive than his previous work. This marked the beginning of a fascinating chapter in Gabriel’s career, laying the groundwork for future Peter Gabriel Hits and solidifying his unique artistic identity.
“With the first album, having just left Genesis, I was accustomed to defined roles. Suddenly finding myself in a studio surrounded by incredibly talented musicians was daunting,” Gabriel recalls.
“It took me across three albums to truly gain confidence and pinpoint what set me apart. The first record was very much a process of exploration…”
Gabriel’s choice of Bob Ezrin as producer was pivotal. Based in Toronto, Ezrin assembled a team of musicians, some recommended by him and others brought in by Gabriel. This collaborative environment was crucial in shaping the album’s distinctive sound.
The pursuit of a distinct musical direction, separate from his Genesis past, was a driving force. Gabriel consciously experimented with diverse styles, incorporating barbershop elements, aided by Tony Levin, and delving into bluesier territories. This eclectic approach resulted in a collection of songs and arrangements intentionally designed to offer a different sonic landscape from his earlier work. This willingness to experiment was key to Peter Gabriel hits becoming so diverse and genre-bending over time.
The Toronto winter sessions, blanketed in snow, provided an interesting backdrop to the album’s creation. Gabriel fondly remembers exploring the city by bicycle. He also humorously recalls Tony Levin’s then-hair, a stark contrast to Levin’s now-iconic bald look, and a foreshadowing of Gabriel’s own later hairstyle.
The album cover itself is a story of artistic collaboration. Hipgnosis, with whom Gabriel had briefly worked towards the end of his Genesis tenure, was brought on board. Storm Thorgerson and Peter Christopherson, in particular, were instrumental. Gabriel acknowledges Hipgnosis’ significant influence on album cover art evolution. He fondly remembers Storm’s dry wit and the fun of working with him, even if it meant being the occasional target of his jokes. The iconic cover image, featuring Gabriel in Storm’s Lancia Flavia, was a product of this collaboration. The black and white aesthetic, the water spray, and the subtle blue tint all contributed to the cover’s striking visual identity.
The photograph was captured in Wandsworth, London, inside Storm Thorgerson’s Lancia Flavia. Water hoses created the rain effect, and Peter Gabriel posed in the passenger seat. Initially in black and white, the artwork was meticulously hand-colored, with each water droplet highlight painstakingly scraped clean by Richard Manning.
An even more audacious cover concept involved mirrored contact lenses. Gabriel’s month-long search for a manufacturer led him to a Boston-based company. They agreed, but with a liability waiver for potential eye damage due to the mirrored backing on the hard lenses. Despite the discomfort, Gabriel found the effect “fantastic,” describing the sensation as having “steel balls for eyes.” He recounts amusingly how these lenses once startled fellow airplane passengers. Ultimately, the mirrored coating deteriorated, ending this unique visual experiment.
Another memorable photoshoot from this era was with Terry O’Neill. Gabriel’s concept of smoking underwater led them to a retro 70s disco in London, complete with colored lights and a small pool – reminiscent, as Gabriel jokes, of a “Hefner seventies vibe.” During the underwater filming, faulty lights gave Gabriel an electric shock, adding an unexpected thrill to the session.
Transitioning to touring with a band outside of Genesis was another novel experience. The musicians were a diverse mix – some seasoned professionals flying to New York for jingles between gigs, others, like Gabriel himself, more focused on the artistic merit of the music.
Gabriel fondly remembers percussionist Jimmy Maelen, who sadly passed away. Maelen was known for his dramatic stage presence, particularly his meticulously set up gongs, positioned so high he had to leap to strike them. This theatrical element became a signature part of the live shows, enhancing the impact of Peter Gabriel hits in concert.
The music video for “Modern Love” was directed by Peter Medak, known for “The Ruling Class.” Filmed in Shepherds Bush, it utilized the then-futuristic setting of a new shopping center with moving escalators. While budget constraints limited elaborate video productions at this early stage, Gabriel also mentions later “messing around” with a low-budget video for “Solsbury Hill” at Real World Studios with artist Graham Dean.
“We did something with Solsbury Hill later, just messing around at Real World with a painter friend of mine Graham Dean. Unfortunately, we didn’t really have budget to do much in the way of video at that time.”
Bob Ezrin, in a 2019 CBC Radio interview, shared his perspective on the album’s creation:
“We got together in Toronto, I put together a band… I didn’t want to be away from my family… so I put together a band, which was like the Dirty Dozen; a bunch of people he had mostly never met before, including Tony Levin… and Steve Hunter who played that guitar part [in Solsbury Hill]… and Jimmy Maelen and Allan Schwartzberg… He introduced me and Peter to Larry Fast… and Joey Chirowski… And Peter said ‘can I have a Brit?’ And I said, oh ok, you can have one draft pick, who do you want? ‘Well, I’d like Fripp’… So we brought Fripp over…”
Ezrin emphasizes the “miracle” that occurred when these diverse and brilliant musicians collaborated. He describes the recording process as “magical,” with the band performing live in the studio, capturing a unique and dynamic energy. This collaborative spirit and the fusion of diverse talents were instrumental in shaping the sound of Peter Gabriel’s first solo album and setting the stage for future Peter Gabriel hits.
Listen to Solsbury Hill
