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In 1986 Peter Gabriel became a massive household name due to the success of his album "So". Many of the singles became hits and the videos became early staples on MTV. So how does Peter Gabriel follow up such a big success? By taking six years and completely rearranging the formula of "So".

The Good

The lyrics are truly some of Gabriel's best of any album. They are deeply introspective and highly emotional. The music on this album is also incredibly arranged and produced, it shows it took six years to make this album. Many of the songs have African samples, such as the pulsating percussion in the outro of "Come Talk To Me", the album's chilling opener. The lead single "Digging In The Dirt" is also somewhat out of left field. It has a very pulse like beat, great chorus, and some great guitar from David Rhodes. The closing track is also quite powerful, "Secret World". It deals with the theme of childhood and the dreams of long ago. It also has a brilliant bass line from Tony Levin and coupled with Manu Katchè's earth shattering drumming, it makes for a breathtaking closer.

The Bad

There's really nothing bad on this album, you can tell every song took a lot of time and a lot of thought was put into every song. The reviewer, however, will admit "Steam" is probably the weakest track on the album. But, he will only admit that if there is a crazed gorilla holding a dart gun to his head. In some ways "Steam" feels a little to much like "Sledgehammer" part II. The "Quiet Steam" version is much more soulful and interesting, and you can find it as the B-side to the "Digging In The Dirt" single.

Final Thoughts

This album is so powerful and breathtaking. It is arguably better than "So". It has a much more mature attitude to it, and some amazing instrumentation. I would reccommend grabbing the person next, shake them violently and say, "Hey you, listen to this album!" Then show them my review of it I need that sweet sweet exposure.

Final Rating 9/10

Stand-Out Tracks: Come Talk To Me, Digging In The Dirt, Blood Of Eden, Secret World.

"Remain In Light" serves as somewhat of a turning point for Talking Heads that was slyly hinted at on 1979's "Fear Of Music". The album relies heavily on samples, loops, rhythm, polly-rhythms, syncopated rhythms, and David Byrne's screechy vocals. Never before had Talking Heads ever been heard like this, and many would agree it is a welcome transition; with Brian Eno serving as the albums producer, Eno is able to convey an atmosphere never heard before on a record and never heard since. David Byrne's lyrics are in top form on this album, most of it is politically charged, with Byrne yelping about government mind control on "Born Under Punches (The Heat Goes On)".

Overall, the album is incredibly consistent and evenly sequenced. It jumps from more paranoid and jittery moments, such as "Once In A Lifetime", to more experimentally composed, groove oriented numbers like "Houses In Motion" and ""Listening Wind". The bands playing on the actual songs is also at it's peak. Tina Weymouth's' bass strumming subtly floats in and out between Chris Frantz's almost primal drumming and Jerry Harrison's atmosphere keyboards and guitars.

All in all, "Remain In Light" is one of those few records with such a huge following. It's easy to see why it has had such an influence on more modern post-punk indie bands, such as The Feelies or Gang Of Four. It has an incredibly timeless and influential sound, proving this album will still have a shelf life, and following, long after we're gone.

Final Rating-10/10

Stand-Out Tracks- "Crosseyed and Painless", "Once In A Lifetime" and "Listening Wind"

"Selling England By The Pound" is an album exempt from any criticism, no questions asked. The music on the record is incredibly well orchestrated and the band's well thought out lyrics are even more present than on past releases. Peter Gabriel's vocals take somewhat of a backseat on this album to make room for Tony Banks classical piano and keyboards, Phil Collins' jazz nuanced drumming, Steve Hackett's churning and twisting guitars, and Mike Rutherford's comfortable off in the back bass strumming. The opening track, "Dancing With The Moonlit Knight", represents this exciting new approach more so than anything else on the record. Gabriel's vocals are incredibly haunting, and in the wake of Brexit the opening line carries a considerable amount of weight than it did in 1974; "Can you tell me where my country lies?"

"Selling England By The Pound", despite it's progressive leanings, managed to shoot a single into the U.K. top 40 with the track "I Know What I Like (In Your Wardrobe)". "I Know What I Like" is almost a care free anthem for those bohemian types or really anyone who feels like a free spirit that can't be tied down by material things. The constant guitar riff, provided by Steve Hackett, is quite innovative for a top 40 single since it successfully attempts to mimic the sound of a lawnmower. Despite being somewhat of a novelty song it managed to become a concert, being documented on 1977's "Seconds Out" and 1993's "The Way We Walk Volume 2: The Longs".

All in all "Selling England By The Pound" is a spellbinding piece of vinyl, with it's mystical lyrics and carefree yet precise instrumentation. It's a true must have for any person who dare call themselves a "music fan" or a Genesis fan.

Final Rating 10/10

Stand-Out Tracks- "Dancing With The Moonlit Knight", "The Cinema Show" and "Firth of Fifth"

"Learning To Crawl", the Pretenders third studio album, is a much more accessible and easy to swallow album when compared to the previous two records while still offering quite an edge to it's radio friendly coating. Tracks such as "Middle Of The Road" and "Back On The Chain Gang" have Hynde's signature riot girl snarl coupled with Robbie McIntosh's subtle guitar work. Sometimes the album drifts a little to close to adult contemporary territory at points, what saves it is it's timeless arrangements and the dynamic vocal prowess of Chrissie Hynde.

A stand-out of the record would be side two's bluesy "My City Was Gone", which expresses environmental concerns from the perspective of a person revisiting their child hood town. It is a nice piece of songwriting and very subtly expresses a serious issue while never getting to preachy.

All in all, "Learning To Crawl" (hey that rhymed) is an incredibly well made album. It's running order is perfect, it's vocals are perfect, it's cover is perfect, and most of all, it's music is perfect. Highly recommended, that's all I have to say. I'm out.

Final Rating-9.8/10

Stand-Out Tracks- "Middle Of The Road", "My City Was Gone" and "Thin Line Between Love and Hate"

"Melt" is arguably Peter Gabriel's most satisfying album. The lyrics are some of the most risk taking and topical of any record released in the 1980's, and Hugh Padgham and Gabriel's production is experimental and timeless. When listening to "Car" or "Scratch" this album is a major leap forward in maturity and instrumentation. The opening track "Intruder" incorporates a revolutionary gated drum sound that would be used all throughout the 80's, most famously on Phil Collins' 1981 solo single "In The Air Tonight".

The production on the record is very similar to some of Gabriel's contemporaries such as Talking Heads or David Bowie. The tone of the album is quite paranoid and frantic at points, and then at other points it unnervingly calm. Take for instance the obscure track "Lead A Normal Life", it seems nice and innocent at first but upon reading the lyrics it becomes quite obviously about a person living in a mental institution. In some ways that sort of defines the album. "Melt" boasts a crisp rock sound on it's single "I Don't Remember" and "No Self Control", but it's the lyrics that really make up this record. Lyrics ranging from bumps in the night, the games of war, and an apharteid activist really give the record, for lack of a better term, a set of balls that were clearly not present on the previous two records.

Peter Gabriel's "Melt" is a classic album that is worth anyone's time. It's a truly artistically whole album and just a great listen. It's somewhat of a social statement, but it's also an accessible album. "Melt" is one of those rare albums that you don't get often.

Final Rating-10/10

Stand-Out Tracks- "No Self Control", "Games Without Frontiers" and "Biko"

In some ways this album is a very close brother to it's predecessor "A Trick Of The Tail". Much of the atmosphere and song structures from the preceding album are repeated, however they are more reminiscent of the older Gabriel fronted days.

Take for instance the opening track "Eleventh Earl Of Mar", the first minute sounds very similar to "A Trick Of The Tail's" "Dance On A Volcano. However, once the instrumental intro slowly fades out it begins to sound somewhat reminiscent of a "Foxtrot" or "Selling England By The Pound" era track. That's not to say that it's a bad thing some of the tunes sound a little older than they really are, it's just that this album is somewhat more nostalgic or romantic than "A Trick Of The Tail".

Where "A Trick Of The Tail" had a dizzying jazzy forthrightness about it, "Wind and Wuthering" is more of a subtle and romance infused album. This is what really gives the album it's identity. The main centerpiece of this new found romanticism would be the lead off single "Your Own Special Way", which has a very good acoustic chord progression from Steve Hackett. The lyrics are a tad cliche but there seems to be some genuine emotions since bassist Mike Rutherford had just gotten married when he wrote it.

However, despite "Your Own Special Way" being a tad bit flawed, the greatest romance song on the record is the closer "Afterglow". "Afterglow" is penned by keyboardist Tony Banks and it tells the tale of a man who will search to the ends of the Earth for his lost love. The pained vocal from Phil Collins really brings the song into it's own and even shows off Collins's somewhat underrated vocal abilities. In other words, "Afterglow" is a breathtaking end to a breathtaking album.

Final Thoughts

Easily, one of the stand-outs of the entire Genesis discography. It takes the school boy lyrics of the Gabriel days and bolts them to the street wise instrumentation of the Collins fronted years.

Rating-9/10

Stand-Out Tracks- "Eleventh Earl Of Mar", "Blood On The Rooftops" and "Afterglow".

"Hounds Of Love" is Kate Bush's most realized and direct effort of her discography. Stripping away the angered sounds of "The Dreaming" and the sweeping orchestral overtones of "The Kick Inside" and "The Lionheart", "Hounds Of Love" instead presents a subtler side of Bush previously unseen.

"Running Up That Hill (A Deal With God)" is the best example of this, the song keeps an urgent tone throughout it's lush five minute run-through; however it's minimalist in it's approach, using only synthesizer, bass and drum machines. The rest of the album is very much like this, however Kate Bush is able to pull from her wide ranging musical cabinet and incorporate such styles as Irish jigs, on tracks such as "Jig Of Life", or almost Floydian like moments of pure atmosphere, on the track "Hello Earth". Despite being incredibly experimental the album is incredibly accessible, with it's anthemic singles "Cloudbusting", "Hounds Of Love" and "The Big Sky".

Where as on her previous four albums Bush shows a potential for perfect pop singles, and being mostly successful, on "Hounds Of Love" even the most obscure album tracks sound like what could have been hit singles.

Basically, "Hounds Of Love" is an album everyone must adore, no questions asked.

But in more professional terms:

"Hounds Of Love" is a record that defines pure 80's pop bliss, while never straying anywhere near average run of the mill pop. "Hounds Of Love" directly challenges it's listeners with more left field album tracks, and rewards them for their patience with some of the best singles of the 1980's.

Final Rating: 10/10

Stand-Out Tracks: "Running Up That Hill (A Deal With God)", "Cloudbusting", "Waking The Witch" and "Watching You Without Me"

"The Lamb Lies Down On Broadway" is quite a touchy album for Genesis' fanbase, It finds Banks, Collins, Gabriel, Hackett and Rutherford exploring the left side of their musical abilities. "The Lamb", while not completely flawless, is a near perfect prog album, with it's fluttering melodies, spiritual lyrics, and Gabriel's vocal range on display more so than ever it proves time and time again it is one of the strongest records Genesis ever released.

The strongest point of the record would be it's incredible innovation, for such a young band they have such a magnificent scope and feel for music. Banks classical tinged piano lines seamlessly run through out the record, on top of Phil Collins' wired drumming, Mike Rutherford's swelling bass lines, and Steve Hackett's swirling guitar melodies it's one of the most band representative albums despite having Gabriel write most of the lyrics. The album is a concept album dealing with a young street punk named Rael. Rael takes part in a spiritual and incredibly surreal journey across the dark underbelly of New York City. "The Lamb Lies Down On Broadway" is almost a Gabriel's love letter to New York City, with many of the lyrics telling of the landscape of skyscrapers or it's seedy underground sewers.

In terms of music, the album is completely all over the place, jumping from hypnotic jazz like tracks to raunchy, rebellious rock numbers. This is basically The Who's "Quadrophenia" on crack, and "Quadrophenia" is quite an eclectic record also!

Sadly, this would be Peter Gabriel's last album as frontman for the group; but in a way it's the perfect way to end what is dubbed as "The Gabriel Era". "The Lamb Lies Down On Broadway" is like a constantly unraveling mystery, shrouded under the covers of a secret, locked in a box of questions, and kept in a room of riddles.

Final Rating-9.5/10

Stand-Out Tracks- "Carpet Crawlers", "The Lamb Lies Down On Broadway", "Counting Out Time" and "In The Cage"

"Buckingham Nicks" is the very first recording to feature future Fleetwood (say that three times fast) Mac members Lindsey Buckingham and Stevie Nicks. For a debut album, "Buckingham Nicks" is a surprisingly consistent slab of vinyl. Nicks' lyrics are almost as poetic as her later tracks with Fleetwood Mac, and Buckingham really shows off his earliest and most primitive form of producing and his guitar virtuosity; both of which would be his resume for Fleetwood Mac.

The only real weak point of the album would be the dreadfully of it's time "Lola (My Love)". However, the album has plenty of strong points, vocally and instrumentally, to be able to forgive that one weak track.

Stevie Nicks' vocals are some of her best. However, the "magic" really shows when both Buckingham and Nicks harmonize together. When they harmonize the Earth shakes, maybe not but you get my point. When they harmonize it's quite easy to see why they were requested to join Fleetwood Mac.

Final Rating-9/10

Stand-Out Tracks- "Crying In The Night", "Stephanie" and "Frozen Love"

An album filled with haunting melodies, went to number one, had many hit singles and was released in a year that ended in seven. It has to be "Rumours" right? No, in fact it is "Tango In The Night" by Fleetwood Mac. Filled with hit after hit and much of the distinct harmonies that made Fleetwood Mac famous in the first part, "Tango" returns the band to their peak after the somewhat tired "Mirage".

Guitarist Lindsey Buckingham opens the album with the paranoid "Big Love", which sets the mood of the entire album-nocturnal, energetic and moody. Moody plays a big part in this album due to it's use of synth washes, beautifully overdubbed vocals and late night feel. The album is definitely more of a collaboration effort between Buckingham and the smokey voiced Christine McVie. This definitely works in the albums favor with many of the tracks on here being considered some of Fleetwood Mac's best. From the chirping melody of "Everywhere" to the polite thump of "Family Man" it's also one of the most diverse collection of songs from Fleetwood Mac.

Sadly, Stevie Nicks turns in one stand-out song with "Seven Wonders" and the rest of them not leaving as much of an impact as it. "Welcome To The Room...Sara" runs for four minutes on what feels like repeat with Nicks singing about her stay at Betty Ford (under the name Sara Anderson). The lyrics have their heart in the right place, but they would work in a different arrangement. However, Nicks is quickly redeemed with the ballad "When I See You Again", which finds Nicks somewhat at odds with herself of rejoining Fleetwood Mac. The song is great, but the acoustic solo at the end lifts into a different level.

The rest of the tracks are pure pop bliss with Buckingham turning in possibly his bet group of songs. "Tango In The Night" is possibly the most interesting album from Fleetwood Mac. It's the only album of theirs to truly use the eccentricities of the 1980's, but in a smart and non-sell-outish way. A great album, that is highly recommended.

Final Rating-9/10

Stand-Out Tracks-"Big Love", "Seven Wonders", "Little Lies" and "Family Man"