I apologize for my remiss in making a quick post about my favorite Peter Gabriel solo album, Peter Gabriel 2 (aka. Scratch).
Scratch was originally released on June 2, 1978 – when this future Genesis fan was still incubating in her mother’s womb.
I wrote a review for the album, which Alan Hewitt so generously included in the special, limited, print edition of TWR#100.
For those of you who are interested in what I have to say about this great work of art, please read my full review here:
Not Just Scratching the Surface
At first, I was very skeptical about this album because my mind is automatically set to think that the first solo album by an artist is the best and that they usually go downhill afterwards. But, in this case, I stand corrected.
After I fell in love with Peter Gabriel 1, (a.k.a. Car) I didn’t want to listen to any of his other solo works. It wasn’t until nearly two years later that my husband burned all Peter Gabriel’s solo records onto CD for me. When I first decided to be open-minded about trying his other albums, I did not expect to like any of them. As soon as I heard “On the Air” and “D.I.Y.,” I was absolutely amazed. Then, a few tracks later, I head “White Shadow,” and became completely smitten with the song. It did not take long until I came to like Scratch even better than Car. Sadly, however, when I tried to listen to Melt, I did not have the same reaction. It seemed that Peter changed his musical direction as soon as the year turned over to 1980.
As I have mentioned in my other posts, I do not like country music, but I found it very interesting that most of the tracks on this album contain some steel guitar. Even though the song “A Wonderful Day in A One-way World” sounds a little bit country with its steel guitar and throbbing bass, I find it to be completely irresistible!
“On the Air” is also a song about a character called Mozo. Though the Mozo project was scrapped before its completion, it was written along the same lines as a concept album. The character might have come by as a means as a different part of Peter Gabriel’s creativity, as nearly four years earlier he created the character of Rael for The Lamb Lies Down on Broadway, his last album with Genesis.
The album was produced by King Crimson’s Robert Fripp, and the song “Exposure,” was chosen by Fripp as the title track to his own solo album. (This is my least favorite song off the album, but that is just a matter of my personal preference.)
This album, however, ends on a sad note, as did Car. While the first album’s last track was “Here Comes the Flood,” Scratch ended with “Home Sweet Home.” Without giving too much away, the title is not what it sounds like. This should not, however, affect one’s overall listening experience with this album.
If you are a fan of the prog. rock incarnation of Genesis, or of Peter Gabriel in general, this album is a must have!