I remember talking to Brian Eno about the Talking Heads record ‘Remain In Light’ and ‘The Great Curve’, I believe, is a track which was recorded on cassette from a band rehearsal because the band were really cooking at that point. When you have some spine-tingling event musically, you’ve got to capture it. One of the things I learned with Daniel Lanois is a total respect for the magic of the moment. It was compact in the process and the way it was put together. You know certain songs have a better chance of getting on the radio when you do them, for sure, but I think part of the reason that ‘So’ works so well was that the band was really firing off each other and we had a great sound and production team. You know that some things are going to be so obscure and difficult for a mainstream audience that they’re no-hopers but generally, with what I do, it’s hard to predict which albums are going to do well. And because ‘So’ was my most successful record, I think that a lot of people, particularly in America, think that it was designed to be that.įrom the other end of it, you never really know which records are going to do well. Aside from some intriguing collaborations – with Laurie Anderson on This Is The Picture, Kate Bush on Don’t Give Up and Youssou N’Dour on In Your Eyes – it was the unity of singer, band and producer that made So such a crucial record in the Gabriel canon. Its marriage of the artistic and the commercial made for an indisputable success, with the album quickly sitting atop the album charts on both sides of the Atlantic.
The first of Peter’s studio albums to have a proper title So was a watershed release in his career.
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