GABRIEL GOES AFRICA
A lot of us came late to Peter Gabriel. Or perhaps it’s just that Peter Gabriel came late to us. By “us,” I mean anyone who has trouble mouthing the word “progressive” in a rock context without a trace of a sneer—anyone who believes that the “art-rock” that flourished in the early ’70s had about as much in common with rock’s true spirit as Art Linkletter does.
PETE OF THE JUNGLE SHOCKS THE MONKEY
GABRIEL GOES AFRICA
Don McLeese
A lot of us came late to Peter Gabriel. Or perhaps it’s just that Peter Gabriel came late to us.
By “us,” I mean anyone who has trouble mouthing the word “progressive” in a rock context without a trace of a sneer—anyone who believes that the “art-rock” that flourished in the early ’70s had about as much in common with rock’s true spirit as Art Linkletter does. Truth be told, most of that smug, grandiose twaddle had as little to do with art as it did with rock. What attempted to pass itself off as true creativity too often seemed like little more than musical masturbation.