petergabriel.com

I hope that master Gabriel has changed the vocals melodies for his new recording of old stuffs, as he did with the different versions of "Here comes the flood". Because if he'd just change the orchestrations, it's not new blood but new clothes, and appears to me more as the result of a lack of confidence in his own vocal capacities (all of you surely remember that he has been often attacked on it in the past) The most important thing to remember is that we loved him because he had more often transformed his fears and "defaults" in TRUE CREATIVE SONGS, with real genius in communion of music and words, and so wonderful, and creative again, vocals performances. Peter, please, be creative again and don't let your vocals on new blood cd be with exactly the same melodies: we all know you can do that. Love and excuse me for my bad english (I'm a poor french man).

Hello Kciinana, welcome to the Moon. There are lots of recordings on Youtube of the New Blood gigs. Have a listen and see what you think!

Hello Duddy, let's go to see what I think with an example: INTRUDER If you listen carefully to the New Blood version, you will hear a brilliant, clever arrangement, and the "power" of a 46 musicians orchestra, and the trap. What does it mean? Is this the real INTRUDER ? To me, this song is the creative sister of the short story "LE HORLA" by the french writer Guy de Maupassant. Peter Gabriel wrote a song that talks of fear of invisible things, perhaps even not existing, feelings that come in our minds, in the darkness, with all sounds and shapes surrounding us, becoming threatening, a feeling of insecure. But the New Blood version added something epic in it. There is no epic in the meaning of INTRUDER. You can find epic in the song ON THE AIR, but not in INTRUDER. Gabriel does not write only words and music, but words, music and the in-between that make poetry and real powerful Art. Gabriel songs are not pretty ( well sometimes he made mistakes as he did for BLOOD OF EDEN album version which is pretty, the Wim Wenders movie version is great ) they are beautiful, powerful songs. And their power are in the poetry between the meanings of the words and the music, the relation between the two. Maybe only the interpretation of the NBO is the problem, loudness is not always power ! I think it has to be played in regard of the song, not in regard of the number of the musicians. Perhaps more, how can I say that, more crawling, more "retenu"( sorry, it's a french word), than Stravinsky epic.

Well, I think I'm gonna add a reply to myself Firstly, I'd like to state precisely : my purpose is not to preach in the desert, but really to give some advices to Peter Gabriel before the release of the NBO studio version of his songs, hoping someone who really knows him will receiv and transmit. DON'T GIVE UP : I'd always prefered this song when sung only by Peter, with no female voice and the chorus one octave down, as he did on the SO Tour in 1986, because I think it is closer from the meaning of the song,and add more intimacy. Why not a female voice one octave down, with or without Peter's voice(on the chorus only, of course. BLOOD OF EDEN: Wim Wenders movie vocal melody was,is, and will stay more powerful than the album version : just use it.please.

I'm raining again, but as the cavalry already did, I came too late. Hope Peter, and the others involved, has made a good job on the NBO versions of his songs . Just have to wait october now .