Peter Gabriel - Shoot Into The Light - The Apollo, Manchester, England - March 5th 1980 (PRRP 021) (VG AUD)

Posted By: r_benavides
Peter Gabriel - Shoot Into The Light - The Apollo, Manchester, England - March 5th 1980 (PRRP 021) (VG AUD)

Peter Gabriel - Shoot Into The Light - The Apollo, Manchester, England - March 5th 1980 (PRRP 021) (VG AUD)
Flac Separate Files | 2 CD's | No CUE No Log | MD5 Checksum included | Artwork included | 601 Mb

Artist: Peter Gabriel
Title: Shoot Into The Light
Date: March 5th 1980
Venue: The Apollo, Manchester, England

Disc One
01. Intruder 05:44
02. Start / I Don't Remember 07:10
03. Solsbury Hill 05:45
04. Family Snapshot 04:59
05. Story Of An Experiment 02:17
06. Milgram's 37 05:34
07. Modern Love 04:17
08. Not One Of Us 05:28
09. Lead A Normal Life 04:54
10. Moribund The Burgermeister 04:59

Disc Two
01. Mother Of Violence 04:50
02. Humdrum 04:07
03. Bully For You 05:39
04. Band Introductions 01:37
05. Games Without Frontiers 06:51
06. And Through The Wire 04:38
07. I Go Swimming 04:32
08. Biko 07:59
09. On The Air 05:59
10. Here Comes The Flood 02:35
11. Bonus Track: Peter Gabriel Interviewed By Mark Radcliffe, Picadilly Radio, Manchester, May 28th 1980 21:08

Peter Gabriel Lead Vocals & Keyboards
Tony Levin Bass Guitars, Stick & Backing Vocals
Larry Fast Keyboards
John Ellis Guitars & Backing Vocals
Jerry Marotta Drums & Saxophone

Liner Notes: Through The Wire
With the release of his ground-breaking third solo album in May 1980, Peter Gabriel firmly began to establish his reputation as a highly innovative solo artist. In February of that year, before the release of the album, he embarked on a British tour, dubbed the 'Tour Of China 1984', showcasing new material and a streamlined, more direct live sound.

At The Apollo in Manchester, Gabriel and his band entered from the rear of the auditorium, arriving on stage to the menacing opening strains of “Intruder”. Alongside Tony Levin on bass and Larry Fast on keyboards was a surprising new recruit - guitarist John Ellis from punk outfit THE VIBRATORS. It was Ellis' raw, dry guitar, combined with Jerry Marotta's dominant, economical drumming, which gave Gabriel's new live sound much of its harder edge.

This recording, from March 5th 1980, includes several rarely performed songs from Peter Gabriel's live repertoire at the time. “Milgram's 37”, given a lengthy explanatory introduction by Gabriel, wouldn't appear on an album until 1986's classic “So”, where it was renamed “We Do What We're Told”. The minimal “Lead A Normal Life” complements “Mother Of Violence” while “Bully For You” (co-written with Tom Robinson, who provided the lyrics for Gabriel's music) and the ebullient “I Go Swimming” both remain unreleased as studio recordings. “Games Without Frontiers” provided Gabriel with his second solo hit single (following the early success of “Solsbury Hill” in 1977) and it was during this song that he chose to leave the stage and venture into the audience to encourage a sing-along of the “Jeux Sans Frontières” chorus refrain. He had already introduced this move on his first solo tour in 1977 when he appeared unexpectedly among the crowd to sing “Waiting For The Big One”. In later years, of course, he would famously surf the crowd during “Lay Your Hands On Me”.

The anthemic “Biko”, which had been performed live for the first time to such dramatic effect at the previous year's Reading Festival, was already proving to be a stirring and effective set closer in 1980 and demonstrated Gabriel's growing interest in Third World politics and human rights issues. This memorable performance in Manchester (complete with duck calls !) was brought to a close by a rousing encore of “On The Air” and a solo rendition of “Here Comes The Flood”. The end. Incidentally, the support act this night was RANDOM HOLD whose guitarist David Rhodes had already worked on the recording of “Peter Gabriel 3” and would, after this tour, become Gabriel's longest serving guitarist. He and Tony Levin remain integral members of Peter Gabriel's touring band to this day.

It is well known by now that the new musical direction begun by “Peter Gabriel 3” and the accompanying tour were not well received by fans and critics at the time. Yet, looking back on it now, it is evident that this radical change was all for the best as it signalled a transition from 'Gabriel - the ex-Genesis member' to 'Gabriel - the solo artist'.


Notes from the Re-Master
This recording comes from the master tape, provided by Peter Nicholls. It is generally a good recording with good detail and music signal up to 12,500 Hz. Our taper provided a few suggestions regarding the remaster project, identifying the high hiss level and locations of imperfection within the recording. Hiss was indeed high and was reduced using multiple techniques. Our taper had a friend along to take pictures of the even. We thank this camera man for his work because we used some of his pictures for this project's artwork. For the audio, however, the camera man was somewhat of a challenge. Standing right next to our taper -and his microphones- many of the camera clicks and camera advances came in loud and clear on the recording. Most of these were manually removed but some could only be reduced in volume because removal would have corrupted the music.

Duck calls and audience noise were both quite loud on the original recording but were reduced in volume in our remastered version here. Given the clarity of the duck calls one must wonder if it is the taper himself with the noise maker in his mouth.

There was a clear asymmetry in signal strength between the two channels that needed to be fixed. A high pitched ring was also present in both the live recording and the interview suggesting that the tape machine itself was the probable cause. This was also removed. In a few spots, Peter's dialogue with the audience was enhanced so we can hear it better. Over 60 clicks pops and other brief tape artefacts required manual removal along with a few coughs from the taper or his friend. Finally, the detail and crisp-ness of the show was enhanced to better enjoy the cymbals and other high-pitched components of the performance.

The interview section was generally good in quality but, again, also had the high pitched ring that needed remove. Asymmetry in channel balance needed adjustment and the volume of the interview needed to be matched with the performance. Finally, the bass components of the interview section were quite excessive and were reduced.

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