Name: peter gabriel (1982) superimposed on [the making of] peter gabriel (1982)
Uploaded: 2018-07-09T03:24:25.000Z
Description: Watch the stand-up comedy video 'peter gabriel (1982) superimposed on [the making of] peter gabriel (1982)' from Norm and Other Stuff on Comedy Buff. Published 2018-07-09. Transcript available.

Watch the stand-up comedy video 'peter gabriel (1982) superimposed on [the making of] peter gabriel (1982)' from Norm and Other Stuff on Comedy Buff. Published 2018-07-09. Transcript available.

peter gabriel (1982) superimposed on [the making of] peter gabriel (1982)

*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
*music*
I felt the rock star was really getting a hold of me, so I wanted to get out.
I definitely felt that my first kid and the whole thing into perspective.
So I spent a lot more time at home, a lot more time with the family.
And during all this period, I was still hammering away at the planet.
It was at the end of all this that I began getting back into songwriting.
One song on Gabriel's third album was Biko, about Steve Biko, the black leader
who died in a South African prison in 1977.
It began with a chant sung at Biko's funeral.
The rhythm has my soul
The rhythm has my soul
The rhythm has my soul
The song's emphasis on rhythm is about the significance of the development of
the game.
The song, the song, the song, the song, the song, the song, the song.
The song, the song, the song, the song, the song, the song, the song.
Pulse basses and they perhaps have different instruments which are like pieces
of a jigsaw which form a pattern, a hole,
which an individual part cannot provide you with.
So, and I think the variation and the range is much more stimulating.
In a lot of rock and disco there's this very heavy type bass drum and backbeat
from the snare.
And this is the foundation for most of the music that you'd hear in a disco for
instance.
And yet there are rhythms which are just as exciting to the body that are just,
create the same sort of responses but are much more imaginative and open.
Gabriel's work on his new album began with a search for interesting rhythms.
When we first visited him at his studio near Bath, he'd already spent many
months seeking out and listening to music from all over the world.
This included Aborigine, Caribbean and Latin American music as well as African
drumming.
I don't believe that I can play music belonging to another culture.
Just there will be certain key elements which I will steal to start off as a
structure for something that I'm working on.
And I think if you look at the history of music, you'll see this process going
on continuously.
And for me it's something which sets up a whole series of challenges and I
think has revitalized what I do in my own life.
And I have this case here, which has got the entire assembly of various cassettes.
And so, some will have been from bits heard on the radio, some will have been
from bits on records that friends have given me or that I've come across in
shops.
There was a couple of things which I got my hand-held cassette machine stuck to
the telly.
I think there were a couple of World About Us programs and they had something
in Swaziland and Barbie.
But I think this was something, some Garnetian thing which I stole a rhythm
from.
It's me picking out a rhythm.
At this point, in the spring of 1981, Gabriel was expecting to have his new
record ready for release that autumn.
In fact, it would take more than another year of painstaking work to complete
the album.
It would consume over £122,000 in recording costs.
On top of the money, about £100,000, he spent on building and equipping his
own studio.
We followed Gabriel throughout the recording process.
The first step was to see how he brought the sophisticated technology of the
studio to bear on his suitcase full of rhythm.
I'm certain the Third World is going to have an increasing influence on our
culture.
And in music, a very vigorous hybrid will be produced, which is based on its
non-European education and new technology which is going to get very, very
cheap.
This facility has opened up a new range of electronic discovery.
Oh, hi there.
You all right?
Yes.
Initially, when you were first coming to the studio, it's like all beings of
another world.
You're wrestling.
You're totally fine.
And then, as you spend more and more time with this GDM, you'll get a little
bit more.
So come on, thanks for the support.
The most important process, which is the most important, is the drum machine.
This allows me to preserve the real drums, to restore the machine memory.
Any drum pattern I could conceivable, or steel, uses the system to the basis of
my son.
For instance, put one up here in the machine, which is quite simple.
But I can use it to illustrate what I do.
Now I get all we go, flies down your person, from the sun.
When I've got my rhythms locked into the drum machine, I begin improvising for
me.
And often the rhythm will suggest a type of sound that I should use on synth or
whatever.
And then these ideas will be formed around the rhythm.
And the process, then, is to start developing these ideas and rhythms.
Which, I mean, there's probably over a hundred starting points on this album.
And a lot of these get knocked by the wayside.
And then the best of these shall then begin developing.
For instance, there's something I'm working on at the moment, which is taken
from Ethiopian folk music.
And this I found very disturbing.
And it just goes on with these, these intervals, repeating them endlessly.
So, I know, I took those intervals and began writing some music around them.
On, on pipes.
And gradually this, this rhythm will emerge up underneath it.
This is the second rhythm, which has been faded in after we get to the chord
changes at the end of the verse.
The time I like is the last time.
Yes, I like the last time.
The person I love people.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
I like the last time.
Once I've got some of the rhythm and melody ideas.
The next thing I have to do is make a rough recording.
So that I can play this to the musicians who will be arriving very soon to
start work with me.
There you stand before me.
All that girl and all that hair.
Normally, I go through this process.
Or do I know?
A man.
It's a new album.
I have to show you.
A guy walking.
He did a producing work called David Lorde.
Wanting contact.
Wanting contact.
Wanting contact.
Wanting contact with you.
It's been very helpful actually, for the rest of the bad ideas.
Quite shortly before the musicians arrived, the song is very much fabulous.
What we've been trying to do is piece these fragments together and demo the
songs ourselves.
Just him and me and a rhythm machine.
So that really we've got a shape of structure to play the musicians.
In fact, I think the structure is usually amazing.
All the ideas, it's well known to this song.
While working on the basic song ideas, Gabriel was also compiling a library of
sounds, which he might use on the album.
For this, he used a computerized instrument called a fountain.
Any sound can be fed into it, stored, and played back on its keyboard.
See, if I pick up this mic, for example, and press S for sample, you can put in
the sound I hope.
Daddy!
Over here we have the mummy, the waveform, and it should be up on the keyboard.
I hope to use the fill. I use the sound scapes, which I'm going to try and
label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
I'm going to try and label it.
All the sounds on this thing are stored on these floppy disks.
And some of these are supplied with the machine.
This has a list of all the different sounds available on this floppy disk.
So I pull out my phallic symbol here and point it at the appropriate noise.
Say this is pet swan, which is a modified swanny whistle.
There's a repeat built into it.
And the rhythm of the repeat is something which really, really excited me.
And I've written a song around the rhythms.
So there I was thinking of a rhythm when we'd go against it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going to try and label it.
And I was going