Peter Gabriel is a legend in the music industry. That goes without saying. Between his time fronting famed prog-rock band Genesis over the course of its first eight years (really its formative years) and having a hugely successful solo career that has lasted far longer, Gabriel has more than made a case for a place in the upper echelons of rock. Next Friday, May 10, Mercury Studios (nee Eagle Rock Entertainment), will remind audiences of exactly that when it re-issues its 2014 Peter Gabriel concert recording, Back to Front. Originally released roughly a decade ago, the recording is now set for release on 4K UHD for the first time ever. The recording itself boasts plenty of positives, from its set list and the performance thereof to its editing, each of which will be examined at its own point here. While the concert’s presentation is an overall success, there is one negative herein that cannot be ignored, that being its packaging. Much like that used in the company’s 4K re-issue of Motley Crue’s The End, the packaging for this re-issue leaves a lot to be desired. This will also be addressed as part of this examination. Each item noted is important in its own way to the whole of the new 4K re-issue of Back to Front. All things considered they make the recording a mostly successful revisiting of a classic Peter Gabriel concert.
Mercury Studios’ forthcoming 4K UHD re-issue of its Peter Gabriel concert recording, Back to Front, is a mostly successful from Gabriel and the company. Its success is rooted in large part in its set list and the performance thereof by all involved. While not necessarily career-spanning, the 21-song set lifts from a respectable portion of Gabriel’s catalog, including the whole of his landmark 1986 album, So. It reaches back to his 1980 album Melt and up to So. As an encore, he and his fellow musicians (the group that originally performed on stage more than two decades ago to mark the album’s original release) also reach into his 2000 soundtrack recording, OVO. So again, it is not necessarily a career-spanning retrospective, but still at least a rich glimpse into part of Peter Gabriel’s already rich body of work.
The performance by all involved of the set list adds to the engagement and entertainment. Even as old as he would have been at the time of the recording’s original release, Gabriel showed that he did not have to do much to command the stage. He could stand in the center of the stage, and he would simply have a certain air of confidence about him that showed in his stance and emoting. As a result, his subtle performance delivers so much power, proving without question that less really is more. Case in point is the way in which he carries himself and sings early on in his performance of ‘Shock The Monkey.’ There is a certain strength about his presence that urges people without effort, to watch him. On another note, his subtle performance on ‘Mercy Street’ as he lays in the middle of the stage, singing in such subdued fashion as the lights and cameras surround him on the otherwise darkened stage shows the same in a completely different fashion. It shows that even in a situation such as that he and still control the stage, absolutely immersing audiences in the concert.
On a side note, Gabriel’s constant reminders to the audience of the names of his fellow musicians (and later in the show, that of those who made the concerts and tour happen) is a show of true respect to them and makes for its own share of importance even as subtle as it is to the performance.
Speaking of his fellow performers, the group (bassist Tony Levin, drummer Manu Katche, guitarist David Rhodes, keyboardist David Sancious, and vocalists Jennie Abrahamson and Linnea Olsson), is deserving of its own praise. Sancious’ work both on keyboards and early on in the concert on the accordion adds so much to each song’s foundation. Abrahamson’s delivery late in the show in ‘Don’t Give Up’ is nearly enough to bring a person to tears, especially as she and Gabriel compliment one another. It serves so well to put her talents on full display. It is one of e concert’s most tender moments. Levin’s work on the bass opposite Gabriel on the show’s opener, ‘Daddy Long Legs’ exhibits so much control. The pairing of the two friends makes the composition feel almost like a modern classical composition due to the duo’s combined talents. Even Rhodes shines in ‘Secret World’ what with its steady driving rock approach. And one cannot leave out the work of Katche. His ability to handle such polyrhythmic patterns, such as in ‘Come Talk To Me’ makes for its own appeal. The way he balances the quarter notes on his hi-hat and bass drum against the accented eights across the toms, gives that arrangement its own added touch that enriches the already enjoyable acoustic performance. Between these and so many other performances from the group, the collective’s performance from beginning to end offers just as much to enjoy as the set list itself.
While the set list featured in Back to Front and the band’s performance thereof does plenty to make the recording successful, there is one negative to note in its forthcoming re-issue. That negative is its packaging. Much like the recent 4K UHD re-issue of Motley Crue’s The End, the packaging is problematic because of the tight “sleeve” used to house the recording’s single disc. The overall package is cardboard, rather than a standard plastic case (Which would have made far more sense to use). In order to get to the disc, audiences will once again essentially have to nearly rip open the side of the cardboard “case” holding the disc in order to get to it. As a result, not only would the packaging potentially be damaged, but the disc risks its own damage as audiences try to remove and replace the disc. The damage would come in the way of potential scratching and being covered in fingerprints from the efforts to remove and replace the disc. In other words, the packaging of this re-issue is very much an issue that cannot be ignored. Luckily it is not enough to doom the presentation but certainly does cause reason for concern.
Keeping in mind that while the packaging is extremely concerning but not enough to doom the presentation, there is at least one more positive to note. That positive comes in the form of its editing. Now presented in 4K UHD, the picture and sound have been expertly upscaled for their presentation here. The picture is so clear, and the sound is wonderful even without a sound bar. Though a soundbar would definitely enhance the concert experience that much more. What’s more, the edits made in post-production enhance things even more. There are points, such as in ‘The Tower That Ate People’ that put the talents of those charged with the editing of full display. The cuts and video effects make such a moment look like a music video despite being a live performance. The handling of the lighting throughout is even handled in post-production, ensuring the emotional impact of each performance is its utmost, too. The cuts between the stage shots and audience shots further display that expert work, making for even more engagement and entertainment. Again, from front to back, the work even here makes for its own important part of the concert’s whole. When the editing that went into this concert (giving home audiences the best seat in the house once again) is considered along with the set list and the band’s performance thereof, the whole makes the new 4K UHD re-issue of Back to Front a mostly successful revisiting of a modern classic Peter Gabriel concert.
Mercury Studios’ forthcoming 4K UHD re-issue of its Peter Gabriel concert recording, Back to Front, is a mostly successful new look at this modern classic concert. It succeeds in large part because of its set list and the performance thereof. While not career-spanning, it still offers audiences a solid look at part of Peter Gabriel’s solo catalog. The performance of the set list fully immerses audiences in the event because of the talents of all involved and the dedication by each to entertain audiences. The editing of the concert does even more to ensure audiences’ engagement and entertainment, completing the presentation. The only real negative to the whole herein is the packaging of this 4K UHD presentation. Odds are, thanks to the packaging, that the packaging itself will likely get damaged as audiences try to remove and replace the disc. In the process, the risk of the disc itself being damaged is just as real as a result of trying to get the disc in and out. Clearly lessons were not learned from the recent 4K UHD re-issue of Motley Crue’s The End. Hopefully lessons will be learned from here. Each item noted here is important in its own way to the whole of this recording. All things considered they still leave the presentation mostly successful even if not from back to front.
Back to Front’s 4K UHD re-issue is scheduled for release Friday, May 10. More information on this and other titles from Mercury Studios is available at:
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More information on Peter Gabriel’s forthcoming re-issue of Back To Front is available along with all of Peter Gabriel’s latest news at:
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