Peter Gabriel - Melt (Album Review)

Peter Gabriel's third album, (called “Melt” by the fans due to its cover art) was released in 1980 under Mercury Records. It was somewhat controversial upon its release because it was originally rejected by Atlantic Records, which was his previous record label for many years. Gabriel wound up getting the last laugh, as this record went out went on to be his highest-charting yet in both the UK and USA. (#1 in the UK, #22 in the USA.) However, there may have been some reasonable concerns as to why Atlantic Records initially rejected the album. The record is very dark, and unlike most of his other records, there is little respite from the darkness on this one. (Except for maybe at the end, but even that is up for debate.) It is similar in spirit to its successor, Security. But, where I had mixed reviews on that album, this record, I praise. Why? One word: consistency. This is one of Gabriel's most consistent albums. Almost every song sounds like it could have its own music video (very much like Security), but the difference here is that they sound like they were constructed as actual songs instead of artsy poems set to music...well, for the most part. The album overall has a very chilly sound to it which only enhances the dark undercurrents thanks to the subject matters of all the songs. Apart from So (his 1986 breakthrough hit album), this might be my favorite album of his. Let's talk about why: song by song.

Intruder: The album lets you know right off the bat that it’s not going to be fun and games immediately as a steady drumbeat, icy synthesizers, and what sounds like the scraping of glass start off the song. (Said drumbeat would be highly influential throughout the 80’s, thanks to Phil Collins utilizing a similar sound on “In the Air Tonight” just one year later.) The lyrics are from the point of view of a stalker or thief, albeit one that likes what he does. It’s definitely a creepy vibe that never lets up throughout the song. Even when he whistles at the end, it gives off an ominous feeling! The track is an effective opener that sets the tone for the rest of the record.

No Self Control: The main instrument in this song is the marimba or xylophone-like percussion that opens the track and keeps on plonking through the background until the more aggressive parts of the song happen. During those portions, they’re replaced by dramatically thudding snares, which also make a return during the intense outro. There’s also what sounds like a faint saxophone in the beginning and end and Kate Bush echoes the song’s title during the chorus in a creepy kind of detached sort of way. As the title states, the song deals with a lack of control. Whether that applies to greed or something else is anyone’s guess. I still consider it a solid song, especially since it keeps the creepy, uncertain mood going.

Start/I Don’t Remember: I’m lumping these two songs together, since “Start” is a short instrumental intro to “I Don’t Remember”. The only instruments used during “Start” are a saxophone and synthesizer. While they sound nice, they may have you thinking for a second that you put on a Spyro Gyra album by accident. That is, until the song suddenly veers into an ominous-sounding minor key, which instantly segways into “I Don’t Remember”. That song kicks off with some impressive terrifying vocalizations from Gabriel who sounds like he just lost his mind and wants it back somehow. The song’s narrator is a man who’s mind is a blank canvas that was erased somehow. Was it mental illness? The song never gives us answers, since it ends abruptly with waves of guitar feedback and some murmurs that are impossible to make out, symbolizing that the narrator has forgotten everything again. Despite the dark sound and subject matter, the song is one of the few hook-happy tunes to be found. I’m kind of surprised I’ve yet to hear this one on the radio at all. The song’s got energy and a catchy chorus, with guitar and drums propelling the song while synthesizers add some creepy coloring in the background. Definitely a highlight of the album for me.

Family Snapshot: As is this song. This is one of the most haunting songs Peter’s ever done. I still can’t believe no one’s made a music video for this song yet. (Though, considering its subject matter…yeah.) The song is written from the point of view of an assassin from when he’s carrying out his mission. But he’s not a hired gun, he’s not doing it for political reasons, he’s doing it for…well, you’ll just have to hear the song for yourself. It doesn’t really have any hooks, but instead gets buy on sheer drama. The song starts out quiet, almost like a soliloquy of sorts, with just Peter and a piano/synthesizer. Then, a fat-paced section arrives with drums and saxophone and guitars. When the tempo speeds up, you can see the images the lyrics give you in your head as the song reaches its dramatic climax as Peter sings “And I let the bullet FLLLLLYYYYYYYYYYY!” Then, it slows down as we come to a reprise of sorts of the beginning, which seem to link the assassin’s actions to a neglectful childhood, which is where the title of the song finally comes into play. This song is masterful, and one of my favorites of Peter Gabriel’s. If it ended Side 1, it would have been a chillingly sad outro for the first half of the album. However, there’s one more song to go before you meet the halfway point of this record.

And Through The Wire: This is definitely one of the few guitar-driven songs on this record and also one of the more intense. The song’s themes appear to be about communication and technology, and about how they can relate. (Since the “wire” in the title seems to refer to one for either a telephone or telegraph, since this is 1980 we’re talking about here.) The lyrics are pretty good on this tune, even if I can’t quite make out their meaning. “Watchmaker steadies his delicate hand. (I want you.)
For barbecue parties on blood red sands. (I want you.)
Caught in the struggle tight on the rod. (I want you.)
Bring out the devil to bring out the god. (I want you.)” The verses are done in a call-and-response kind of way, and Peter’s singing here is very well done. It’s something of a shame this song has sank into obscurity for him, since it has a sense of rocking intensity that he wouldn’t have for much of his later discography.  I also like its ending, as it kind of sounds like the guitars and synthesizers are being switched off. A strong ending to a long first side of the album.

Games Without Frontiers: This tune was by FAR the biggest hit off of Melt, and its easy to hear why…or maybe not. This is definitely one of the more unlikely hits Peter has had. With its creepy guitar lines, ghostly backup singing, (provided by Kate Bush!) exotic percussion, and whimsical lyrics about war, I’m kind of amazed I still hear this song on classic rock radio every now and then. It’s a great song, but I’m amazed this went to #4 in the UK and #48 here in the USA. I mean, this is Peter’s biggest hit in his home country! Something in this song must have struck a chord with people, or maybe they just thought it sounded cool. I can’t disagree with the latter of that statement, since it keeps the creepy, ominous mood of the entire album going while also sounding unique. I can’t recall any other “hit” sounding like it, and for that alone, it’s worth a listen.

Not One of Us: This track is plainly about being an outsider to society, and its lyrics are backed up with great music. I love the appropriately watery-sounding guitar and synths that open and close the track along with some weird distant wailing from Peter. (It’s there, just listen in closely!) [I say “appropriately,” because of the opening lyric “It’s only water in a stranger’s tear.”] The song has a great fast-paced drum solo-esque part as the title keeps getting repeated, which I wonder if it is supposed to symbolize the “stranger” being literally chased out of town. If that’s not the case, it still sounds really cool, so kudos to Peter Gabriel and producer Steve Lillywhite on their awesome work on this album.

Lead A Normal Life: This was the song that got Peter into hot water with Atlantic Records at the time. The chairman of the company at the time was freaked out by the lyrics of this track, which are like a short poem that’s written from the point of view of a person living in a mental hospital. (Apparently, the guy thought Peter had actually spent time in one!) The song is mostly instrumental, barring a short stanza of lyrics. The rest of the tune is very calm and quiet, led by a piano and marimba that play a catchy hook that is repeated throughout the song. However, when a distant and distorted saxophone comes in, the song instantly switches to a VERY ominous-sounding minor key before going back to the more calm and soothing section. By the end of the song, there are faint sounds of…I’m not certain what they are, but they remind me of faint birds chirping. A very effective song that I kind of wish got talked about more often.

Biko: Apart from “Games Without Frontiers”, this is the album’s best known song, and its easy to hear why. Along with “Wallflower” from Security, this is the closest Peter ever came to writing a protest song. Actually, it IS a protest song about Steve Biko, an anti-apartheid activist in South Africa that was murdered by police in 1977.  The song eulogizes him and the cause he stood for and does so in a way that doesn’t feel sappy or pandering. The song must have meant a lot to Peter, since he almost always saved it as the encore for his concerts throughout the 80s, may have kickstarted his support for human rights organizations, and it still resonates today. Many reviews of this album have called it one of Peter’s best songs, and I have to agree. It ends the album on a statement of purpose, as opposed to being written in character. Speaking of endings, the song and album end on a dramatic note. The song begins and ends with songs that were sung at Biko’s funeral, with the ending song being cut off by a sudden drum fill that sounds a lot like gun shots being fired. A haunting way to end a dark album.

 

        Melt is a great record. It’s the best one from Gabriel’s early period that balances art and rock together very well. There are no bad or weak songs on it, and it has a consistent tone overall. Allmusic.com ranks it as his best album, and while I agree it’s a great one, I do think that the dark, ominous tone a lot of the songs have, plus their subject matter may be a bit of a turn off for some listeners. I do believe it is a rewarding record, and one that’s worth the plunge to dive in to.

Final Score: 9.0 out of 10

Album Highlights: "Start/I Don't Remember" "Family Snapshot" "Games Without Frontiers" "Lead A Normal Life" " Biko" (But all the songs on here are very good.)