Review: “Us” by Peter Gabriel (CD, 1992)

Today’s Pop Rescue from an uncertain fate, is the 1992 sixth album Us by British singer, songwriter and musician Peter Gabriel. Will you be Digging this album, or will it be like Kissing a Frog? Read on…

Peter Gabriel - Us (1992) album. — Peter Gabriel – Us (1992) album.

This 10 track CD opens with clattering percussion, growling guitars, and bagpipes (i think) with Come Talk To Me, Peter arrives on the vocals, giving a heartfelt vocal performance as the drums swirl around him. I’m reminded a bit of U2’s Zooropa album here (out the following year). This is also the first of two tracks here to feature Sinéad O’Connor on vocals in the chorus, and her somewhat subtle vocals sit as a gentle contrast to Peter’s. The track was a single in the USA.

That leads on to Love To Be Loved, and this gives us a nice mellow track, with soft beat, as Peter sings with plenty of breathy vocals, sounding not much different from his old Genesis bandmate Phil Collins.

Following that is Blood Of Eden which ushers us in with some nice vocal chants and guitar, a soft minimal beat drops in and then Peter arrives on the mic with a reflective set of lyrics. The song gives us the second of the two tracks with Sinéad in the chorus. The vocal harmonies between the two are better here, although it would be nice to let Sinéad have some time on the microphone by herself. This mellow song reached #43 in the UK singles chart when it was released as the 3rd single.

Then it’s Steam, and this gives us the first up-beat song so far, and to some degree, it has a really familiar style to it that is reminiscent of his 1986 hit Sledgehammer. Steam rightly took Peter to #10 in the UK singles chart (his 4th Top 10 UK hit to date), as it’s a catchy pop track, and Peter delivers it perfectly, with it allowing him to show off his big vocals.

Only Us is next and it’s musically a wafting contrast, with effects on vocals and instruments. It takes some time before Peter’s vocals make sense, and it carries a sort of psychedelica that you might mistake for some late Beatles.

Next up is the softer starting Washing Of The Water. Piano joins Peter’s soft vocals, as if some kind of Bob Dylan lullaby. It’s a nice enough track but offers little memorable value.

Lead single Digging In The Dirt is next, and this gives us another lean towards up-beat catchiness. The beats shuffle, and the riffs help towards that catchy feeling, and Peter gets to give a nice set of louder vocals in the chorus. The track gave Peter a moderate hit, reaching #24 in the UK.

Then it’s Fourteen Black Paintings, which opens with what I think is a duduk, and sets the mood for this song. Peter gives us some big vocals as a wall of percussive sound floods the rest of the song. The track is definitely all about the instruments.

Kiss The Frog follows this, lifting the tempo up, and I swear that there’s a little croaky vocal from Peter briefly near the start, before the electric guitars seem to take on the ribbitting croaky sound. Peter definitely plays on this croakiness later, as he takes on a frog-like voice for ‘kiss your Prince‘. The upbeat sound ensures that this song is a foot tapper. Despite this, the track stumbled at #46 in the UK charts when it was released as the 4th single.

The album closes as a group of instruments seem to slide into the intro of Secret World. A nice bass gives us a good rhythm as a simple drum sets the tempo. Instruments brood beneath Peter’s vocals (again sounding like a U2 song). The track builds well as Peter works his way from chorus to verse and onwards.

Peter Gabriel’s lead single ‘Digging In The Dirt’ (1992).

Verdict

Over all, this album is more like a piece of art that needs to be heard in a specific order and all at once. This feels like it follows Peter Gabriel’s style, and so it’s unlikely to jar with his fans.

There’s no denying that Peter’s vocals sound great here, and there’s some wonderful percussive moments here and it is very 90’s sounding in its soundscapes. The highlights here are led by Steam, and Digging In The Dirt, and the froggy Kiss The Frog. There are plenty of really nice musical moments too – Secret World and Fourteen Black Paintings sound great at times.

The album’s weaker moments are Only Us and Washing Of The Water, which just feel a bit too disorganised or leave you feeling like it wasn’t quite finished.

Despite this, the album is definitely a listen, but don’t expect an album of Sledgehammer and Steam. The likes of these are there, but you’re going to need to hear the other stuff too.