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#peter gabriel
crewneck · 1 year
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oh okay
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thegroovyarchives · 8 months
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Images from Future Pop: Music For The Eighties by Peter L. Noble, 1983. (via: archive.org) 1. Sparks 2. Peter Gabriel 3. Sting 4. Robert Smith 5. John Foxx 6. Thomas Dolby 7. The Fixx 8. Annie Lennox 9. David Byrne 10. Robert Fripp
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carlpalmer · 1 month
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peter gabriel (genesis) - watcher of the skies, the midnight special, 1974
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cieffeitsme · 4 months
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The Book of Love - Peter Gabriel From Aziraphale & Crowley's Angelic Playlist
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janrockart · 3 months
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down, down, down the river's flowing
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ineffable-rohese · 4 months
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Neil's picks for Aziraphale & Crowley's Angelic Playlist were Cry Me a River (Julie London), The Book of Love (Peter Gabriel), and The Show Must Go On (Queen).
Three songs. Two about the aftermath of a break up, and one about coming together in love. So very clearly, we can infer a Crowley POV song, an Aziraphale POV song, and a song for the two of them and their happily ever after. (Song lyrics for all three after the cut for reference.)
The Book of Love is a perfect wedding song. It's a song to play under two people declaring their desire to spend eternity together. With lines about dancing and reading and it's perfect. It's originally a Magnetic Fields song that was released in 1999. Peter Gabriel recorded a cover in 2004 for the movie Shall We Dance about which I know nothing but the Wikipedia summary. But since we know how movies are important here... It's a standard rom-com with a bored Richard Gere secretly taking up ballroom dancing after following a pretty lady from the train (J-Lo). His wife (Susan Sarandon) thinks he's cheating, turns out nope, just dancing, drama ensues, he gives up dancing but eventually his wife becomes supportive and he realizes he loves his wife. And dancing. And they live happily ever after, with both of them getting what they want. Maybe we can draw some parallels here? But I think the song speaks for itself better than its connection with what sounds like a standard early 2000s romcom.
The individual songs are where it gets interesting.
Cry Me a River was first released by Julie London in 1951, but became popular after she sang it in the 1956 film The Girl Can't Help It starring Jayne Mansfield as an aspiring rock 'n roll singer. Again, relying on Wikipedia here, but there is an interesting bit about a blossoming forbidden relationship, wiretapped phones, and someone editing the recordings to keep the love affair secret. But again, it's probably a stretch to look too deeply into the movie.
The song has a very classic jazz feel. It's from a decade and a half later, but if you were, say, an angel who enjoyed Moonlight Serenade or A Nightingale Sang in Berkley Square, it has a similar feel. You definitely wouldn't say it's bebop. The lyrics are about someone who was in love and had their heartbroken. Their former love (who never shed a tear over the break up) has returned and wants to make up. The singer essentially says "you love me? Prove it. Cry me a river like I cried when you left." Which, fair, but in our context, ouch.
The Show Must Go On is a Queen song, and we know how much Queen we hear in association with Crowley in particular. But this just isn't any Queen song. It was written by Brian May about Freddie Mercury's struggles as he neared the end of his life, and it was recorded in 1990. (Coincidentally or not, the year Good Omens was published, a book co-created by friends, one of whom would die too soon, and the other of whom would reflect on his friend's end of life struggles as the story was told more fully. Yes, I'm crying about this.)
In the song, the singer is fighting to reach a place of freedom, away from empty spaces and heartbreak. They are fighting with pure will, and even though their heart is breaking they smile and carry on because the show must go on.
What I really appreciate here with the POV songs, is that they are cross-coded. Queen is Crowley-coded, but the song about someone fighting through heartbreak to achieve something vital, while forcing a smile for the audience? That's absolutely Aziraphale in Heaven. And the 40s/50s jazz ballad is absolutely Aziraphale's style, but the jilted lover who may be willing to give their love a second chance but needs to see proof that the lover cares as much as they do is Crowley all the way.
It's almost like... Well it's almost like even in their separation, they are each carrying a piece of the other. The book of love has music in it, indeed.
The Book of Love
The book of love is long and boring No one can lift the damn thing It's full of charts and facts, and figures And instructions for dancing But I I love it when you read to me. And you You can read me anything.
The book of love has music in it In fact that's where music comes from Some of it's just transcendental Some of it's just really dumb But I I love it when you sing to me And you You can sing me anything
The book of love is long and boring And written very long ago It's full of flowers and heart-shaped boxes And things we're all too young to know But I I love it when you give me things And you You ought to give me wedding rings
Cry Me a River
Now you say you're lonely You cry the whole night thorough Well, you can cry me a river, cry me a river I cried a river over you
Now you say you're sorry For bein' so untrue Well, you can cry me a river, cry me a river I cried a river over you
You drove me, nearly drove me out of my head While you never shed a tear Remember, I remember all that you said Told me love was too plebeian Told me you were through with me and
Now you say you love me Well, just to prove you do Come on and cry me a river, cry me a river I cried a river over you
The Show Must Go On
Empty spaces, what are we living for? Abandoned places, I guess we know the score, on and on Does anybody know what we are looking for?
Another hero, another mindless crime Behind the curtain, in the pantomime Hold the line Does anybody want to take it anymore?
The show must go on The show must go on, yeah Inside my heart is breaking My makeup may be flaking But my smile, still, stays on
Whatever happens, I'll leave it all to chance Another heartache, another failed romance, on and on Does anybody know what we are living for? I guess I'm learning I must be warmer now I'll soon be turning, round the corner now Outside the dawn is breaking But inside in the dark I'm aching to be free
The show must go on The show must go on Inside my heart is breaking My makeup may be flaking But my smile, still, stays on
My soul is painted like the wings of butterflies Fairy tales of yesterday, grow but never die I can fly, my friends
The show must go on The show must go on I'll face it with a grin I'm never giving in On with the show I'll top the bill I'll overkill I have to find the will to carry on On with the show Show Show must go on, go on, go on, go on, go on, go on, go on, go on
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bolest-kosti · 6 months
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Kill them with kindness?? WRONG! Shock the Monkey ⚡️🐵⚡️⚡️⚡️🙈⚡️🐒🌩️⛈️⚡️⚡️⚡️🐵🐒⚡️⚡️🌩️⚡️🐒⚡️⚡️⚡️🙈⚡️🙊⚡️⚡️⚡️🐒⚡️⚡️🌩️⚡️⚡️🙈⚡️⚡️⚡️🌩️⚡️⚡️🐒⚡️⚡️⚡️🌩️⛈️⚡️⚡️🐒⚡️⚡️🐵⚡️⛈️🐒 ⚡️🐵⚡️⚡️⚡️🙈⚡️🐒🌩️⛈️⚡️⚡️⚡️🐵🐒⚡️⚡️🌩️⚡️🐒⚡️⚡️⚡️🙈⚡️🙊⚡️⚡️⚡️🐒⚡️⚡️🌩️⚡️⚡️🙈⚡️⚡️⚡️🌩️⚡️⚡️🐒⚡️⚡️⚡️🌩️⛈️⚡️⚡️🐒⚡️⚡️🐵⚡️⛈️🐒
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cosmonautroger · 5 months
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Peter Gabriel - Sledgehammer (1986)
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more-relics · 6 months
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David Gilmour with Kate Bush and Peter Gabriel, Amnesty International, Secret Policeman's Third Ball, London Palladium 3/26/87. Photos by Steve Rapport
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dracfields · 6 months
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obsessed with the way someone posted an audio with this pic and half of the comments are people freaking out because phil collins and peter gabriel are kissing
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mioritic · 3 months
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Anton Corbijn (Dutch, 1955–)
Peter Gabriel in Bath, England, 28 February 1986
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80s-music-tourney · 3 months
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youtube
youtube
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carlpalmer · 3 months
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genesis performing the musical box on the midnight special, 1974
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dat-soldier · 11 months
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corvidayyy · 5 months
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can you tell me where my country lies?
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j-tillow · 1 month
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