PETER GABRIEL
SHOOT INTO THE LIGHT
March 5, 1980
The Apollo – Manchester, England

1.1 Intruder 5:44
1.2 Start/ I Don’t Remember 7:10
1.3 Solsbury Hill 5:45
1.4 Family Snapshot 4:59
1.5 Story Of An Experiment 2:17
1.6 Milgram’s 37
1.7 Modern Love 4:17
1.8 Not one of us 5:28
1.9 Lead A Normal Life 4:54
1.10 Moribund The Burgermeister 4:59
2.1 Mother Of Violence 4:50
2.2 Humdrum 4:07
2.3 Bully For You 5:39
2.4 Band Introductions 1:37
2.5 Games Without Frontiers 6:51
2.6 And Through The Wire 4:38
2.7 I Go Swimming 4:32
2.8 Biko 7:59
2.9 On the Air 5:59
2.10 Here Comes The Flood 2:35
2.11 Gabriel- Piccadilly Radio Interview

(Manchester- May,28, 1980)

Peter Gabriel – Lead Vocals, Keyboard
John Ellis – Guitars, Backing Vocals
Tony Levin – Bass Guitars, Stick, Backing Vocals
Larry Fast – Keyboard
Jerry Marotta – Drums and Saxophone

Through The Wire

With the release of his ground-breaking third solo album in May 1980, Peter Gabriel firmly began to establish his reputation as a highly innovative solo artist. In February of that year, before the release of the album, he embarked on a British tour, dubbed the ëTour Of China 1984í, showcasing new material and a streamlined, more direct live sound.

At The Apollo in Manchester, Gabriel and his band entered from the rear of the auditorium, arriving on stage to the menacing opening strains of ìIntruderî. Alongside Tony Levin on bass and Larry Fast on keyboards was a surprising new recruit ñ guitarist John Ellis from punk outfit THE VIBRATORS.

It was Ellisí raw, dry guitar, combined with Jerry Marottaís dominant, economical drumming, which gave Gabrielís new live sound much of its harder edge. This recording, from March 5th 1980, includes several rarely performed songs from Peter Gabrielís live repertoire at the time.

ìMilgramís 37î, given a lengthy explanatory introduction by Gabriel, wouldnít appear on an album until 1986ís classic ìSoî, where it was renamed ìWe Do What Weíre Toldî. The minimal ìLead A Normal Lifeî complements ìMother Of Violenceî while ìBully For Youî (co-written with Tom Robinson, who provided the lyrics for Gabrielís music) and the ebullient ìI Go Swimmingî both remain unreleased as studio recordings. ìGames Without Frontiersî provided Gabriel with his second solo hit single (following the early success of ìSolsbury Hillîin 1977) and it was during this song that he chose to leave the stage and venture into the audience to encourage a sing-along of the ìJeux Sans FrontiËresî chorus refrain. He had already introduced this move on his first solo tour in 1977 when he appeared unexpectedly among the crowd to sing ìWaiting For The Big Oneî. In later years, of course, he would famously surf the crowd during ìLay Your Hands On Meî. The anthemic ìBikoî, which had been performed live for the first time to such dramatic effect at the previous yearís Reading Festival, was already proving to be a stirring and effective set closer in 1980 and demonstrated Gabrielís growing interest in Third World politics and human rights issues. This memorable performance in Manchester (complete with duck calls !) was brought to a close by a rousing encore of ìOn The Airî and a solo rendition of ìHere Comes The Floodî. The end. Incidentally, the support act this night was RANDOM HOLD whose guitarist David Rhodes had already worked on the recording of ìPeter Gabriel 3î and would, after this tour, become Gabrielís longest serving guitarist. He and Tony Levin remain integral members of Peter Gabrielís touring band to this day.

THE INTRUDER It is well known by now that the new musical direction begun by ìPeter Gabriel 3î and the accompanying tour were not well received by fans and critics at the time. Yet, looking back on it now, it is evident that this radical change was all for the best as it signalled a transition from ëGabriel ñ the ex-Genesis memberí to ëGabriel ñ the solo artistí.

PRRP STAFF

Notes from the Re-Master This recording comes from the master tape, provided by Peter Nicholls. It is generally a good recording with good detail and music signal up to 12,500 Hz. Our taper provided a few suggestions regarding the remaster project, identifying the high hiss level and locations of imperfection within the recording. Hiss was indeed high and was reduced using multiple techniques. Our taper had a friend along to take pictures of the event. We thank this camera man for his work because we used some of his pictures for this projectís artwork. For the audio, however, the camera man was somewhat of a challenge. Standing right next to our taper ñ and his microphones – many of the camera clicks and camera advances came in loud and clear on the recording. Most of these were manually removed but some could only be reduced in volume because removal would have corrupted the music.

Duck calls and audience noise were both quite loud on the original recording but were reduced in volume in our remastered version here. Given the clarity of the duck calls one must wonder if it is the taper himself with the noise maker in his mouth. There was a clear asymmetry in signal strength between the two channels that needed to be fixed. A high pitched ring was also present in both the live recording and the interview suggesting that the tape machine itself was the probable cause. This was also removed. In a few spots, Peterís dialogue with the audience was enhanced so we can hear it better. Over 60 clicks pops and other brief tape artifacts required manual removal along with a few coughs from the taper or his friend. Finally, the detail and crispness of the show was enhanced to better enjoy the cymbals and other high-pitched components of the performance.

The interview section was generally good in quality but, again, also had the high pitched ring that needed remove. Asymmetry in channel balance needed adjustment and the volume of the interview needed to be matched with the performance. Finally, the bass components of the interview section were quite excessive and were reduced.