I wish I could give this audibly, but my cassette tape is worn out from constant playing. Every word credited here is copied verbatim from this interview. I swear to its accuracy. Yet, there were a few times that Peter said "Uh-huh", that I did not include. There are many sentence fragments, because this was in a conversational tone. --Melinda
Note: In a Rockline interview, most questions are called in by radio listeners. "RC" stands for radio caller, "DJ" for disc jockey & "PG" for Peter Gabriel.
PETER GABRIEL ROCKLINE INTERVIEW--Monday, April 5, 1993 Los Angeles, California
RC: Ah yes, Peter, I would like to know who the two people were that you saw perform in the legendary R & B underground saloon, called "The Ram Jam Club"...and what was it about the two artists that really influenced you and made you want to be a musician for life?
PG: Um, it was one artist, rather than two, and it was Otis Redding. And it, I think...that he was definitely the best gig I ever went to. It was just his warmth and personality, the voice, the songs, the energy. And it was a really positive feeling. You know, people walked out of that feeling a little better than when they walked in.
DJ: That's a great question, great question. I've never walked out of one of your shows not feeling the same way, as a matter of fact.
PG: Thank you.
(DJ talks to caller)
RC: Thanks. Hi Peter!
PG: Hi, O'Neil.
RC: Uh, first, I wanted to tell you I think you're one of the world's greatest performers. One of the best the world has ever known, actually.
PG. I've heard the same said about you. (All laugh)
RC: Thanks.
DJ: It's out, it's out O'Neil. Go ahead, man.
RC: Uh, my question is, I heard a rumor that you were originally planning on doing a multi-media tour in support of "US", and you ended up scrapping those plans...and I was wondering why.
PG: Well, I had for a number of years worked on...sort of an idea with a whole lot of video. And...I saw what U2 did the last time around, and they're friends of mine, and I really liked what they did, but thought in some ways that...it was, that it would be inevitably compared to that. So, Iíve ended up going a different direction. Iím working with a guy who I think is...sort of visionary, very visual theater director called Robert LePage, a French Canadian. So, we have a show which I think hopefully will be...quite different from anything else. And, I'm quite excited to take it out on the road.
(DJ talks to caller)
RC: Hi! Um, I really, really like you and Sinead O'Connor, the way you sound together. And Iwas wondering how you got to work with her, and if youíre going to do anything else in the future.
PG: I met Sinead in...an Amnesty concert in Chile. And...it was a great event, and we got talking, and got to know her a bit, afterwards. And she called me up and asked if there was something she could sing on the record. And I was very pleased, because I think she has a sort of purity and innocence to her voice, as well as a lot of balls and...guts. And, for the type of stuff that I was writing for this record, which was sort of relationship based, it seemed...just right. And I think she's done a great job.
DJ: Most certainly. Sounds great on two songs, as a matter of fact. Right, Peter?
PG: Thatís right. "Come Talk To Me" and "Blood of Eden".
(DJ talks to caller)
RC: Hi! Um, I just wanted to tell you Peter, how great this is to be able to talk to you, because youíre such a great musician.
PG: Thanks, Debbie.
RC: And um, my question is, I've heard that you might be headlining the Lollapalooza tour this summer. Is that true, or is there a rumor?
PG: Um, that's not true. I think...well actually, I think I know who is, but I'm not probably allowed to say...but I will be working with WOMAD in September. And I think, although that's a different vibe, I think itís gonna be...as interesting an event.
(DJ talks, segues into a song)
DJ: And you and Sinead certainly sound great together. That's Peter Gabriel and Sinead O'Connor, doing one called "Blood of Eden". My wife's favorite song, as a matter of fact. Kind of a ladies' song, right, Peter?
PG: Seems to be that way.
(DJ talks to caller)
RC: How are you doing, Peter? Itís a privilege to be able to talk to you.
PG: Thanks, Marty.
RC: I was wondering, being a former member, a former member of Genesis, and now that the both of you are doing so well in the music industry. Are the two of you on amicable terms, the group and yourself?
PG: Yeah...know we get on very well...and we...and we're usually traveling around the place, and doing this, that, and the other...so we don't see each other so much. But whenever we do, we get on very well. So, there wasnít really any problem, you know...like some other band splits.
(DJ talks to caller)
RC: Hi, Peter!
PG: Hi, Dan!
RC: Hey, thanks for your music, itís...very visual. I really appreciate it.
PG: Okay, well...yeah, I think I try and work a lot of times to pictures...
RC: Uh-huh. I was wondering, I'd heard that...you'd done some work with sensory deprivation tanks to alter, like, levels of consciousness...
PG: I call that the music business. (Laughs)
RC: What's that? Okay. I was just wondering if...you know, if youíd noticed in the effect, you know, on your music....or if any of the songs, say, like on the new album had come from, you know, altered levels of consciousness....and like, like, if that's the only...I mean, do you try other types of conscious-altering things...to do your music?
PG: I drink a lot of passion flower tea. Um, actually, seriously, I think, I did...well I do have it, an isolation tank, which I haven't had up and working for about seven years. Because I moved in a house that didn't have space to put it up in. It was quite useful, in the sense that you could get into a dream state, and I think that did allow...different thoughts and pictures to come through. And I tend to write a lot of times from, from pictures, and it is an area I'm very interested in. You know.....we have plans to get some sort of park together, at some point. Which may appear in different guises, whether in the home, or in the sort of urban micro-park, or else, on a larger scale, in a purpose-built environment. And there, we will be looking at providing entertainment....certainly, but also ways for people to challenge themselves, and perhaps, get into...more spiritual things, as well as physical things. But, this is something Iíve been working on with Brian Eno, Laurie Anderson, and a lot of other interesting people from different fields...whether film, architecture, psychology...and itís certainly something which Iím sure is coming, and the theme park business, I think, will be revolutionized in the next ten years.
(DJ talks to caller)
RC: Peter Gabriel, I am a huge fan of yours, I have to say.
PG: Hi, John.
RC: Hi!.....Basically, um, I'm a huge fan of your music, as well as Genesis. My favorite album of all time being "Selling England By The Pound". And I was just wondering, two-part, if, what would be the inspiration for "Cinema Show", a song I truly love with all my heart...and what would be your favorite sort of period in Genesis history? I'm sorry to ask such an old-fashioned question, but...
PG: No, that's okay. In fact, that song was more Tony Banks', I think. I mean, the band generated some of the um, instrumental stuff, but I had a lot less to do with that than a lot of the other things. I mean, I think "Lamb Lies Down" and "Supper's Ready" were things that...of the stuff, that I did, that I felt close to.
(DJ talks to caller)
RC: It's really, uh, great to talk to you. I've been a huge fan of yours for a while.
PG: Thanks, Travis.
RC: My question, actually, I have a couple of questions. My first one is, how...much say do you have in the creation of your videos?
PG: Well, I love to work with all the visual things that I do. And I'm very lucky that I work with extremely talented people. Um, the part that I normally get most involved in, in is the concept, in generating ideas. And, once we get into the execution of it...there will be one or two where I've been quite locked into post-production things, but normally...it's in the origination of the ideas that I'm most involved. But, I think itís an area that, ah...it's something, well, very central to what I do. And, it always surprises me that some musicians are just prepared to, to let other people take over completely and not really get involved in voicing how they feel their work should be interpreted.
DJ: And there was a part two? Another question?
PG: Sorry...
RC: What was the inspiration behind the song "Mercy Street" on the "So" album?
PG: Um...my brain is gone blank. (Laughs) No, I remember it very well, I think it's my favorite track from that album. This is, um...there was a writer...this is terrible. (Laughs) I've just got a complete, gaping hole here. But she's a woman writer that...whose work I know really well. That it will come back to me later in this show and I will be able to answer this question properly.
(DJ segues into commercial, plays song)
DJ: Once again friends, and trust me on this, you want a great piece of music, go pick up "Passion", the soundtrack to "The Last Temptation of Christ". That's "A Different Drum" from that one, from our guest tonight, Peter Gabriel. Peter, we were talking about "Mercy Street" a little while ago, and you were trying to think of...
PG: I had a brain...lack of a brain flash. Anne Sexton is the writer, who...is one of my favorite poets. And, um, I just came across her work by chance in a book shop, and I love what she does. Itís very sort of a sensual, moving, and emotional style. And, "Mercy Street" was one of her book titles, in fact, and thatís where the song had originated. And thatís the first time I've ever forgotten her name. (Laughs)
(DJ talks to caller)
RC: Hi, how are you doing?
PG: Doing very well, Ian.
RC: Well, I must say that your music's been a pleasure to listen to over the years. And, uh, it's been an inspiration...and, it's very challenging music to play, as I'm in a band where we try to do some justice to it.
PG: Is that right? What are you playing?
RC: Ah, well, we're playing a mixture...we're playing, we're trying to do "Moribund the Burgermeister", all the way to "Steam".
PG: Great.
RC: We do five different tunes.
PG: I'd like to hear that.
DJ: All right, all right, Ian. What's your question for Peter, man?
RC: Well, I'd like to know...how you, ah, first hooked up with Tony Levin...and whose idea was it to incorporate the...Chapman Stick into some of your music?
PG: Ah, Tony Levin was actually introduced to me by Bob Ezrin , the first producer that I worked with. And then, he was this quiet guy with a receding hairline and sort of backwoodsman who was smoking a pipe, and very different from his wild man in leather trousers who we sometimes see today in the front of the stage. But, brilliant musician, and...good friend, so, great pleasure. I think the Chapman Stick was one of the things that he was just presented with by the inventor, by..Emmett Chapman, is it, I think? And, he was playing around with it, and no one else would let him use it on their sessions...but generally, my sessions have the reputation for, for the band of being places that any wild stuff that they want to try our, you know, they can...do it on my stuff. And I was very pleased, 'cause I think it's a great instrument.
DJ: Right, referred to as "the Stick", on Peter Gabriel albums.
PG: Yes, "the Stick".
(DJ talks to caller)
RC: Hey, Peter!
PG: Hi, Jeff!
RC: Youíve been an inspiration since "Trespass". Um, I donít know if you remember, but I did meet you back in Milwaukee when you fell on me. Unfortunately.....(something)...questions....
PG: Ah, that was you. Well, you were very soft. (All laugh) Great.
RC: Um, three quick questions...I was wondering why "Gabriel Ratchet", the newsletter, hasn't come out in a while, it's been about eight years? And, um, I was wondering if there was a chance that youíre gonna be playing maybe anything from "Passion", or maybe old Genesis on the upcoming show? And finally, on "Biko", the word 'Vila Moja'...'Yihla Moja', does that mean 'descending spirit'. And those are my three questions.
DJ: All right.
PG: Ah, working backwards, that...that's what it means. Um, there's no old Genesis material being played...there may be something from the "Passion"...that depends how things work out when we start playing in front of a live audience. And certainly...weíre going to do "Across the River", which is of that ilk, which is something that I did with Shankar and Stewart Copeland...and, for the original WOMAD festival. And "Gabble Ratchet" which is sort of a magazine...has ceased, but in fact, it has been replaced by a new thing called "The Box", which I think is a much better magazine. And um, well, that's it. It's up and running. (Laughs)
(DJ talks to caller)
RC: Hi there.
PG: Hi, Opie. [Hill's Note: Can't resist...Opie? Opie Taylor called in?!]
RC: Hello, Peter. How are you?
PG: I'm very well, how are you?
RC: I'm great now. I just wanna say that I'm really happy with your last album, I really like it a lot. And "Passion" is one of my favorites, and of course, Genesis is the tops, always...but...
PG: Great.
RC: I was wondering...what would be one of the most thrilling things that's ever happened to you?
PG: That's a difficult question. My mind has a tendency to go blank with a big wide open...
DJ: April 5, 1993, Rockline!
PG: Oh, there we go! (Laughs) Actually, swimming with dolphins would have to be amongst the, sort of the best experiences I've had. Which was...with my kids, too, and...in fact, Rosanna who I was with at the time, she'd been filming with some dolphins, and took us down to this place in Florida...and they work a lot with kids who are having problems, some with serious learning problems, or health problems, cancer patients, and they do a lot of great work down there. And... it was something that I'd always wanted to do since I was a kid. So, that was a real thrill.
(DJ segues into song)
______________________________________________________________________________
[Other side of tape...I did not hear this next question]
PG: Hmm...difficult to say. Um, depends, you know...what mood Iím in. I think once, probably at the moment, I'm enjoying playing live, which is where my brain is focused at the moment, sort of "Secret World", "Frog"..."Digging"...and "Come Talk To Me", I should think.
DJ: All right, that runs it down there. Peter's thumbing through, checking out his songs there...(Laughs)That should figure out how to answer your question...
PG: I can never remember the titles, let alone the words. (Laughs)
(DJ talks to caller)
RC: Hi there, Peter.
PG: Hi.
RC: Um, I would like to ask you a question about one of my favorite albums, which is "The Lamb Lies Down On Broadway". On it, there was a literary version on the album jacket...and, as well as the lyrical version on the sleeves on the inside . Which one was written first and what was the inspiration for the story?
PG: Um, the lyrics were pretty much written first, but the story was outlined prior to that. And so, when it came time for album sleeve time, I wanted to try and just put some version of it down in, as a story. But...I think it probably could've been a little better written, but I was in a little hurry to meet deadlines....so, that was the...the source. It was, in a sense, sort of an adventure of sorts, partly into the self. There was a film, um...that I'd seen around that time, called "El Topo", directed by a guy called Alejandro Jodorovsky...which I know was one of the things. I mean, there were many influences on that story, but that was one of them. And I actually worked on a screenplay...of "The Lamb" with him, which we never got made.
DJ: Okay. I gotta ask you one thing. He's telling me to break, but I have to ask you one question. We had David Bowie last week. You show up on the album sleeve, speaking of album sleeves, as like a photography credit. Did you do some photography on Peter's, uh, David Bowie's new album? Or is that a different Peter Gabriel?
PG: It must be a different Peter Gabriel! Because I just noticed there was a picture of him in the paper the other day. And a friend of mine said this must be some joker. 'Cause he knew someone...photographer who used to put in all these fake names in newspaper credits. But...I think there must be someone else with my name. (Laughs)
(DJ talks, segues into commercial)
RC: Hello, Peter!
PG: Hi, Sean.
RC: Tremendous honor! (Laughs) I've been a fan for many, many years. I'd like to ask you about your soundtrack work, actually, um, which Iíve enjoyed...so much, particularly from "The Last Temptation of Christ". Now, firstly, do you enjoy this type of musical adventure? And secondly, is there any chance of any future soundtrack work?
PG: Yeah, for me, it's really a great experience. I mean I...working out of a sort of sound stretch, um, there's suddenly sort of a freedom, I think. And, I can call in all sorts of people, and...respond to the pictures, in a way. And I think it...allows me to learn a lot and to explore things, in a way that I don't always do within songs, which I still like and love to write. Um, so it's definitely something that I will carry trying to do, whether it's tied to films or not. Um, I think, as an area, it's a great experience for any musician.
DJ: On "Birdy", you worked with, let's see, you worked with Alan Parker, and on, of course, "The Last Temptation", you worked with the great Marty Scorcese. Can you, um, what did they ask you? What did they tell you they wanted? What did, how did the whole thing get set up with one of those?
PG: Well, theyíre both very musical directors, and...ah, I think in essence, they wanted some stuff ahead of time. You know, quite often, with films, the film is pretty well cut before it gets farmed out to the guy doing the score, who rattles off something in a couple of weeks and sometimes, great work comes out of that. But...I think in both these instances, I was very fortunate, 'cause I had explained that I work slowly, and, and they were keen to get stuff ahead of time, so they could sort of be shaping things...and with "The Last Temptation"...Marty wanted me to go out to...Morocco, which is where they were filming. And there was one scene, where he, Christ carried this...cross...and, up to the crucifixion, but it's, I think, a stunning piece of work and I saw that footage, and it really was inspiring. You know, I went back home with a very clear picture in my mind. Um, and I think when you're working with, with people of that caliber, it sort of encourages you to do the best you can.
(DJ talks, segues into commercial, talks to caller)
RC: I really enjoy your music, and uh, especially your concerts. I was wondering what to expect from this tour, and who's in the band?
PG: Well, the band, this time, is an interesting mix. We've got, um, Tony Levin on bass, as has been since I started off on the solo career, then David Rhodes on guitar, Manu Katche on drums, and Joy Askew's playing keyboards for the first time with me, and...she's a really talented musician and a great singer. In fact, sheís actually a singing teacher, so I'm hoping to get a few tips on the road. And, we'll start with Shankar, whoís just...extraordinary violinist...worked with John McLachlan (?) and Frank Zappa, and many others. But, um...he's, I mean, I've worked with him now for over ten or twelve years, I think probably, on and off. So, you know, people who know my work, particularly the soundtrack stuff, will be familiar with his stuff. But I haven't really had a chance to tour with him, except on the Amnesty stuff.
(DJ talks to caller)
RC: Hello, Peter! Itís a really great pleasure to talk to you after many years of listening to your music.
PG: Thanks, Michael.
RC: And thank you for, for providing it, and also for bringing all these great musicians to the attention of people like me, um, particularly Shankar, who you were just talking about.
I have two questions about the world music thing, and how you fit into it, and a grovel...
PG: I like groveling! (Laughs)
RC: Uh, is there any chance that perhaps Shankar, and his group, or uh, or some formation thereof...it might be an opening act for you on your tour, like U2 was on the last tour. Secondly, what's new with the WOMAD foundation, and is there any chance of anything happening stateside with that? Iíve never really been able to muster up the money to fly to England to go to any of the festivals. And thirdly, please, please, please play Albany, New York. And those are my questions.
PG: (Laughs) Okay, now, actually, I was listening to number two and three, but now I've forgotten the first one. Oh, Shankar, right. He's not actually gonna be doing the [sportspotter?] on...this American leg, but we are, in response to part two, gonna bring the WOMAD festival to...America for the first time, which I'm very pleased about, 'cause it's been functioning in some fourteen other countries now since it was started ten years ago. Including, sort of Japan, Australia and Japan...ah, Canada, but we never actually made it through here. And, that's always been a great mixture of sort of music from all over the world....and interesting players from college bands, like, jazz stuff...itís a real wide open canvas, and...it's not just a music-based thing, but...that gets it's first outing in September over here and I'm sure Shankar will have a bigger involvement in that...as well as a lot of other people. We're just looking at ways of putting that together right at the moment. And uh, Iím not quite sure...just looking here....
DJ: As far as Albany, he was wondering if you were coming to his hometown, to play a concert, Albany, New York...and Peter's looking at the sheet right now. Michael?
PG: I'm looking at a sheet. I don't see Albany there at the moment, I'm afraid. But...these dates, I think they're getting pretty solid, but I just came from India...
DJ: Keep your ears open, keep your ears open, Michael. Of course, WOMAD, World of Arts, and Music, and Dance, right?
PG: Yeah, that's it.
(DJ talks to caller)
RC: Hey, Peter, it's a total thrill for me to talk to you. You're great.
PG: Thanks very much, Martin.
RC: Was "Games Without Frontiers" about Howard Stern?
DJ: (Laughs) I figured we'd get a Howie call here sooner...
PG: (Laughs) Um, it wasn't, but I'm sure it's open to interpretation.
RC: Do you like Howard Stern?
PG: Uh..you know...
DJ: I think I, I know who...this is the famous Captain Jinks, or some...semblance of. So, anyway, we'll move on. Thank you, Captain, for checking in with us.
PG: Okay... (Laughs)
(DJ talks to caller)
RC: Hi there. Um, first of all, I would like to say thank you so much for sharing your talents with the world and God bless you. And, next my question...um, I've heard a lot of rumors that the album "Us" was based on a breakup or a bad relationship. How much of this is fact and how much of this is fiction?
PG: Um, there's a lot of fact there. You know what I mean, there was probably a couple of... there was a marriage breakup, and then there was another relationship, so I was having to look at a lot of stuff in myself as a result of that. Uh from, I did group therapy, which a lot of people are afraid of doing, particularly in the country where I come from, and actually, you know, I think has an enormous amount to offer people. You know, just a chance to dig around and find out what's really there. But, I'm interested that you come from Charlotte, 'cause I was once in love with a girl called Charlotte, and I remember on Valentineís Day, I sent a Valentine to the postmaster at, in Charlotte, so that he could stick the Charlotte...stamp on it. Which I think worked quite well.
[This is all I had recorded. Thanks for reading this! Isn't Peter great?]