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''Peter Gabriel'', also known by its AcendedFanon alternate title ''Scratch'', is the second SelfTitledAlbum by the English ProgressiveRock musician [[Music/PeterGabriel of the same name]]. It was released through Creator/CharismaRecords in the United Kingdom, and Creator/AtlanticRecords in the United States, on 2 June 1978.
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''Peter Gabriel'', also known by its AcendedFanon AscendedFanon alternate title ''Scratch'', is the second SelfTitledAlbum by the English ProgressiveRock musician [[Music/PeterGabriel of the same name]]. It was released through Creator/CharismaRecords in the United Kingdom, and Creator/AtlanticRecords in the United States, on 2 June 1978.
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''Peter Gabriel'', also known by its FanNickname ''Scratch'', is the second SelfTitledAlbum by the English ProgressiveRock musician [[Music/PeterGabriel of the same name]]. It was released through Creator/CharismaRecords in the United Kingdom, and Creator/AtlanticRecords in the United States, on 2 June 1978.
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''Peter Gabriel'', also known by its FanNickname AcendedFanon alternate title ''Scratch'', is the second SelfTitledAlbum by the English ProgressiveRock musician [[Music/PeterGabriel of the same name]]. It was released through Creator/CharismaRecords in the United Kingdom, and Creator/AtlanticRecords in the United States, on 2 June 1978.
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* ReCut:
** 8-track releases in different regions adjust the album's tracklist to conform to a four-program configuration. In the US, the running order on 8-track copies goes "On the Air", "White Shadow", "Indigo", "Animal Magic", "Perspective", "A Wonderful Day in a One-Way World", "Exposure", "D.I.Y.", "Mother of Violence", "Flotsam and Jetsam", and "Home Sweet Home". In Canada, the running order is mostly identical to the LP release, but "A Wonderful Day in a One-Way World" swaps places with "Exposure". Additionally, "Mother of Violence" is split into two parts due to it overlapping with the changeover between programs one and two.
** On the North American cassette release, "A Wonderful Day in a One-Way World" swaps places with "Home Sweet Home" in order to even out the lengths of the two sides.
** 8-track releases in different regions adjust the album's tracklist to conform to a four-program configuration. In the US, the running order on 8-track copies goes "On the Air", "White Shadow", "Indigo", "Animal Magic", "Perspective", "A Wonderful Day in a One-Way World", "Exposure", "D.I.Y.", "Mother of Violence", "Flotsam and Jetsam", and "Home Sweet Home". In Canada, the running order is mostly identical to the LP release, but "A Wonderful Day in a One-Way World" swaps places with "Exposure". Additionally, "Mother of Violence" is split into two parts due to it overlapping with the changeover between programs one and two.
** On the North American cassette release, "A Wonderful Day in a One-Way World" swaps places with "Home Sweet Home" in order to even out the lengths of the two sides.
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* TitleOnlyChorus: "On the Air", "D.I.Y", "Exposure".
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* TitleOnlyChorus: "On the Air", "D.I.Y", Y.", "Exposure".
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To consolidate this change in approach, the album was produced by prior collaborator and former Music/KingCrimson guitarist Robert Fripp, who envisioned the record as part of a trilogy of albums that {{deconstruct|ion}}ed the idea of pop music. The other two albums, Fripp's solo debut ''Exposure'' and Music/{{Daryl Hall|AndJohnOates}}'s ''Sacred Songs'', were made concurrently but released one and two years later, respectively. Gabriel and Hall both provide guest vocals on ''Exposure'' (which also features new versions of Gabriel's "Here Comes the Flood" and, appropriately, "Exposure") to return the favor.
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To consolidate this change in approach, the album was produced by prior collaborator and former Music/KingCrimson guitarist Robert Fripp, Music/RobertFripp, who envisioned the record as part of a trilogy of albums that {{deconstruct|ion}}ed the idea of pop music. The other two albums, Fripp's solo debut ''Exposure'' and Music/{{Daryl Hall|AndJohnOates}}'s ''Sacred Songs'', were made concurrently but released one and two years later, respectively. Gabriel and Hall both provide guest vocals on ''Exposure'' (which also features new versions of Gabriel's "Here Comes the Flood" and, appropriately, "Exposure") to return the favor.
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* FaceOnTheCover: As with Gabriel's first album, this one's cover art depicts a manipulated photo of Gabriel (courtesy of Creator/{{Hipgnosis}}) scraping out portions of the image.
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* FaceOnTheCover: As with Gabriel's first album, this one's cover art depicts a manipulated photo of Gabriel (courtesy of Creator/{{Hipgnosis}}) scraping out portions of the image. The print ad for Creator/AtlanticRecords' US release poked fun at this, joking that "at least you can see his face on the cover this time" (referencing the cover photo for ''Music/{{Car}}'', where Gabriel's face is obscured by glare and raindrops).
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# "White Shadow" (5:14)
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# "White Shadow" (5:14)
(5:14)[[note]]LP releases feature a locked groove at the end, making the runtime "5:14 plus however long it takes to lift the needle off the record"[[/note]]
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* BizarreInstrument: Robert Fripp was credited in "Exposure" for "Frippertronics", which is a tape-delay system that would go on to be a fixture in his later work.
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* BizarreInstrument: Robert Fripp was credited in "Exposure" for "Frippertronics", which is a tape-delay system that would go on to be a fixture in his later work.[[note]]It works by feeding the signal from the guitar amp into a reel-to-reel tape recorder set on 'Record', then feeding the tape from that reel-to-reel to a second reel-to-reel tape recorder set on 'Play', and then feeding the audio signal from the second recorder back into the first one as a second input signal, and then recording the audio output from the first recorder--so if you play a note on the guitar, it gets repeated a moment later, and then again a moment later, and so on. In this way, Fripp was able to record huge washes of sound that would go on playing for ages. He later replaced it with a less unwieldy and more versatile digital way of doing the same thing.[[/note]]
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* LongestSongGoesFirst: The album kicks off with the 5:30 "On the Air", which beats out "White Shadow" by a quarter of a minute for the position of the album's longest track.
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Like [[Music/{{Car}} the album before it]], ''Scratch'' primarily continues the style of ProgressiveRock that Gabriel had specialized in with Music/{{Genesis}}. At the same time, however, it starts to lean into more aggressive, experimental territory influenced by the then-new PostPunk and NewWaveMusic movements, effectively picking up where ''Music/TheLambLiesDownOnBroadway'' left off.
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Like [[Music/{{Car}} the album before it]], ''Scratch'' primarily continues the style of ProgressiveRock that Gabriel had specialized in with Music/{{Genesis}}.Music/{{Genesis|Band}}. At the same time, however, it starts to lean into more aggressive, experimental territory influenced by the then-new PostPunk and NewWaveMusic movements, effectively picking up where ''Music/TheLambLiesDownOnBroadway'' left off.
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Recorded in Hilvarenbeek, UsefulNotes/TheNetherlands[[note]]incidentally, Music/{{Genesis}} recorded [[Music/WindAndWuthering two]] [[Music/AndThenThereWereThree albums]] in the same studio there[[/note]], the album's sound serves as an early and formative example of "post-progressive", a new form of ProgressiveRock that explored influences outside the ClassicalMusic and {{jazz}} elements that defined the genre's heyday in the early '70s. Both [[Music/{{Melt}} Gabriel's next self-titled album]] and Fripp's [[Music/{{Discipline}} first album]] with a revived King Crimson would in turn build upon this album's elements to further codify post-progressive's hallmarks.
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Recorded in Hilvarenbeek, UsefulNotes/TheNetherlands[[note]]incidentally, Music/{{Genesis}} Music/{{Genesis|Band}} recorded [[Music/WindAndWuthering two]] [[Music/AndThenThereWereThree albums]] in the same studio there[[/note]], the album's sound serves as an early and formative example of "post-progressive", a new form of ProgressiveRock that explored influences outside the ClassicalMusic and {{jazz}} elements that defined the genre's heyday in the early '70s. Both [[Music/{{Melt}} Gabriel's next self-titled album]] and Fripp's [[Music/{{Discipline}} first album]] with a revived King Crimson would in turn build upon this album's elements to further codify post-progressive's hallmarks.
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* EarlyInstallmentWeirdness: Much like ''Music/{{Car}}'' before it, ''Scratch'' is an experimental continuation of Gabriel's work in Music/{{Genesis}}, prior to the worldbeat sound introduced in ''Music/{{Melt}}''.
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* EarlyInstallmentWeirdness: Much like ''Music/{{Car}}'' before it, ''Scratch'' is an experimental continuation of Gabriel's work in Music/{{Genesis}}, Music/{{Genesis|Band}}, prior to the worldbeat sound introduced in ''Music/{{Melt}}''.
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->''"Which Peter Gabriel?"''
-->--'''{{Tagline}}''' from the album's advertising campaign.
-->--'''{{Tagline}}''' from the album's advertising campaign.
