New Blood

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A song that did not always live up to its full potential. During the tour in autumn 2010 it was right in the middle of the New Blood set, while it even was the opening song in London. This was quite fitting for the show, as the song is not quiet and calm, and so, usually, is the beginning of each concert. The studio version is all the better, though. One has time to listen to it all and enjoy full glory of the distracted intruder sounds combined with excellent vocals. With its breaks and starts, loud and quiet passages, Intruder works better than live. a b Gill, Andy (7 October 2011). "Album: Peter Gabriel, New Blood (Realworld)". The Independent. Archived from the original on 18 June 2022 . Retrieved 8 October 2011. The whole stage show is an entertaining accessory to the music and just some slight touches here and

Then, touring this music, I started to get quite excited about it, and there was a moment for me around Rhythm of the Heat where I thought it would be wonderful to try taking the rhythm patterns of the drum machines and put them on the instruments of the orchestra, and John did a brilliant job of that. For me, it’s probably still the most exciting piece of the New Blood record, but it really encouraged me to think that this was going to go somewhere, possibly new territory, and that we should make it a record. Austriancharts.at – Peter Gabriel – New Blood" (in German). Hung Medien. Retrieved 28 October 2021. Never before has Gabriel made music that is more brilliant and clear than on New Blood. It is breathtaking to see how much an album that is, at its core, a kind of rehash of old classics and secret favourites, can sweep one away. Those who have seen Ben Foster at the shows may have an inkling how essential he was for New Blood to work. Every note is there, every change in the arrangements is well thought-out, variations are introduced in a tasteful manner, quiet passages inserted where they fit and other parts played loud where it makes sense. New Blood is a rollercoaster ride in dynamics and a very rhythmic offering even without drums and guitars. It is difficult to settle on favourites, and everybody will have their own. Red Rain is a strong contender, Rhythm Of The Heat anyway and even Darkness and Digging In The Dirt, two songs that worked only so-so in the concerts, have great merit here. What is missing? Biko and Secret World – New Blood must have come too late for them.Viola [The New Blood Orchestra] – Bruce White, Catherine Bradshaw, Chris Pitsillides, Fiona Bonds, Helen Kamminga, James Sleigh, John Metcalfe, Jon Thorne (3), Morgan Goff, Rebecca Crowley, Reiad Chibah, Timothy Grant*, Vicci Wardman

This was the opening song for the second part of the concert. It comes from Peter's popular fourth album and brought on much applause at every show. The studio version is as intense as the live experience. As with The Rhythm Of The Heat it is worthwhile paying attention to how the instruments were arranged. Only at the end of the breathing sequence does the listener miss the visual effect from the live show a bit. This song was one of the live highlights. Many could not imagine how this song could work with an orchestra. It is most interesting to listen to the details on the album version where, of course, everything is crystal clear and every nuance is distinct. The multi-purpose venues certainly did not enhance this song with their less than perfect acoustics. The terrific finale of the song is identical to the live version, but far more intense: An absolute hammer right in the beginning.The album features a new song, "A Quiet Moment", which originated in his desire to separate " Solsbury Hill" – remade due to huge demand – from the rest of the album. Originally three minutes of silence were to separate "Solsbury Hill", but it was thought this would confuse people, and Gabriel decided that "A Quiet Moment" would work better. The bass plays an important role in the original and in the orchestral version, too, though it sounds less massive. Both voices are carried by subtle string arrangements. A bit of piano comes in by the second verse and some rhythmic instruments while Ane Brun sings the bridging verse. The original version of the song with Kate Bush is considered the standard by which all other versions are measured. However, Ane Brun as his new co-vocalist is a real find. Though they both sing very well on the album they do not reach the intensity of the New Blood live shows. songs, as some late Gabriel's songs, like "In Your Eyes" and "Don't Give Up". My favorite songs are presentation, but the rising star was Ane Brun who is simply brilliant in "Don't Give Up". Incredibly Peter sounds stronger than in previous albums, his voice is much more powerful Brilliantly recorded, Live Blood captures every drop of that live show’s essence – the drama, the darkness, the sense of occasion. A wide palette of emotion is drawn from, while the orchestra change gear and mood without dropping a beat, from the triumphantly skipping Solsbury Hill to the furious maelstrom that concludes The Rhythm Of The Heat. And everything in between.

I really didn't want to make this new album all about the hits," Gabriel explained to Mark Blake. "So there's no ' Sledgehammer'... I was unsure at first about ' Red Rain' and about doing ' Don't Give Up' without Kate, but then it felt like it would fit. In the end it worked." [1] cells, right?) but the contents are most unique and interesting. I generally enjoyed it even if theThis section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( October 2023) ( Learn how and when to remove this template message) Horns [The New Blood Orchestra] – Michael Kidd*, Phillip Eastop*, Richard Bissell*, Richard Watkins, Simon Rayner Gerber, Justin (21 October 2011). "Album Review: Peter Gabriel – New Blood". Consequence of Sound . Retrieved 7 June 2012.

Writing for the Evening Standard, Pete Clark awarded the album four stars out of five and stated, "In typical Gabriel fashion obvious choices have been avoided: no Sledgehammer or Biko here. Instead, he and arranger/composer John Metcalfe have opted for songs that might best benefit from the grown-up treatment. Mostly, it is a great success." [12] Peter Gabriel: New Blood" (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 28 October 2021. Clark, Pete (7 October 2011). "CDs of the week: Björk and Peter Gabriel". The Evening Standard. Archived from the original on 8 October 2011 . Retrieved 8 October 2011.Violin – Alison Dods, Cathy Thompson, Charles Mutter, Clare Hayes, Debbie Widdup, Emma Parker, Ian Belton (2), Ian Humphries, Jeremy Morris, Kathy Shave*, Natalia Bonner, Odile Ollagnon, Rita Manning, Roland Roberts Includes 200 photographs, standard Blu-ray and DVD versions of the concert, a CD of New Blood and a CD with highlights of the concert. The ARIA Report: Week Commencing 7 November 2011" (PDF) (1132). Australian Web Archive. ARIA. 7 November 2011. Archived from the original (PDF) on 29 October 2011 . Retrieved 23 January 2017. {{ cite journal}}: Cite journal requires |journal= ( help) Oficjalna lista sprzedaży:: OLiS – Official Retail Sales Chart". 10 October 2011 . Retrieved 21 October 2011. Rhythm of the Heat' - plus 'San Jacinto', Red Rain' & 'Mercy Street', three of my all-time favourite