I've listed this under the actual title, which was the ever more confusing "Peter Gabriel." I am sure that it's no wonder the label was having problems with the same title for all of Peter Gabriel's solo albums by that point. That's why it was released under the title Security in the US and some other places, but to me it's still the fourth album from Gabriel bearing just his name as the title.

I honestly think this is my favorite of all Gabriel's solo albums. I'm not a fan of the hit "Shock the Monkey," but I've always just figured that one largely as the throw-away on an otherwise perfect album. That said, Tony Levin's work on the song is the one thing that redeems it for me.

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An ambient droning rises up gradually. Gabriel's voice comes across in a non-lyrical wail. That is punctuated by deeper sounds. Gabriel begins singing, delivering a couple lines. The song continues by evolving the earlier elements into a more powered up, yet very artistic motif. This keeps growing with more layers of sound over the top. This is very proggy, but also very different from the traditional prog of the time. There are some great melodic elements, and Gabriel's vocals are trademark and so strong. This works through a number of changes. It shifts out to a full percussion workout later that feels very tribal in nature.

This was Gabriel's first big hit. Keyboards bring it in, but then Tony Levin's bass (technically it's the bass end of the stick) delivers amazing, rubbery, melodic lines of sound that really stun. The whole tune has a catchy rock groove and an unusual texture. Gabriel paints some catchy lines of vocals. This definitely foreshadows the sound that would be present on his next hits. Without question Levin's stick work is what makes this song work as well as it does.