Album Reviews
Movies
Concert Reviews

Top 10
Resources
Contact Us

Previously, Peter Gabriel's most cohesive album was Passion, the soundtrack to The Last Temptation of Christ. As an integral part of that controversial film, it fell prey to the dynamics of the film's protest; the controversy became an issue in itself and people never fully confronted the film in its own terms. Ignoring the cultural implications of the film, it's fairly easy to see Passion as a significant event in Gabriel's career. More than a simple appropriation of African and Middle Eastern rhythms, Passion delves into world music traditions and redevelops them in substantive ways (with the help of such notable artists as Youssou N'Dour and Nusrat Fateh Ali Khan). In addition to being his most cohesive and accomplished album, it was also Gabriel's most spiritual (quite notable considering that Gabriel has always returned to the abstract concept of  faith in unorthodox musical ways). But now, in terms of cohesion and concerted spirituality, Gabriel may have a worthy follow-up with his recent  concept album, Ovo. 

Developed as part of the opening celebration for England's "Millennium Dome," the songs making up Ovo revolve around a central narrative (much like Passion). However, this story is original to the work, employing a mythic structure apparently to rise to the height suggested by the new millennium. As described by both the enhanced-cd storybook and the album's overture, the story of Ovo is the story of three generations. And as seen through a single family, these generations are ages of humankind oriented toward ecology, industry, and spirituality. Ovo is the third generation, the promised child produced by the union of two races; Ovo is the focal point during the "time of the turning" when everything begins to move heavenward. The album begins with "The Story of Ovo," a rap that gives an overview of the family line and their story. The rap, performed by Neenah Cherry and Rasco, works like the spoken words of tribal leaders passing down cultural knowledge to the next generation. Punctuated by Gabriel's vocals and a clever rhythmic hook, the song provides the musical scope necessary to introduce the album concept. Other notable songs include the reprise of  "The Time of the Turning" paired with "The Weaver's Reel." With this combination, Gabriel is at his eclectic best as a conductor; delicate vocals lead flawlessly into an Irish arrangement somehow easily at home beside Middle Eastern strings. Throughout the album, Gabriel's use of  his own voice is judicious, but that voice ultimately holds the album together as a narrative. Since he is the voice in the hard-edged and creatively distorted "The Tower that Ate People," his return amidst other voices in the final song, "Make Tomorrow," makes the final song's message of hope believable. 

After waiting so long for a new album from Gabriel, some may find Ovo  disappointing. As already noted, this is no solo album and does not contain  the next  "Sledgehammer" or "In Your Eyes."  Also, since the album is  event-driven (i.e., developed for the opening of the Millennium Dome), the  concept could be considered both trite and pretentious. However, the story  seems to be designed as something basic, not as something didactic. With  Ovo, Gabriel simply produces a solid album. For him, that process necessarily involves confronting many musical traditions and narratives from many cultures. In this particular case, it also means using the talents of others who have devoted their lives to such traditions. Gabriel doesn't create a mono-myth with this music, but instead creates a story with many points of access. Even though Ovo may not be transcendent  artwork, it engages me as a Christian. The ultimate destiny of Ovo as a character in the story is pointedly left open. Yet, while I might see Ovo as a Christ-child, I imagine the story could also engage many others from  other religious traditions. Since the story is grounded in specifics, this  achievement is notable; the story is not a limp statement about all religions as one but instead is a proclamation about the human need for  faith and community. 

Terry Wandtke 1/15/2001