Peter Gabrniel

For most artists recording a Christmas record is a convenient stop-gap in between releasing new material. In Peter Cetera's case this doesn't ring true as it has been a while since we last heard from one of soft rock's most distinctive crooners. You Just Gotta Love Christmas brings to the table everything you'd expect from a Peter Cetera record: lush, pleasant arrangements with crisp, warm, polished production and able musicanship from a crew of veteran session players. It's a mix of holiday favorites mixed in with a few originals and some guest appearances from Alison Krauss and Peter's daughter Claire; who is more than up to the task of singing with her father on two of the album's 12 tracks. Cetera and Chicago fans will no doubt enjoy having this on in the background during the holidays.

Constantly in search of eclectic and meaningful programmes, the soprano Anna Prohaska here celebrates ‘life in death’. An ambitious programme, conceived with Robin Peter Müller and his ensemble La Folia, which takes us on a journey across the centuries and through many different countries, with French chansons of the Middle Ages (including one by Guillaume de Machaut), seventeenth-century Italian pieces by Luigi Rossi, Francesco Cavalli and Barbara Strozzi, German composers of the seventeenth and eighteenth centuries (Dietrich Buxtehude, Christoph Graupner, Franz Tunder) and the English luminaries Henry Purcell… plus John Lennon and Paul McCartney. A musical and spiritual quest that even takes in a detour to North America with a universally known song by Leonard Cohen.

Peter Gabriel tells why he left Genesis in "Solsbury Hill," the key track on his 1977 solo debut. Majestically opening with an acoustic guitar, the song finds Gabriel's talents gelling, as the words and music feed off each other, turning into true poetry. It stands out dramatically on this record, not because the music doesn't work, but because it brilliantly illustrates why Gabriel had to fly on his own. Though this is undeniably the work of the same man behind The Lamb Lies Down on Broadway, he's turned his artiness inward, making his music coiled, dense, vibrant. There is still some excess, naturally, yet it's the sound of a musician unleashed, finally able to bend the rules as he wishes.

Peter Green is one of the best guitarists of his generation and after a period in the wilderness he re-emerged in 1997 to critical acclaim with the Splinter Group. The material Peter Green recorded with the Splinter Group on five albums for Snapper Music represents a true return to form for the ex-Fleetwood Mac guitarist, including the W.C. Handy award winning album The Robert Johnson Songbook. This new vitality was confirmed on the classic limited edition double live album Soho Session (sold out week one), recorded at the world-famous Ronnie Scott's club. Then his first original material since the early '80s was presented on Destiny Road, produced by Cream lyricist Pete Brown.

Invited by Deutsche Grammophon to reinterpret Bach’s six cello suites for their Recomposed series, cellist/composer Peter Gregson has come up with beautiful tributes to these 18th-century masterpieces. Following each movement’s natural harmonic curve and rhythm, Gregson explores different approaches, using electronic effects that ripple beneath Bach’s lines (the first movement of Suite No. 5) or taking single bars, transforming them into minimalist gems. Elsewhere, he plays alongside a small cello ensemble, creating playful dances and sumptuous textures. Sometimes, as with the Menuet from Suite No. 1 or the Sarabande from No. 5, Gregson barely touches Bach’s original notes—an homage to the music’s timelessness.

Generally regarded as Peter Gabriel's finest record, his third eponymous album finds him coming into his own, crafting an album that's artier, stronger, more song-oriented than before. Consider its ominous opener, the controlled menace of "Intruder." He's never found such a scary sound, yet it's a sexy scare, one that is undeniably alluring, and he keeps this going throughout the record. For an album so popular, it's remarkably bleak, chilly, and dark – even radio favorites like "I Don't Remember" and "Games Without Frontiers" are hardly cheerful, spiked with paranoia and suspicion, insulated in introspection.

Rated PG is a compilation album of songs for film soundtracks by English rock musician Peter Gabriel. The track selection spans over 30 years of music created for the individual films, with Walk Through the Fire being the earliest from 1984 and Everybird being the most recent from 2017…