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When Peter Gabriel bothers to release a piece of music, it’s clear he’s maximizing every fiber of his artistic being. But even the man’s misfires (like 2010’s Scratch My Back) harness a radiant earnestness, daring us not to be dazzled by the sheer scope of his vision. Yes, being a fanatic of this man’s work is emotionally taxing. 1992’s Us arrived six painfully long years after his masterful commercial break-out, So meanwhile, I/O, his long-awaited sequel to 2002’s Up, has been teased and postponed so many times, it’s something of an urban legend - the SMiLE (or perhaps the Chinese Democracy) of art-rock. We Gabriel-heads know the drill: It isn’t unusual to wait an entire decade between studio albums. He creates music constantly, but releases tangible proof at a snail’s pace. Unlike almost every other mega-star, Gabriel seems to be motivated solely by artistic passion, with no apparent willingness to compromise for the sake of commerce. And his occasional brushes with the mainstream? Mostly accidental: “Sledgehammer,” the British singer-songwriter-producer’s global smash single, was an Otis Redding homage recorded as a post-session afterthought that track’s iconic stop-motion music video defined the entire MTV era, even though it’s one of the most surreal, subversive items in the American pop-culture time-capsule. For a guy with so many ubiquitous hits, he’s never even pretended to play ball with radio.