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New Blood
 
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New Blood

10 Oct 2011 | Format: MP3

7.49 (VAT included if applicable)
Buy the CD album for 9.57 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
5:41
30
2
3:52
30
3
6:58
30
4
5:07
30
5
6:25
30
6
7:13
30
7
5:59
30
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5:16
30
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6:10
30
10
6:40
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11
4:57
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12
3:54
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4:48
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14
4:35

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Product details

  • Original Release Date: 1 Jan 2000
  • Release Date: 1 Jan 2000
  • Label: Real World Productions
  • Copyright: 2011 Peter Gabriel Ltd. This label copy information is the subject of copyright protection. All rights reserved. (C) 2011 Parlophone Records Ltd
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:17:35
  • Genres:
  • ASIN: B005S4JBZ8
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (49 customer reviews)
  • Amazon Bestsellers Rank: 20,949 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

4.1 out of 5 stars
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Most Helpful Customer Reviews

18 of 20 people found the following review helpful By Andy Donelan on 17 Oct 2011
Format: Audio CD Verified Purchase
Old standards, maybe, but this new set of renditions raises Peter Gabriel's oeuvre to a new level. Fantastic orchestrations by John Metcalfe (just listening to the last minuet of 'Don't Give Up' gave me serious tingles down my spine) delivered by him and the New Blood Orchestra, brilliant reinterpretations by one of our Greatest Living Englishmen, together with some top-notch backing vocals by Melanie Gabriel, Ane Brun (haunting on 'Don't Give Up' - and what a fantastic voice) and Tom Cowley add up to this being a really valued addition to any PG collection. This is the icing on the cake! Can't wait for 'and I'll scratch yours'.... Incidentally there's free 24-bit download link included (until 10/10/12 in the Deluxe 2-disk version - not certain about any others). Seriously recommended.
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3 of 3 people found the following review helpful By Pete Fyfe on 25 Oct 2011
Format: Audio CD
Watching Peter Gabriel's stunning performance with the New Blood Orchestra on Jools Holland's Later the other evening proved inspirational. OK, so the luxury of being a multi-millionaire can unburden you of the restraint of record company executives waiting their next fix of "...where's the next hit single" but trust me, an indulgence this album is not. From a listener's point of view in many ways you wind up willing that each track will surpass itself and that the recording will never end. I know I did and the sumptuous banquet spread out before me like an episode of a Heston Blumenthal TV show proves that the adage "...there's life in the old dog yet" certainly has legs. It's with this expectation and hope that Gabriel rises to the challenge making you feel justified that you have faith in his outpourings are met with a sigh of relief when he easily achieves each goal. The songs included here are a snapshot of his career to date including the powerful horns/strings led "Rhythm Of The Heat", the exquisite "Downside Up" (with additional vocals from his daughter Melanie) and the energising pulse of "Solsbury Hill" with its gloriously majestic trumpet counter melody as a finale. To my knowledge Peter Gabriel has never recorded an `Unplugged' session for MTV and, if that is the case this CD could well be his homage to the genre. As long as we are blessed by performers of this calibre I can't think of a finer way to celebrate Britain's musical heritage. Unquestionably my album of the year!

Pete Fyfe
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9 of 10 people found the following review helpful By Dale on 9 Nov 2011
Format: Audio CD
I have been listening to Peter Gabriel for nearly 40 years and to this album for a couple of weeks, and it really grows on you.
I saw Scratch My Back at the O2 and frankly was not impressed with the cover versions, the album is even worse, but the second half of the concert livened up and became a good night out, including a great rendition of Solsbury Hill.
Then this CD came out and I was unsure whether Peter had done the right thing. His vocals strain on some tracks (as usual), so occasionally I actually prefer the instrumental versions. But whichever you are listening to, the orchestrations are beautiful, they bring a new dimension to these songs; this is no musak re-working of old favourites, it's a genuine re-interpretation. I can listen to the album repeatedly all day as I work.
Disappointments? Solsbury Hill is always a triumph live, but this version just fails to capture the sparkle of the song, it falls a bit flat. And 'A Quiet Moment'? If I wanted that I could always switch the CD off and I still haven't worked out why there are 2 versions of 'The Nest That Sailed The Sky', perhaps I'm not listening hard enough. But how often do you buy a double CD where every track is brilliant? I can forgive the occasional lapses for the quality of the whole. Beautiful orchestrations, beautiful playing, crisp recording and superb song writing, what more could you ask for?
Successes? Darkness and Intruder are really atmospheric - the orchestra makes them feel even more threatening; San Jacinto is possibly even better than the original, while Red Rain is just astonishing.
Whatever you do don't buy this and listen once, give it a chance to work into your soul and demonstrate that all those old hit songs can have a secret second life as orchestral pieces. Unlike many albums, this just gets better with every listening.
Now Peter, about an album of new songs .......
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21 of 24 people found the following review helpful By Stayintouch on 16 Oct 2011
Format: Audio CD
Scratch My Back split opinion: it was very slow - monotonous even, and very sad. But it also stripped back the songs to their melodic roots, and then surrounded Gabriel's voice with judicious arrangements which served to support, rather than combat, his voice.

New Blood sounds a similar project, an album of orchestral versions, but this time of Gabriel's own songs. I like it, and some songs are brilliantly done. But there is much less of a sense of reinterpretation. Why keep the bass-line from Don't Give Up? Or the tinkling from Mercy Street? Or the twinkling spashy opening to Red Rain? Sometimes it feels like the score has just been handed round, but with the parts changed from electric to acoustic instruments. So the strings are taking the hi-hat rhythm, the bass is doing the drums, the wind the synth section. If you listen online to his version of Secret World on the New Blood tour, you can see this evidently. If it had been someone else's song, and he'd covered it on Scratch My Back, you can be sure they rhythm would have been jettisoned in favour of a more simple bash at the melody. Instead, a whimsical piano and percussion riff runs through the whole thing, in exactly the same way as the synth and drum riff did in the original.

Perversely then, I feel like some of the versions make unnecessary changes to the fabric of the originals. Why cut the last minutes, the climax of Downside Up, when you have a minute-and-a-half long instrumental opening? Why change and simplify the slow chorus of Digging in the Dirt? Why does Ane Brun not pronounce the 'p's in Don't Give Up? Or Don't Give U' as it might now be titled. On the tour, Solsbury Hill had rather a fun ending, interpolating Beethoven's 9th and other classical tunes - not here.
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