Peter Gabriel’s fourth solo album after leaving Genesis was titled Security in the United States and Canada, but the rest of the world knew it simply is Peter Gabriel’s fourth album. Just like his three previous solo albums the album featured only his name on the cover. Even the spine did not designate any title for the record. Gabriel didn’t want the album to have a name, just like its predecessors. But at the insistence of Geffen Records, who Gabriel had just signed with, he was forced to choose one for its release in the US and Canada. In those countries only, a sticker was placed on the shrink-wrap outside the cover noting the album’s name.
The album was recorded in Gabriel’s home studio where he had amassed a huge collection of then cutting edge synthesizers, drum machines, and full digital recording equipment. For the starting point of all the songs, he recorded rhythms and beats from his travels throughout the world and rather than sampling them, reproduced them on the drum machines and electronic instruments so they could be more easily manipulated. He and the other musicians on the album then improved over those beats and rhythms, structuring the songs. It was a radical approach for its time, but one that’s not very distant from the way many electronic and Hip Hop artists compose their music today.
When listening closely, it’s interesting to hear a simplicity in most of the lead instruments, yet a complexity in the rhythms underlying them as well as in the way the individual pieces are put together to form the whole of the songs.
Shock The Monkey, a song about jealousy, became Peter Gabriel’s first top 40 hit in the United States.