7. Car (1977)
Peter Gabriel’s first self-titled album served as his creative exodus from Genesis (no pun intended … OK, kinda). It’s a purposefully eclectic, anything-flies approach to songcraft, venturing from hard-hitting rock (“Modern Love”) to quirky art-rock (the vastly underrated “Moribund The Burgermeister”) to pastoral folk-pop (the lovely “Solsbury Hill,” which serves as a thinly veiled kiss-off to his former band) to, umm, barbershop quartet crooning (“Excuse Me”). No other Gabriel album is quite so gleefully absurd. Unfortunately, the album’s second half is tedious and overwrought, particularly the crawling blues of “Waiting For The Big One” and the thickly orchestrated “Here Comes the Flood” (which later appeared with a more subtle, stark arrangement on Robert Fripp’s 1979 album, Exposure). Overall, Car is a fascinating — if frustrating — first chapter.