I love 5.1. Sometimes you can't squeeze everything in comfortably into a stereo picture. There is a lot more space in a 5.1 environment.
I think another thing is that we don't really want exclusivity. We accept that it is in the artist's interest to be on sale in every place where they sell music.
I think it is the weak and the young and the minorities that you need to look after to get a healthy creative environment - to get a lot of choices, a lot of different styles of music, a lot experimental stuff that everyone else feeds off.
I think one of the things about writing in the studio is that the song hasn't matured, if you like, so quite often the vocals are early attempts. Whereas once you've taken it out on the road a bit, you learn more about a song.
I think that you get the mood of a song stronger if you get it right that way. On the other hand, you put some songs out live and they don't catch flight. They just flop. It is hard to tell until they are out there.
I'm a bit cynical that it ever will be addressed properly. I think it is healthy to get some sort of copyright protection. But some of it has gone on forever.
One thing that really appeals to me is this idea of music being a living thing that has an evolution that, in a way, enables the artist to sell a process rather than a piece of product.
The industry does have some influence on who gets other awards. With the Mercury Prize, they don't. Jon comes from the business, but his heart is still very much in the music. Currently, we have about 12 major names that have said they want to be a part of MUDDA.
We had some good cameramen, and Hamish Hamilton, who did the direction, is very talented.
When we started OD2 in 1999, we were really expecting to work more with independents and so on because the major labels were spending millions on their own Pressplay and equivalents online, which haven't been very successful.
Yeah, in the digital world, it is so much easier to put stuff out without a great deal of paraphernalia and fanfare.
Peter’s song “Solsbury Hill” was featured in commercials for Cingular Wireless.
Peter’s albums were once banned by the apartheid government of South Africa due to his song “Biko”. The song is about Stephen Bantu Biko the South African civil rights leader.
Peter has been nominated twice for the Best Original Score - Motion Picture Golden Globe Awards. In 1992 for “The Last Temptation of Christ” and in 2003 for “Rabbit-Proof Fence”.
Peter was married to Jill Moore from 1971 to 1987; they have 2 daughters, Anna-Marie born in 1974 and Melanie born in 1976.
He can play many instruments: piano, keyboards, percussion, drums, flute, recorder, and harmonica.
He dated actress Rosanna Arquette.
He was the lead singer of Genesis, till he left in 1975 to work on his solo career. However, in 1999 he joined Genesis in the studios one more time, to record the song and video clip 'The Carpet Crawlers 1999'.
Peter is a big fan of films and has had the privilege of working with some of his favorite directors, while shooting his video clips. Some of his favorite directors are; Stephen Johnson, Matt Mahurin, John Downer, and Sean Penn.
He as been titled Phil Collins' cousin at IMDB.com, this information is incorrect. They are good friends and both were the lead singer of the band Genesis, but they are not blood related.
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