Look up the phrase “musical polymath” in the dictionary, and more than likely, you’ll find Peter Gabriel’s grizzled, grey-bearded mug next to it. It might be a cliché to say that the ex-Genesis frontman is one of the few Western rock veterans to successfully delve into the diverse realm of the worldbeat genre (Paul Simon and David Byrne also come to mind) without stooping to the level of condescension, but the fact remains that Gabriel has done more than any other major artist to bring the nuances of world music to the charts, for better or worse.

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Gabriel’s Real World record label and annual Womad (World of Music, Arts and Dance) festivals are enduring high points in the worldbeat environment, with notables like Geoffrey Oryema, Sheila Chandra and Ustad Nusrat himself all getting their initial big breaks in the rock world through contracts and appearances at these institutions.

So, it was appropriate enough that it was Gabriel that Martin Scorsese turned to when he was looking for someone to score his controversial motion picture The Last Temptation of Christ way back in 1989.

Having been brought abroad, Gabriel then cleverly eschewed the usual orchestral click tracks that more orthodox composers like John Williams and Trevor Jones normally utilise to shape a film score.

Instead, he chose to meticulously create a jaw-droppingly lavish tapestry of music and sounds inspired by the film’s epochal accents, in the process engendering a landmark recording that is so amazing and breathtaking in its breadth and depth, that it has become the definitive yardstick in the continuing evolution of worldbeat thus far. It also deservedly won a clutch of awards, including the Grammy for Best New Age Performance in 1990.

Passion has now been remastered and re-released, and available in SACD format for all you avid technophiles who must surely be salivating in anticipation for something like this.

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Only one word can aptly be used to describe Passion: timeless.

Timeless in its polyglot musical reach, and timeless in its amazing ability to realistically evoke the sights and sounds of a long-bygone era. There has never been a soundtrack like Passion before it was initially put out, and no other film score has come close to matching its ingenuous combination of Eastern esoterica and Western firepower since then (not to mention its panoramic, haunting atmosphere).

To have it finally available on SACD format is a definite treat for audio devotees who also happen to appreciate Gabriel’s unparalleled talents. A monumental achievement, any way you look at it.

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